Upaku: Exploring the old Kathmandu during Indra Jatra

-ASMITA MANANDHAR Source:http://theweek.myrepublica.com/details.php?news_id=42600 Amidst the crowded street, an idol of Lord Indra is placed on a high platform before the Aakash Bhairav, also known as “Aaju Dya” in Newar, the elder god symbolizing the protector or the king of the city at Indra Chowk of Kathmandu. The sight of the King of Heaven, as Indra is known, confronting yet another god, following the famous legend of Lord Indra’s theft of the flower Parijat, at the beginning of the autumn every year marks the preparation for the beginning of Indra Jatra, or the Procession of Indra, the biggest religious street festival of Kathmandu City. Yenya is the preferred name for the same festival by the local Newar community. Professor Baldev Juju, a senior culture expert, says that the festival Yenya originated much before Indra Jatra. Assuming the etymology of Yenya to be derived from two Newar words, “Ye” meaning Kathmandu, and “ya” meaning festival, Professor Juju regards it as the festival of the city. “It may be the anniversary celebration of the beginning of civilization in Kathmandu,” he says. People taking a specific route, lighting at all the shrines and temples on the way, which is named as Upaku, according to Professor Juju, might be the rituals established during the ancient times for celebrating the anniversary festival. He backs his argument with the trend of the Upaku route, which is considered to be the actual boundary of the medieval Kathmandu. Upaku follows an elaborate trail through the narrow alleys and lanes. The route represents the boundary of Kathmandu or Ye from the time when it was a separate country before the existence of unified Nepal. Upaku is a great opportunity to revisit the traditional Newar settlements established during ancient times. Supporting the argument that Upaku route during Yenya has a long history, Maheshwor Juju Rajopadhyaya, Vice-Chairman of Vedic Pratisthan, assumes that since the settlement was initially surrounded by forests, the citizens of Kathmandu might have used fire and drums to scare away wild animals, while circumambulating the border of their settlement. “It might’ve originated as a survival instinct which took the form of tradition as the society evolved with time,” he says. These days, bereaved families take to the Upaku route on the evening of the first day of Indra Jatra, which lasts for eight days. Family members offer lights to different religious shrines in the name of their deceased member/s. According to experts, the tribute to the deceased members of the family during Upaku in the present day has no definite meaning but it is possibly the result of general processes during Newar festivities to acknowledge the divine, the living, and the departed. Cultural expert Indra Mali says that apart from members of the procession lighting the lamps at temples and shrines in the name of their dead, they also exchange lights with fellow members who take the route. “There can be two explanations for this ritual; either, they are offered the lights to guide them through the night, or it is an honor not only to gods and the dead but also to the living ones,” he says. The varieties of rituals during the Upaku procession hold different meanings. The procession is led by Majipa Lakhe, a special Lakhe or a demon in Newar folklore who dances only during the Yenya. Depicted with a ferocious face, the dance of Lakhe is characterized by wild movements. The Lakhe are not trained dancers but they synchronize their beats with the music from the Newar orchestra which follows the Lakhe throughout the festival. The orchestra consists basically of percussions and wind instruments, which they play continuously while traveling through the city, producing loud thumping music. On the other hand, some of the families participating in the procession are also accompanied by a group of people singing hymns. Though people have started to sing different hymns en route the Upaku, according to Mali, it is the “Dharani Paath” that is basically sung during the occasion. “Dharani Paath is a Buddhist hymn which is somewhat like Mritunjaya Mantra, that is the death-conquering mantra,” he says. The communities that lie on the Upaku route, on their part, decorate huge piles of “Samay Baji,” a set of different Newar dishes which is considered to be representing Pancha Tatwa, the five elements referred to as sky, air, water, light, and earth, at different junctions along the way. A heap of beaten rice is covered with fried black soybean, fresh ginger rhizomes, marinated broiled meat, dried fish fried in oil, boiled-fried eggs, fresh and dried fruits in vertical lines along the beaten rice mound. Lentil patties are then placed at the top with several varieties of Newar breads on the sides of the stack. Though Samay Baji is a regular dish for Newars during festivities, it is the special dish during Yenya, says Rajopadhyaya. The decoration of Samay Baji is regarded as an offering to the gods before it is distributed among the community. Some of the communities also accompany the Samay Baji decoration with Newar orchestra. The highlight of the evening is also the display of masks of Bhairab at different parts of the city, most of which are only put for view to public once a year on the very day. It is a rare opportunity to witness the unveiling of the masks which are otherwise kept for safekeeping by the respective Guthis (guilds). During the Indra Jatra, Newari liquors are poured from the mouth of the mask of the Sweta (white) Bhairav as “prasad,” or the deity’s blessing. This occurs only once in a year and the consumption of the liquor is said to bring good health to the person throughout the year. According to Rajophayaya, the communities put on a miniature version of Lord Indra tied before Aaju Dya; therefore, the masks of Bhairab are also brought in display to signify the representative of the elder god. “It represents protection for the people; it shows that even the King of Heaven cannot interfere in these matters,” he says. Like many of the festivities that are related to agricultural changes or significances, Indra Jatra signifies the end of the agricultural season. One legend of Lord Indra says that when he was released by the King of Kathmandu following the request from Indra’s mother, deity Dangi, to forgive Indra for stealing the rare Parijat flower, she presented him with fog and dew. On the third day of Indra Jatra, a person impersonating Dangi walks around the city with people clad in white clothes following her. It is believed that Dangi had come to Kathmandu in search of his son, Indra. The citizens, having recognized her, followed her in the hope of discovering the road to heaven. The same night, a group of people also roam around the city impersonating a white elephant, called Pulu Kisi. The elephant is believed to be Indra’s vehicle, which rampantly searches for his master after Lord Indra disappears. The legend of the deity Dangi’s deal for the release of his son explains the change in the weather of the capital and the subsequent break taken by the Valley’s denizens from agricultural tasks. The weeklong festival marks the beginning of the celebrations, followed by Dashain and Tihar in a month’s time. The festival of Yenya is entirely based on myths, with different interpretations from many historians. With none of written scriptures to define the beginning of the Upaku, experts assume that its history dates back to the time of the origin of Kathmandu. A wooden totem pole, called Indra Dhwaj, erected in front of Hanuman Dhoka in the early hours of the initial day of the festival, marks the beginning of Indra Jatra. But the festival mood is set only in the evening when people tour the old city circuit through the Upaku route. Although, bereaved families from certain Newari communities are compulsorily required to participate in the Upaku, it is free for all the people who wish to take the walk. On the route that follows the shrines and temples, most of which are of Tantric significance, people can experience and have insights about the primeval religion and culture of Kathmandu. The area dazzles with lights offered by people walking the route. Local communities regulate the lights to guide the walkers through the lanes and alleys for many hours in the evening. The walk through the Upaku may have a certain tradition in the present context, but it is agreed by most that the route defines the boundary of the old Kathmandu. The festival might have changed its meaning over time but a stroll through the borders that represents the glory of origin of the capital city gives people a chance to mingle with the rich Newar culture of the core that is Old Kathmandu.
Published on 2012-09-28 https://rajopadhyaya.blogspot.com/2012/09/upaku-exploring-old-kathmandu-during.html

Facing extinction

• Private and other guthis have vanished due to the financial burden of keeping them active

- MEERA RAJBHANDARI AMATYA

Dec 15, 2015-

The Tarani Bahal Guthi, a cultural society from Makhan Tol which once had a membership of 64 families, now only has five members. Rabindra Lal Shrestha, a former member of Parliament and a member of the guthi, said that when he was a small boy, he had heard from his grandfather and great-grandfather that it owned 84 ropanis of land, the rent from which was used to finance its operation. There was a time when the guthi used to celebrate for a whole week by worshiping the deities and holding a feast. With the passage of time, some of the land owned by the guthi has been stolen, and some lost due to lack of proper documentation. The ownership of some of the land is being legally disputed. As a result, the guthi, which belongs to an affluent Shrestha Newar community of Makhan Tol in Kathmandu, is in a precarious state.

The state of Trishul Festival of Pashupati Gol (Deopatan) which is also known as Machatiya Jatra is no different. The festival has not been held for the past 23 years because the guthi in charge of organising it has no money.

In deep crisis

The Tarani Guthi and Trishul Festival Guthi are two examples of extinct guthis. In Nepal, guthis including Raj Guthis (guthis operated by the government Guthi Corporation), private and other guthis have vanished due to the financial burden of keeping them active, and many guthis are on the verge of extinction. In the past, the rulers and affluent donors had set aside resources including adequate land to generate income to finance  religious activities, tradition, culture and social practices. “The sustainability of these social organisations, which are a unique custom in the world, has been continuously weakened with time,” said Professor Subarna Shakya, a cultural expert.

The history of guthis in Nepal dates from the early fifth century. The Lichchhavi king Mandev initiated the guthi system by donating his private property. The guthi is based on the religion and rituals of Newars. Guthis like Sajha Guthi, See Guthi, Sana Guthi, Jatra Guthi, Pooja Guthi, Baja Guthi, Nach Guthi and others have been functioning in the Newar community for many centuries.

After the enforcement of Land Reform in 1964, the guthis, which have been basically established for social harmony, mutual cooperation and collaboration, were regulated under Guthi Sansthan Act. Subsequently, an amendment to the act made it possible to change the legal status of land belonging to guthis, thereby allowing these assets to be sold. As a result, many guthis lost their lands to sales. Likewise, when land-swapping regulations were enacted, the land mafia engaged in swapping fertile guthi land with unproductive land in collusion with Guthi Sansthan, making guthis financially insecure as their revenues declined.

“The government’s land-swapping policy has been a major cause for guthis falling into a trap”, said Deepak Pandey, deputy administrator of Guthi Sansthan. Guthi lands are sold and the money is kept in a trust fund. Though there is a provision for ploughing back 25 percent of the interest earned into the fund, timely and appropriate arrangements for financing guthis have not been made due to an economic downturn and falling bank interest rates, according to Pandey.

Legal protection

Since there is no tradition of keeping records of the number of private guthis and their assets; Guthi Sansthan does not have any data about them. According to a source at Guthi Sansthan, there are guthi lands in 68 districts—561,990 ropanis in the hills and 66,330 bighas in the Tarai. Kathmandu has the highest number of Raj Guthis within the Valley. Kathmandu also leads in the number of annual festivals with 1,200 events while there are 309 in Bhaktapur and 422 in Lalitpur. In terms of the number of temples and shrines, there are 717 temples, 647 roadside shelters and 159 ponds.

Clearly, there is a pertinent need to maintain land belonging to guthis as they are not only the property of the Newar community but the property of the whole country. For, festivals, social practices and cultural traditions not only identify a nation but also contribute to the national economy and the tourism industry. To provide continuity to the culture, religion and tradition of the Newar community, Articles 32 and 51 of the new constitution, besides the national policy and directive principles related to social justice and inclusion, provides for the conservation and promotion of the culture and tradition of the indigenous nationalities. Similarly, the International Labour Organisation’s Convention 169 provides for the protection by the state of the social, cultural, religious and spiritual values and beliefs, laws and customs of the indigenous nationalities.

Back to the Newars

Following a public outcry over a cut in funding for the Kumari Festival, a high-level study committee had been established by the Ministry of Federal Affairs, Parliament Management and Culture to study the Guthi System of the Newar community under the convenorship of Pabitra Bajracharya, the then secretary general of Newa Dey Daboo. The committee’s report stated that the involvement of Guthi Sansthan in preserving the guthis was unjustifiable, and that the guthi lands and other assets which had been provided for preserving the culture of the Newars should be returned to the Newar community.

Due to a conspiracy between the bureaucracy and the land mafia which has never understood Newar culture and tradition, the sustainable institution of the guthi, which ensures the continuity of Newar religion, tradition and culture, is gradually vanishing. To quote Bajracharya, “The state needs to formulate a concrete policy in line with the present constitution and the International Labour Organisation’s Convention 169 to preserve Newar culture.”

Amatya is president of the Federation of Nepalese Indigenous Journalists Kathmandu District Committee

Published: 15-12-2015

http://kathmandupost.ekantipur.com/news/2015-12-15/facing-extinction.html

An ocean of enlightenment

- Sophia L Pande



The Newar tradition of paubha painting is rigorous, it requires knowledge of the all the many, various deities, the iconography associated with each of them

Jun 11, 2016-

What is genius? A complicated, loaded term that is rarely heard these days in the self-conscious art world, the word genius is usually reserved for the old masters with centuries of authentic approval from art historians to back the bestowal of this now rarely used adjective.

However, genius was on show these two past weeks with Embodied Enlightenment, an exhibition at the Nepal Art Council in Babar Mahal (it wrapped up on June 9), highlighting the work of painter Samundra Man Singh Shrestha with a painstakingly assembled retrospective that highlights a career’s worth of groundbreaking work.

Conceived on the heels of 2011’s Jewels of Newar Art at the Siddhartha Art Gallery, curated by Sangeeta Thapa and organised by art collectors Purna and Anjana Shakya, Samundra’s solo show became a mission of great importance once the Shakyas were told, to their dismay, by the artist himself, that most of his now iconic works were residing outside of Nepal, bought by Asian collectors who had the cash and taste for collecting that is yet to hit the mainstream in Nepal.

As a result of Shakya’s efforts, five years later, 60 of Samundra’s works were made available for 13 days to the public eye, bringing in an astonishing 5,300 plus visitors in an unprecedentedly popular gallery show that captured the imagination of Kathmandu residents who swarmed around these powerful paintings in awe, looking slightly dazed by the sheer beauty on view.

So what is it about Samundra’s art that excites so much excitement and admiration? Summarising the words of Dr Dina Bangdel, the daughter of the famed artist and art historian Lain Singh Bangdel and a renowned scholar of the Himalayan arts herself, who curated the show, Samundra’s work is a combination of the tradition of devotional Newar paubha painting infused with Samundra’s own brand of virtuosity which brings the paintings firmly into the now; making them highly original works of creative genius that have a glowing, pop art-like aesthetic that makes them particularly appealing to the Nepali and Asian palette.

The now famous oil painting of Vajrapani started the commotion over Samundra’s work when it was exhibited at the Jewel’s of Newar Art show. Priced at the time at an astonishing 15 lakh rupees, Samundra’s reputation as something of a phenom was cemented by the then astronomical price placed upon what is now regarded as one of his most powerful, innovative, and riveting works.

Born in 1980, Samundra is only 36 years old and yet his oeuvre to date is large. The 60 odd works on display in this past show, augmented with contributions from some private collections, only represent about 50 percent of his work, a commentary on Nepal’s inability to keep its higher valued contemporary, or otherwise, artworks within its borders.  The artist’s most significant works, by his personal count, are abroad, sold by middlemen and dealers to clients willing to pay the sums demanded for these now extremely valuable paintings.

Samundra started painting young and was already prodigious, even when he was a young, untrained artist in school. Born to a middle class Hindu, Newar family, Dina Bangdel writes that while Samundra did not have the centuries old artistic traditions of the Chitrakars to back his creative leanings, he did have the benefit of having grown up in Raktakali at the heart of Kathmandu’s unique rituals where Hindu and Buddhist traditions intersect. Surrounded by such abundance of stimuli, the budding painter imbibed the richness of these artistic practices first hand. Samundra was also fortunate to have been adopted into the tradition of Newar paubha painting very early on, at the age of 14, trained by Prem Man Chitrakar, a master paubha painter himself.

The Newar tradition of paubha painting is rigorous, it requires knowledge of the all the many, various deities, the iconography associated with each of them, learning the iconometrics, which are the classical proportions for depicting these figures, and of course, a natural ease with fine draughtsmanship as an essential base.

Having mastered these techniques, the young, curious, precocious even, Samundra embarked on an exploratory path, moving away from the prescribed (they are not always used due to cost and lack of availability) mineral based paints used for traditional paubha painting to experiment with oils. He found that the medium of oil painting allowed him to better achieve his now signature style of hyper-realism which is augmented by an exceptional ability to create dynamic movement—as if his subjects, the gods and goddesses of Hinduism and Buddhism, are vibrating with life, animated by the painter’s brush, and in some cases seeming almost about to leap from the frames. I believe that these extraordinary painterly effects directly co-relate to the number of people who throng to see his work.

Personally speaking, I have never been to a show where I have seen so many excited people, young and old, devout or not, rapt in admiration at not just the fierce Vajrapani but also the dreamy Shiva Shakti; the delicate, poetic Padmapani Lokeshvara; his gorgeous, epic Vishnu as Dhanvantari, detailed uniquely with sophisticated symbolism relating to and subtly evoking the mythical connotations of the subject, and one of personal favourites, the sublime Amoghasiddhi—a work that shows the master hand of the artist by juxtaposing the living three dimensional Amoghasiddhi, the Buddha of the North, in his green, enlightened form, standing against an exquisitely rendered two dimensional backdrop painting of the very same; the deity seems embodied, brought to life by the hand of the painter.

This exhibition is an event made possible by the vision and commitment of the collectors, the Shakyas, who have worked long and hard to meet with collectors abroad, establish relationships, buy back key pieces, simultaneously learning all the while about the paintings themselves, and employing the skills of people like Dr Bangdel to curate and write the text for the beautiful book, titled Embodied Enlightenment after the exhibition, that is a by-product of this landmark show.

Think what you may of Samundra Man Singh’s work, he has been critiqued for being too ‘pop’, for aping Western masters from the Renaissance (think Michelangelo or Raphael who, too, bring legendary, mythical, and divine figures to life in their now priceless paintings), and for breaking from tradition, an accusation that Dina Bangdel defends eloquently in her introductory essay for the exhibition in the aforementioned book, but this artist’s ability to embody his works with the essence, if you will, of the power, beauty, and purity that we imagine our gods can emanate, is a feat that only a true master can execute.

I leave you with an anecdote: both times that I went to the exhibition I came across some remarkable behaviour. The first time I was told by a woman that I know that she had come to see Samundra’s show because she was his ‘fan’. I found myself smiling and nodding, even while (internally) noting that I had never, till then, heard of people being fans of painters.

The second time, walking around the show with Samundra himself, a young woman walked up to us, asking for a picture with the painter. Samundra, always humble and compassionate, went along. The woman eagerly took pictures with him, I gently suggested that maybe they should move in front of one of the paintings and have it in the background (for posterity, I thought to myself). After the photo she kept him talking for a few minutes then left reluctantly.

I think it is safe to say, from these two incidents, and the amount of people that have attended the show, that the cult of the artist has begun; never has it been more deserving.  

 Published: 11-06-2016

http://kathmandupost.ekantipur.com/news/2016-06-11/an-ocean-of-enlightenment.html

‘Four major Asian ethnic groups orginated in Nepal’

Jul 20, 2014-A team of researchers has found out that Nepal and the eastern Himalayas is the birthplace of four major ethnic groups in Southeast Asia and Pacific.

The team’s findings debunk the widely-accepted story that indigenous people of Nepal, such as Tamang, Newar and Kiranti, migrated from Tibet and Mongolia.

“It’s the other way round,” said noted historical linguist Georg Van Driem, who was involved in the research. Driem shared the findings to an audience in the Capital last Sunday.

The Switzerland-based Dutch researcher and his team used genetics and linguistics to locate the origin of Tibeto-Burman, Hmong-Mien, Austroasiatic and Austro-Tai ethnic groups. People who speak Newari, Tamang, Lepcha, among other languages, fall under the Tibeto-Burman ethnicity. Vietnamese- and Khmer-speaking population fall under Austroasiatic family.

Linguists applied the theory that males are more dominant in disseminating languages than females to understand spread of ethnic groups and languages.

The geneticists in the team then mapped the mutations in y-chromosomes of the four ethnic populations. Y-chromosomes are found only in male DNAs and are passed down from fathers to sons.

The research team found that one Y-chromosomal mutation, called haplogroup ‘O’, is spread throughout Southeast Asia and the Pacific, among populations that speak Tibeto-Burman, Hmong-Mien, Austroasiatic and Austro-Tai. “And we found out that the origin of that Y-chromosomal haplogroup O is in Nepal and eastern Himalayas,” Driem said. “This also suggests that we are extremely close to each other than we think and should celebrate our rich diversity,” said the linguist who has been studying Himalayan languages since 1983.

 Published: 20-07-2014

http://kathmandupost.ekantipur.com/news/2014-07-20/four-major-asian-ethnic-groups-orginated-in-nepal.html

The sweet legacy

Kasthamandap Bhandar is full of Nepali and Newar sweets that are casually overlooked in the presence of Indian sweets and the likes of Aagan. Rajkarnikar though says his time at the helm of his family sweet shop has helped him realize the cultural importance of food. At his shop, there seem to be specific sweets for every occasion, spanning one’s birth to death. Rajkarnikar particularly prides himself in knowing the exact significance of each. He thinks these sweets help keep our Nepali traditions alive in their own delicious way.



Lakhamari
We may be used to the cylindrical form of Lakhamaris in our markets but they actually come in different forms and for very specific reasons. Recently, Rajkarnikar was making these in shape of a frog and bird for a wedding order. They are believed to be auspicious. 



Ausadhi Gutpaak
Unlike ordinary Gutpaak (which is equally popular),  this treat is believed to have health benefits. Cooked in pure ghee with various healthy nuts, raisins and a healthy dose of Batisa, it is often given to lactating mothers and the elderly.



Puja set
As per traditions, there are specific sweets that are offered to the Gods. But since most sweet makers today don’t know the rules, festival seasons tend to be incredibly hectic at the Kasthamandap Bhandar. Families around the city trust Rajkarnikar to deliver them with all the necessary materials. 

Well before bread and cookies became a breakfast staple in our country, Durlove Das Rajkarnikar remembers his father treating him to a plate of crispy malpuwas, with some haluwa on the side, every weekend. It was perhaps the only reason, he says, he didn’t mind waking up early on a Saturday. He knew it was meant to be a bribe because, after the breakfast, he almost always had to work a shift at their family owned sweet shop but he took the bait every single time. In Rajkarnikar’s book, it was completely worth it – simply the best treat in the world.

Today, all these years later and his feelings still haven’t changed. What’s more, other people seem to share his sentiments as well. Mornings are one of the busiest time at Kasthamandap Bhandar, the family owned sweet shop that is still running and the traditional breakfast set with hot jeri and swari continues to be one of their bestsellers. 

It’s just one of those things to look forward to on the days you decide to spend your mornings at Basantapur. The Kasthamandap may no longer be standing at its spot but people still continue to use that as the landmark to tell more people about the Maru Tole on its left where you shall come across Rajkarnikar’s shop after a short walk. Rather randomly, they also mention to “look for the Disney, Donald Duck poster on the wall.” If you are new to the never-ending lane of crammed shops in the area, the tip really helps. 

The regulars though come around warmly greeting Rajkarnikar or one of his three other brothers who help run the sweet shop. Then there are those who continue to come around because they were Rajkarniakar’s father’s customers and those who are descendants of the families who were catered to by his grandfather. When you talk to his clientele, the legacy is apparent.

“We have been around for so long that, I am pretty sure, all natives of the valley have heard of us and come to us,” says Rajkarnikar.

Their family shop may have got its name, ‘Kasthamandap Bhandar’ in the 1970s but his great grandfather had established their family as one of the sweet makers in Kathmandu long before that.

Today Rajkarnikar operates from the ground floor of his house. The front of the floor has been divided as the shop and the back of the room, which leads to a small courtyard, is a part of their kitchen. There are preparation rooms on the top of the building as well as another building nearby.

However, when the sweet shop began it was apparently the size of a small cubicle.

Rajkarnikar shares that he had heard tales of his great grandfather traveling all the way to India to acquire the skills of a sweet maker. It was only upon his arrival that the family could start their shop.

Since then the skills have been handed down from father to son and the entire family has been involved with the business in some form. Rajkarnikar and his brothers are the fourth generation sweet makers. 

He still uses the recipes that were once used by his forefathers. Surprisingly, he doesn’t remember being taught to cook these sweets. “Our shop has always specialized in Newar and Nepali sweets like Lakhamari and Gutpak. But I don’t remember our father sitting us down with the recipes. These sweets were around us so much that, I think, we just learnt about them while running up and down the stairs and minding the store,” says Rajkarnikar.

While many other similar old sweet stores around the area have closed down, the Kasthamandap Bhandar continues to steadily carry on its business. Rajkarnikar puts it all down to good will. He confesses that they as brothers really enjoy it when customers come into their shop taking their grandfather’s name or when people who they once catered to bring their own kids along for an introduction.

It seems the Rajkarnikar brothers have also adapted well to the demands of the changing times.

While they were used to only having family assistance in the operation of their family sweet shop, a couple decade ago, they hired more manpower and trained them to cook. Five years ago, they also made strategic business decision to branch out and start packing and outsourcing some of their products like Lakhamari to other shops and marts. Currently, they are also working on designing readymade sweet sets for auspicious occasions like weddings, thread ceremony and so on. 

“Back in the day, we didn’t have junk and fast food. Sweets were our only treat but now that the scenario has changed, we have to work hard to survive,” says Rajnikar, “But the fact is that everybody needs a little sweet in their lives.”

http://www.myrepublica.com/news/18557/

An insider’s guide to Newari feasts

• Weekend Project
• You will never leave a Newari feast, the first time you attend it without getting your minds blown.

- Gaurav Pote

May 1, 2015-A voracious devourer of traditional Newari food, I may not know a lot of things, but Newari food? It’s my thing! And I have always found a little bit of truth in the age-old adage that goes-- “Prabate bigryo moj-le, Newar bigryo bhoj-le.”

Newari feasts are methodically extravagant and can last over an hour. The sequence of its courses too is considered to be gastronomically sound.

The Newari dining etiquettes

The Newari community is quite strict about disciplines when it comes to their feasts. So don’t even think about fooling around during their meal time. The etiquette has remained

unchanged for years, with only a few exceptions.

- Before it all begins, the close relatives and guthiyars, members of the guthi, are offered the vermillion and samay-baji (chiura with a variety of snacking delicacies).  

- The seating arrangement is done with the elders seated ahead in the queue, on straw mats. The elders are to be served first.  

- The feast begins after the first round of meat stew, which is served on a leafy plate, called lapte, made from leaves.

- In the past, the seating arrangement used to be gender-biased, but that’s not the case anymore.

- The traditional alcohol is served in earthen bowls from a pot called antee.

- It is impolite to refuse the second and even third servings offered by the host at any Newari feast. If you think you’re getting stuffed, go at it slowly, because as soon as your plate is empty, the hosts will rush in to fill it up.

- It is quite impossible to drink more than two pegs of aaila, even for tipplers, so try to avoid the constant top-ups; fill up the container with water instead.

- Newari feasts can be a vegetarian’s worst nightmare so it is wise to inform the host before taking the seat.

Appetisers

Samay- baji: The standard (and the only) appetiser in any Newari feast is the Samay-baji--a combined snack of multiple food items, each with its own unique symbolism.

Baji–Chiura: Chiura is the staple content of any Newari feast. The hosts can be very generous while serving chiura, and they will often keep going unless otherwise signaled by the invitee.

Haku-musya– Dried black soybeans: Black soybeans are fried and seasoned, often with salt only, but sometimes with juliennes of ginger-garlic.

Lava-palu– Ginger-garlic bits: The most versatile spice-mix that is used in Newari household as a paste or in diced form; Lava-palu enhances the taste of the meal.

Khen – Hardboiled eggs: Serving hardboiled eggs along with sanya, who and ginger-garlic is the age-old norm of the Newari community, and it symbolises goodwill and good luck. The egg represents Brahma, the creator, and Vishnu, the protector.

Choyla– Grill-charred meat: The Newari version of barbecued meat, post-marinated with ginger-garlic relish, chilies, diced onions and garlic leaves.

Chatamari– Rice pancakes: Chatamaris are traditional Newari pancakes; they have a mild taste and make for a great energy-booster.

Woh– Lentil patties: Lentil patties, served with eggs and fish

Aluwala– Boiled, marinated potatoes: Boiled potatoes, marinated with oil salt, chili, sesame and cumin seeds, and fenugreek seeds.

Bhutiwala– Boiled, marinated black-eyed beans: Prepared like aluwala, but this time using black-eyed beans.

Aaila– Traditional rice spirit: The women in the Newari household take great pride in this home-distilled liquor; it has a very strong taste, similar to that of vodka or tequila.

Thwon– Home-brewed rice alcohol: Made from rice through fermentation, it has a subtle taste ranging from sweet to sour.

The main course

If the appetisers alone were not rich enough, wait until you sit down cross-legged for the main feast, which takes a long time, with tireless hosts continuously offering several servings. The most commonly featured fares, in order, are:

 Bhoyeachar–Spicy salad relish: The Newari version of mixed-veggie salad.

Dayeka-la– Buff stew: This tasty stew is prepared with the “religiously-offered” buffalo meat, which everyone is supposed to receive as a prasad.

Boo bakwa– White pea soup or kidney beans soup

 Alu chwon– Mixed stew of potatoes, bamboo-shoots, dehydrated radish and black-eyed peas--a stew for the vegetarians.

Farsi tarkari- This sweet pumpkin relish is an integral part of Newari feasts.

Khaya la– Chicken stew or fried chicken; if the rest of the feast was not lavish enough, the inclusion of chicken further adds to the social status of the hosts.

Wauncha/tukwoncha– Seasonal green veggies.

Meekwa – Fenugreek gravy, which works to break down heavy food by enhancing metabolism.

The dessert

Dahubaji– Yogurt: The dessert for Newars during feasts means only one thing—yogurt with chiura. The dessert may include lalmohans or rasbaris—a modern-day addition to the feast.

Salad comes last

 Sisapusa– Mixed salad: Marking the formal ending of every major feast, sisapusa is served, along with a pinch of salt and any final calls for liquor. Various fruits and raw

vegetables—apple, papaya, orange, raddish, cucumber and peas—making this a great note to end for this almost-royal feast.

Published: 04-05-2015

http://kathmandupost.ekantipur.com/printedition/news/2015-05-01/an-insiders-guide-to-newari-feasts.html

झीगु साहित्यमा चित्तधर हृदय –१

मोहन दुवाल

चित्तधर हृदय नेपालभाषा साहित्यका चर्चित महाकवि मात्र नभई यस भाषालाई मार्मिक, गन्तव्यमय भाषा बनाउन निकै बौद्धिक परिश्रमका बूँदहरू पोखेर जाने एकजना सक्रिय स्रष्टा तथा कर्मशील भाषासेवीका रूपमा सबैका आँखामा चीर परिचित भएर गएका साधक हुन्। नेपालभाषा साहित्यको इतिहास निर्माणका क्रममा यिनले के–के मात्र गरेनन् र के–के मात्र लेखेनन् ?

इतिहासमा साँच्न नै गाह्रो हुने कार्यहरू यिनले गरेर गए। उपन्यासबाहेक सबैजसो विधामा कलम चलाएर गएका चित्तधर हृदयले भाषा–साहित्यका उत्थानका लागि आफू जिउँदो छँदा सधैं र सबैबेलामा आफूलाई समर्पित तुल्याएर कर्तव्यनिष्ठ सेवकका रूपमा उभ्याएर गए। अनुसन्धान र इतिहासमा समेत आफूलाई भुल्न लगाएर उत्खनन् र खोजीमा समेत समय दिन भ्याएका यिनले भाषा व्याकरणका गन्तव्यका मर्महरूसमेत खिचेर काव्य महाकाव्य, लेख निबन्ध, यात्रा संस्मरण, कथा लघुकथामा साहित्यका उल्लेखयोग्य कृति सिर्जना गर्न भ्याइदिएका छन्। यिनले धेरै गरे भाषा साहित्य उत्थानका लागि।

यिनले धेरै लेखे भाषा साहित्यका हरफरहरू। यिनै सक्रिय कर्मशील भाषा–साहित्यका योद्धा चित्तधर हृदयलाई सम्झेर यस आलेखमा विभिन्न समयमा उनीद्वारा लिखित सारपूर्ण लेख–भाषणका सङ्ग्रह झीगु साहित्य (हाम्रो साहित्य) बारे लेख्न खोजिरहेछौं।

कवि चित्तधर हृदयले नेपालभाषा साहित्यको इतिहास सम्बन्धमा पोखेका उद्गार, लेख–रचनालाई सङ्ग्रह गरी ने.सं. १०८७ मा (वि.सं. २०२३) मा नेपालभाषा परिषद्बाट प्रकाशित पुस्तकको नाम झीगु साहित्य हो। इतिहास नै नभएको अवस्थामा थोरै मात्र जानकारी हुने खालका लेख र रचनाले पनि धेरै थोकको वातावरण खुलाउँछन्।
यस पुस्तकले नेपालभाषा साहित्यको समग्र इतिहासलाई सम्प्रेषण र सर्वेक्षण गर्न सकेको भन्न सकिँदैन तर पनि इतिहासकै सन्दर्भमा यसले इतिहासको निर्माण गर्न धेरैथोकको रेखाङ्कन खिच्न सफल छ भन्न सकिन्छ। च्वसापासाको आयोजनामा भएको नेपालभाषा बृहत् साहित्य सम्मेलनमा वि.सं. १९९९ मा सभापतिको आसनबाट व्यक्त भाषण र अन्य १० वटा लेखहरूको सङ्ग्रह गरी निकालेको यस सङ्ग्रहले कवि चित्तधरको मान्यता, दृष्टिकोण बुझ्न सजिलो हुनाका साथै उनका पदचापहरू र सक्रियताका आयामहरू नियाल्न सकिन्छ।
च्वसापासाको आयोजनामा भएको उक्त सम्मेलनमा सभापतिको आसनबाट उनले त्यसैताका नै भाषा साहित्यका सम्बन्धमा धेरै मार्मिक ऐतिहासिक सन्दर्भहरू उल्लेख गरेका छन्। नेपालभाषाकै सन्दर्भमा उनले लेखेका छन्– ‘नेपालभाषाले दुई शब्द बोल्न पाउनु हाम्रा लागि खुसीको विषय हो। जुन भाषा हामी नेपालीहरूको प्रजाभाषा, देशभाषा मात्र भएर होइन राष्ट्रभाषाको गौरव पनि प्राप्त गरेर गएको भाषा हो।
यसको प्रमाण नेपाल राज्यभरको शासनले (शिलापत्रले) र ठूला–ठूला पुस्तकालयहरूमा रहेको प्राचीन पुस्तकहरू (थ्यासफूहरू) ले प्रमाणित भइरहेको छ।’ तथ्यपूर्ण तर्कहरूले, ऐतिहासिक घटना प्रसङ्गहरूले आफ्नो विचार राख्न सिपालु महाकवि चित्तधर हृदयले उक्त भाषणमा मार्मिक कुराहरू कोट्याइदिएका छन्– ‘धेरै खालका अक्षरहरूले अनेक प्रकारका साहित्य सिर्जना भएर उन्नत भएको नेपालभाषा कालको कुचक्रमा परेर लेख्ने साहित्यिक भाषा होइन खालि बोलीचालीमा प्रयोग हुने बोलीजस्तै भई अवनतिको खाल्डोमा पर्न गयो।’ हुन त श्री ५ पृथ्वीनारायण शाहले नेपाल लिइसकेपछि पनि यो नै नेपालभाषा, देशभाषा मात्र होइन राष्ट्रभाषा नै भइरहेको हो, नेसं. ८९५ सालमा तिब्बतसँग भएको सन्धिपत्र पनि नेपालभाषाबाट नै भएको देखिन्छ। माथि उल्लेखित विचारले कवि चित्तधरको भाषा साहित्यप्रतिको अन्वेषणमा पोखेका दृष्टि कति तीखो र सान्दर्भिक छन् भन्ने कुराको पुष्टि गर्दछ।
राष्ट्रभाषाकै रूपमा प्रचलित भइसकेको नेपालभाषाको गिर्दो अवस्थाप्रति इङ्गित गर्दै यिनी आफ्नो तर्क अगाडि यसरी राख्छन्– ‘पछि गोरखाभाषा पूरा सहायता पाएर बलियो हुँदै आएपछि वि.सं. १९६२ सालपछि लिखित नेपालभाषाका कागज प्रमाणहरू प्रमाण लाग्दैन भन्ने ऐन बनाएर हाम्रो यो भाषालाई राजकीय बहिष्कार गर्न थाले।’ सङ्घर्ष, स्वार्थ र अन्य भाषाप्रतिको पूर्वाग्रहले शासकीय सोच दुरुह बन्दै गएपछि छेकथुन, प्रतिबन्ध हुँदै जान्छन् भन्ने तर्क राख्दै उनी आफ्नो विचार यसरी राख्छन् – ‘त्यसपछि वि.सं. १९९० सालतिर त नेपालभाषामा एउटा दुईटा पुस्तक लेख्ने, बुद्ध धर्म र नेपालभाषा पत्रिकामा लेख लेख्नेहरूलाई जुद्ध शमशेर महाराजले डाकेर भने – ‘नेपालभाषामा किताब नलेख, लेख्यौ भने पहिला श्री भीमशमसेर महाराजलेजस्तै सजाय गर्नुपर्ला।’ यसरी शासकहरूले नेपाल भाषाप्रति जुन ढङ्गको कुत्सित व्यवहार भयो त्यसबाट यस भाषाको उत्थानमा बाधा अड्चन आउने काम भयो।
यति मात्र नभई अनेक लाञ्छना लगाई वि.संं. १९९७ सालको आन्दोलनमा प्रजापरिषद्का सदस्यहरू र अन्य राजनीतिक व्यक्तिहरूसँग नेपालभाषाले लेख्ने लेखकहरूलाई पनि पक्रेर लगि अनेकौं मुद्दा चलाई भए नभएको दोष लगाई जेलमा कोच्ने काम भयो। यी र यस्तै खालका घटनाहरूले नेपालभाषा र नेपालभाषा साहित्यलाई बाधा अड्चन पुर्याउँदै आएको तथ्यहरू छर्लङ्ग र प्रष्ट भएका सन्दर्भहरूलाई उक्त भाषणमा स्पष्ट राख्न सफल छन्। तर पनि भावनालाई दबाउनु गाह्रो हुन्छ। त्यसैले प्रयासहरू जारी भएका छन्।
उनी यस भाषणमा इतिहासलाई यसरी कोट्याउँछन्– हामीले बोलचाल गर्दै आएको भाषामा पण्डित निष्ठानन्द वज्राचार्यले ने.सं. १०२९ मा ‘प्रजापारमिता एकविंशति स्तोत्र’ भाषान्तरण गरी सर्वप्रथम प्रेसबाट प्रकाशन गराए। त्यसपछि ‘ललितविस्तर’ जस्तो महानग्रन्थ पनि भाषा प्रेमले गर्दा आफैले लेखी आफैले कम्पोज गरी आफैंले सानो प्रेसबाट छापी ने.सं. १०३४ सालमा प्रकाशित गरे। ललितविस्तर ग्रन्थकै सन्दर्भमा उनले यसरी अगाडि लेखेका छन्– ‘ललितविस्तर पुस्तकको प्रकाशनले नेपालमा दुई खालका जागृति एकैचोटि ल्यायो।
एक बौद्ध भनी नाममा मात्र परिचित बौद्धहरूले बुद्धको जीवनी र बुद्धका अनेक शीलआचरण र धर्मसम्बन्धी उपदेश पनि अध्ययन गर्न पाएर धर्ममा श्रद्धा र बौद्ध शास्त्रप्रति आकृष्ट हुन गई धार्मिक जागृति आयो। अर्को बोलीचालीमा एकखालको भाषा प्रयोग र पुस्तकमा अर्को खालको भाषा प्रयोग हुनाको कारणले आफ्नो भाषाप्रति अभिरुचि कम हुँदै गएको बखतमा कसरी बोल्ने हो त्यसरी नै पढ्न सकिने यो पुस्तक देखा परेपछि मान्छेहरूमा नेपालभाषाप्रति एक प्रकारको नयाँ जागृति आयो र हाम्रो नेपालभाषा पनि एउटा जीवित भाषा हो, यसमा पनि अनेक खालका आधुनिक साहित्य निर्माण हुन सक्छ। यसैले यो पुस्तकको प्रचार अधिक भयो।’
लेखकले यस लेखमार्फत् नेपालभाषा साहित्यका चारवटा स्तम्भ (थां) मध्येका गद्यगुरु निष्ठानन्द वज्राचार्यलाई चिनाउन सफल भएको छ। गद्य गुरु निष्ठानन्द वज्राचार्य यस लेखमा महाकवि चित्तधर हृदयले नेपालभाषाको इतिहासमा गद्य भागको एउटा प्रमुख पृष्ठ लेखेर इतिहास निर्माण गरेकोमा निष्ठानन्दलाई गद्यगुरुका रूपमा राखेर उचित मूल्याङ्कन गरेका छन्। ललितविस्तरको प्रकाशनले नेपालभाषाको ढुकुटीमा एक महत्वपूर्ण कृति संरक्षित भएको उल्लेख गर्दै उनले लेखेका छन्– ‘मातृभाषा प्रेमको मूर्त स्वरूप ललितविस्तर पुस्तक हाम्रो अगाडि छ, जुन वर्तमान प्रचलित गद्यशैलीको गुरु हो। इतिहास नभएको समयमा इतिहासपुरुषहरूको इतिहास लेखिदिने कार्य गरेर कवि चित्तधरले नेपालभाषा साहित्यमा एउटा अविस्मरणीय रेखाङ्कन खिँच्न सफल छन्।’
नेपालभाषा र नेपालभाषा साहित्यमा आन्दोलन, सिर्जना, प्रकाशन गरेर आफ्नो गरिमामय उपस्थित देखाउन सफल चित्तधरले संस्था, पत्रिकाको निर्माण र प्रकाशनमा पनि आफूसक्दो योगदान पुर्याइदिएका छन्। झीगु साहित्य पुस्तकमा संकलित ११ वटा लेख रचनाहरूमार्फत् चित्तधर आफ्ना अनगिन्ति विश्वासका मर्महरू फुकाउन सफल छन्। कवि सिद्धिदास र अमर कृति लेखमा पनि सिद्धिदास महाजूका अमरकृति सज्जन हृदयाभरण पुस्तकको मर्मशीलताको बखान गर्दै सिद्धिदासका कृयाशीलता, रचनाशीलताका साथै काव्य अनुभूतिबारे प्रष्ट पार्न उनी सक्षम छन्।
सिद्धिदासले जीवनमा धेरै खालका कष्टपूर्ण जीवन बिताउनाका साथै भाषा, साहित्य क्षेत्रका अग्रज र उल्लेखयोग्य स्रष्टा र द्रष्टा बनेका सन्दर्भ मार्मिक शब्दशैलीमा यस लेखमार्फत् विचार सम्प्रेषण गरेका छन्। जस्तोसुकै आपद विपदमा पनि कविता रच्न मन पराउने कवि सिद्धिदासले नेपालभाषा साहित्य जगत्मा आफ्नो आयाम छोड्न सफल रहेको प्रसङ्ग उनले तार्किक ढङ्गले व्यक्त गरेका छन्। त्यसैले उनले यस लेखमा उनको प्रशंसा गर्दै यसरी लेखे– धन्य उहाँ ⁄ धन्य उहाँको मातृभाषा प्रेम ⁄ त्यति धेरै पुस्तकहरू सिर्जना गर्न सकेको, धन्य उहाँको सहनशीलता ⁄ गृहस्थ जीवनको धुँवा आगो सहन सकेको।
म भएको भए उहाँको समयमा उहाँको जस्तो अवस्था भोगेर, त्यत्तिको आफूले देश र समाजको उत्थानका लागि मातृभाषाको सेवा गरेर पनि आफूलाई चिन्ने कोही नभएर पनि त्यत्तिको धैर्य, त्यत्तिको उत्साह बोकेर त्यत्तिकै चैतन्य रहेर त्यति धेरै बाँच्न सकिंदैन होला ? कि नभए त्यहीबेला नै मरिसकेँ हुँला, बाँच्न पाए बहुला भएर मात्र।
सिद्धिदासको जीवनजगत्मा व्याप्त थुप्रै खालका दुःख कष्ट देखेर चित्तधरले अभिव्यक्त गरेका उपरोक्त माथि उल्लेख गरिएका भावनाहरूले बताउँछ सिद्धिदासको योगदान र समर्पण अविस्मरणीय र ऐतिहासिक सन्दर्भका छन्। यसका साथै यस लेखमा सिद्धिदासका मित्रहरू, चेलाहरूलगायत्का स्रष्टाहरूका परिचय, इतिहास र समीक्षा पनि उल्लेख छन्। सिद्धिदास त्यस युगका एकजना सचेत कवि हुनाका साथै जीवन–जगत्सँग सङ्घर्षरत एकजना कर्मशील स्रष्टा पनि हुन् भन्ने भावनासहितको यस लेखमा सिद्धिदासद्वारा पोखेका काव्य अनुभूति पनि उद्धृृत गरेका छन्। सज्जन हृदयाभरणमा व्यक्त भएका कविता अंशहरू:
सज्जन मनुष्यको सङ्गतले मूर्खहरूसमेत असल बन्छ कमल–पातमा पानी परे मोतीझैं पानी चलखेल गर्छ।
यस खालका भावना पोख्न सिपालु कवि सिद्धिदासले आफ्ना थुप्रै काव्य कृतिहरूमा मान्छेलाई शुद्ध गति र मतिमा फर्काउन कवितामार्फत् धेरै प्रयत्नहरू भएका छन्। त्यस सम्बन्धमा चित्तधर हृदयले यस लेखमा प्रकाश पार्न खोजेको देखिन्छ। मूर्तिपूजा गरिरहेसम्म हामीले सुख प्राप्ति हुँदैन। यस खालका दृष्टि फुकाउन सफल सिद्धिदासका कवितात्मक भावनासहित उनले जीवनमा भोगेका थुप्रै खालका सङ्घर्षका कथा प्रसङ्गहरूसहित यस लेखमा कवि चित्तधरले सिद्धिदासको मूल्याङ्कन यसरी प्रस्तुत गर्न भ्याएका छन्– ‘उहाँ कविले आफूले मात्र लेख्नुभई मातृभाषाको सेवा गर्नुभएको नभई त्यस बखतका विशेष शिक्षित नेवारहरूसँग सम्पर्क राख्नुभई भाषा साहित्यसम्बन्धी चर्चा गर्नुभएको देखिन्छ।’ अन्तिममा यस लेखमा उहाँले लेखेका छन् – हाम्रो नेपालभाषा साहित्यको नयाँ युगको प्रथम काल हो सिद्धिदास काल। इतिहास अन्वेषण गरिएकोजस्तो देखिने उनका यस पुस्तकमा प्रकाशित सबैजसो लेख रचनाहरू नेपालभाषा साहित्यका तथ्यपूर्ण इतिहासजस्तै छर्लङ र प्रष्ट छन्।

मास्टरसाहेबका नामले प्रख्यात जगत्सुन्दर मल्लका सन्दर्भमा मास्टरसाहेब नाम दिई लेखेको लेखमा जगत्सुन्दरका मर्मशील भाषामा लेखेका–गरेका कृति र कार्यहरूको चर्चा गरिएको छ। मास्टरसाहेब जगत्सुन्दर मल्लले नेपालभाषामा शिक्षा प्रचारप्रसार गर्ने कार्यहरू गरेर राणाकालीन अवस्थामा उनले भोगेका कहरहरूको फेहरिस्त जस्तै बनाएर लेखेको यस लेखमा उनले मल्लका बारे लेखेका छन्– ‘त्यस बखतमा पनि एकजना मास्टर छन् जसले एकदुई जनालाई अलिअलि साधारण शिक्षा दिएर मात्र सन्तुष्ट हुन जानेनन्। जसले आफ्नै घरमा स्कुल खोलेर अंग्रेजी शिक्षाका साथसाथै नेपाल जातिलाई नै जागृत गर्न चाहिने खालका शिक्षा दिइरहनुभयो, त्यो पनि हाम्रो नेपालभाषाले अर्धबोध गरेर।’ यसैले उहाँलाई सबैले ‘मास्टरसाहेब’ भनेर नाम राखे – उहाँ नै हुनुहुन्छ – स्व. मास्टर जगतसुन्दर मल्ल।
शिक्षासेवी मल्लका शिक्षा विषयमा आफ्नै सिद्धान्त रहेको उल्लेख गर्दै उनको विचारमा शिक्षा दिने तरिका यस्तो छ भनी लेखिएको छ– वर्णसम्म परिचय लिइसकेकाहरूलाई नमोबागी सिकाउनुपर्छ, अनिमात्र विद्याको प्रचार चाँडै हुन्छ। नेपालभाषाका डिक्सनरी, चर्चित कथाहरूको उल्था, शिक्षासम्बन्धी लेखरचना, गणितका पुस्तक आदि लेखेर शिक्षणसेवामा जुटेका मल्लले अनेकौं षड्यन्त्र, धम्की, छेकथुनका बाबजुद पनि आफ्नो मातृभाषाको मायामोहमा समर्पित रहेर सेवा पुर्याएका थुपैै्र सन्दर्भहरू यस लेखमा उल्लेख भएका छन्।
शिक्षाको माध्यम मातृभाषाबाट भए गरे शिक्षाको प्रचार र प्रभाव तुरुन्तै पर्ने सम्बन्धमा मास्टर जगत्सुन्दर मल्लले व्यक्त गरेका दृष्टि–चेत् यस लेखमा यसरी उल्लेख भएका छन्– कुनै पनि जातिको प्रचलनमा रहेको भाषामार्फत् ज्ञान दियो भने चाँडै नै ज्ञान प्राप्त गर्न सक्छ। यसमा कसैको भिन्न भाव निर्माण हुँदैन।
नेपालभाषा पढ्दाखेरि अक्सर गरी दिमागमा नपरेको भाषा भएका कारणले यो भाषा पढ्न गाह्रो हुँदै गयो। यस खालका तिक्त सत्य पोखेर शिक्षणसेवामा समर्पित सेवकका बारे कवि चित्तधरले अन्त्यमा संक्षेपमा लेखेका छन्– ‘हाम्रो निम्ति, हाम्रो समाजका निम्ति उहाँ मास्टरसाहेब नै हुनुहुन्छ। उहाँको शिक्षाप्रियता र मातृभाषानुराग हाम्रो निम्ति महान शिक्षा हो।’

http://www.newsofnepal.com/2017/05/27/34461/

झीगु साहित्यमा चित्तधर हृदय –२

मोहन दुवाल

चार स्तम्भमध्ये कान्छो योगवीर सिंहका बारे चर्चा गर्दै उनले योगुसधाको भूमिका लेखमा आफ्नो गुरुका रूपमा योगवीरसिंहलाई चर्चा गरेका छन्। कवि योगवीरसिंहको भाषामोह कस्तो छ, यी दुई पङ्क्तिले नै छर्लङ्ग पार्छ। कवितामा नै उनले लेखेका छन्:

नेपालभाषा जीर्ण भएको अन्छी नभई बनाइदिऊँ
भारतीय शास्त्रभवनले स्वीकृत यसलाई दिलाइदिऊँ।

सामाजिक–सुधारका पक्षपाती। चर्चित कवि। भाषासेवक योगवीरसिंहले पनि थुपै्रै भाषा र काव्य क्षेत्रमा आफ्नो अगमता प्रदर्शन गरे, जसको चर्चा यस लेखमा शृङ्खलाबद्ध ढङ्गले गरेका छन्। उनले आफ्नो काव्य गुरु योगवीरसिंहको अल्पायुमा मृत्यु भएकोमा शोक व्यक्त गर्दै आफूलाई निःसहाय छोडेर गएको भए तापनि उनकै आज्ञापालन गर्दै आफूलाई यस क्षेत्रमा सक्रिय तुल्याइरहने भाव व्यक्त गरेका छन् कवितामा:

किन्तु जिं गुगु छंगु निंतिं काव्य–माः हन्य जक धुन छन्त छाय्पुगु स्वे मलाकं कुटिल कालं गुरु नुन, हा अभागीं याय् मखं गुरुयागु अन्तिम दर्शन फक्व अयनं याय् त्यना जिं वैगु आज्ञा पालन।
यिनले कवितामा लेखेजस्तै गुरुको आज्ञापालन गरे। आफ्नो युगमा चार स्तम्भले पुर्याइदिएका योगदानहरूलाई काँधमा जिम्मेवारीझैं बोकेर चित्तधरले भाषा र साहित्यको सेवामा पछि जीवनदान दिए। थुप्रै खालका कृतिहरू लेखेर भाषाक्षेत्रको एउटा युगजस्तै बनेका चित्तधरले भाषासेवामा के मात्र योगदान पुर्याएनन् ? कवितामा आफ्नै विम्ब पोखेर सुगतसौरभ जस्तो महाकाव्यसम्म प्रदान गर्न भ्याएका महाकवि चित्तधरले नेवारी संस्कृति झल्किने थायभू जस्तो कथासङ्ग्रह प्रदान गरेर आफूलाई कथाकारका रूपमा पनि चिनाउन सफल रहे।
नेपालभाषाका जातः, मिंमन पौ, झीगु साहित्य, झीगु साहित्यया तँसा आदि खोजी–अनुसन्धानका कृतिहरू दिएर सेवा पुर्याएका यिनले भाषा व्याकरणका पुस्तकहरू सिर्जना गरेर, साहित्यिक पत्रिका नेपाललाई जीवन्त तुल्याएर, नेपाल भाषा परिषद्जस्तो संस्था संस्थापन गरेर आफ्नो गुरुवचनलाई सार्थक तुल्याइदिएका छन्। गुरुको मूल्याङ्कन गर्दै उनले लेखे – मैले यति भन्न सक्छु कि उहाँ महान् कवि मात्र नभई महान नेता नै हुनुहुन्छ। यी माथि उल्लेख भएका नेपालभाषा साहित्यका चार स्तम्भबारेका लेखहरूका साथै अन्य लेखहरूमा किन थुलिंचा ?, भित्र र बाहिर, फूस्वांको पनि, धर्मादित्य धर्माचार्य, नेपालभाषा साहित्यको आफ्नो बाटो सङ्ग्रहीत छन्। यस पुस्तकको प्रकाशनले केही मात्रामा भए पनि इतिहासको अभावलाई टेवा पुर्याइदिएको देखिन्छ।
अब चर्चा गरौं किन थुलिंचा ? बारे। यस लेखमा विशेष गरी बुद्धधर्म र नेपालभाषा पत्रिका र थुलिंचा पुस्तकले भाषा साहित्यमा पुर्याएको योगदान र महत्ताको चर्चा गरिएको छ। यस कालमा विशेषगरी योगवीरसिंहपछि धर्मादित्य धर्माचार्यले नेपालभाषा साहित्यमा पुर्याएको योगदान उल्लेखनीय रहेको कुरालाई स्पष्ट ढङ्गले उल्लेख गरिएको छ। जुनसुकै इतिहासलाई पनि इतिहासकारहरूले आ–आफ्नो दृष्टिकोणले काल विभक्त नै गर्दारहेछन् भन्ने दृष्टि पोखेर कवि चित्तधरले यस लेखमा लेखेका छन्– नेपाल सम्वत् १०२९ सालदेखि मुद्रण भई पुस्तक प्रकाशन भएदेखिको समयलाई आधुनिक युगभन्दा अत्युक्ति हुनेछैन। आधुनिक युगका युग प्रवर्तकहरूमध्ये गद्यमा पं. निष्ठानन्द वज्राचार्य, पद्यमा कवि सिद्धिदास अमात्य र शिक्षाप्रचारमा मा. जगत्सुन्दर मल्ल हुन्। यसै बेलादेखि मात्र बोलीचाली गर्ने भाषाले नै लेखाई गर्नुपर्ने नयाँ मान्यता हाम्रो भाषामा आयो। त्यसको प्रमाणका रूपमा गद्यमा ‘ललितविस्तर’ र पद्यमा ‘सज्जन हृदयाभरण’ हाम्रो अगाडि आउँछ। यही नै हाम्रो नेपालभाषा साहित्य मन्दिरको जग हो।
बुद्धधर्म र नेपालभाषा पत्रिकाले आफ्नो बर्कतअनुसारको भाषा साहित्यको सेवा पुर्याएको हुनाले यस पत्रिकालाई त्यस कालको विशेषता हो भन्न सकिन्छ। तीन अङ्कसम्म बुद्धधर्मको नाममा र चार अङ्कदेखि १० औं अङ्कसम्म बुद्धधर्म र नेपालभाषा नाम गरी प्रकाशित भएको यस पत्रिकाका संस्थापक र सम्पादक जे भने पनि हुने नाम हुन्– धर्मादित्य धर्माचार्य। यस पत्रिकाको प्रकाशनले राणाहरूका कोपभाजनमा धर्मादित्य धर्माचार्य परेता पनि नेपालभाषा साहित्यको इतिहासमा एउटा काल (अवधि) का रूपमा यस पत्रिकाको नाम इतिहासमा समेटियो।
यस पत्रिकामा धर्मादित्य धर्माचार्यद्वारा लिखित गद्य लेखहरू र पद्यमा पृथ्वीमानन्द वज्राचार्य, सिद्धिदास, योगवीरसिंह, वैकुण्ठप्रसाद, धर्मादित्य, इन्दुनाथ, हरिकृष्ण, पूर्णनारायण प्रधान, रत्नमान, पूर्णबहादुर अमात्य, फत्तेबहादुर सिं, चित्तधर, अच्युतानन्द, तुलसीमेहर, पुरुषरत्न भिक्षाचार्य, बेखारत्न शाक्य, श्रीप्रसाद उपासक, पूर्णमान, सिद्धिरत्न, लक्ष्मी नानी, सहस्रगुणनन्द महाप्रज्ञाहरूका पद्य रचना प्रकाशित छन् भनी यिनीहरूका कृतित्वको विवेचनासहित भएको यस लेख नेपालभाषा साहित्यका विद्यार्थीहरूका लागि इतिहास पृष्ठ नै हुन् भन्न सकिन्छ।
धर्मादित्य धर्माचार्यद्वारा उक्त पत्रिकाका माध्यमबाट भाषा साहित्यको सेवा पुर्याएजस्तै यस कालमा व्यक्तिगत रूपले पनि महत्वपूर्ण कृति लेखेर सिर्जनामा देखा परेका लेखकहरूमध्ये शहीद शुक्रराज शास्त्री पनि हुन्। जसले नेपालभाषा व्याकरण, नेपालभाषा वर्णमाला र नेपालभाषा रिडर भाग १, २ पुस्तक लेखेर धेरै गुण गरेका छन्। सु. तीर्थराज, डा. इन्द्रमान, स्थवीर धम्मालोक, देवकाजीहरूले पनि सिर्जनात्मक योगदान पुर्याएको सम्बन्धमा यस लेखमा चर्चा गरिएको छ। त्यस अवधिमा पद्यनिकुञ्ज, हृदयकुसुम, नेपाली विहार, स्वचित्र शुद्धिमार्ग, स्वयम्भु दर्शन आदि पुस्तकहरू उल्लेखयोग्य रहेको तथ्य यस लेखमा सार्वजनिक भएको छ।
थुलिंचा यो काव्यसङ्ग्रह हाम्रो भाषा साहित्यको वर्तमान युगमा दोस्रो कालको कविता यात्राको अर्को खण्ड अर्थात् पूरक खण्डका रूपमा उल्लेख गरेर कवि चित्तधरले लेखेजस्तै यो थुलिंचा पुस्तकमा जति पनि काव्यकृति सङ्ग्रह भएको छ।
त्यसको महत्व कविताको दृष्टिले भन्दा त्यस बखतको परिस्थितिको दृष्टिले विशेष महत्वपूर्ण छ। यसको तात्पर्य होे विषम परिस्थितिमा गरिएको यो विशेष कार्य हो। यस कार्यका लागि वैकुण्ठप्रसाद लाकौललाई बधाई दिँदै थुलिंचाको सत्य सन्देशलाई सबैले आफ्नो सिर्जनाका लागि प्रेरणापुञ्ज सम्झिदिनुपर्ने विचार कविले यस लेखमा व्यक्त गरेका छन्। दुने व पिने (भित्र र बाहिर) यस लेखमा देशभित्र र देशबाहिर रहेर आ–आफ्नो बर्कत गच्छेअनुसार सिर्जना र भाषा आन्दोलनमा लागेका स्रष्टा द्रष्टाहरूको चर्चा गर्दै लेखको शुरु यसरी गरिएको छ– हाम्रो साहित्यमा बुद्धधर्म र नेपालभाषा पत्रिका कालको अंश भागको जिम्मेवारी पद्य भाग बोकेर हामी ९७ सालको अन्त्यमा जेलमा गयौं, गद्य भाग बोकेर भिक्षुहरू २००० सालतिर देशबाहिर गयए। यो एउटा हाम्रो भाषा साहित्यको विशेष घटना हो, कुनै पनि भाषाको इतिहासमा नहुने खालको।
कोही जेलभित्र रहेर भाषा साहित्यका लागि सङ्घर्षरत रहनुपर्ने, कोही देशबाहिर बसेर भाषा साहित्यको सिर्जनात्मक आन्दोलनमा जुटिरहनुपर्ने अवधि हो १९९७ सालदेखि २००७ सम्मको अवधि। १०४ वर्षको निरंकुश जहानिया राणा शासनमा नेपालभाषा साहित्य, संस्कृति र कलाको चर्चा र अध्ययन गर्ने कार्य युरोपेली विद्वान्हरूले गरेको चर्चा गर्दै यस लेखमा डा. हायन्स जोर्गेनशान, राइट, हडसन, ब्राउन, करपाट्रिक, ह्यामिल्टन, सिल्भेन लेभी, डाक्टर ओल्डफिल्ड, हन्टरद्वारा लिखित पुस्तकहरूको उल्लेख भएको छ। माथि उल्लेख भएका विदेशी लेखकहरूमध्ये हायन्स जोर्गेनशनले त नेपालभाषामा नै पुस्तक लेखेको र अरूहरूले पनि नेपालभाषा साहित्य संस्कृति, कलाका बारे चर्चा गरेका छन् भनेर विदेशी लेखकहरूको उल्लेख भएको यस लेखमा लेखकले भाषा आन्दोलनको इतिहासलाई संक्षिप्तमा चर्चा गरेका छन्। विदेशी लेखकहरूले हाम्रो भाषा, संस्कृति सम्बन्धमा उल्लेख गरेका भनी यस लेखमा यसरी चर्चा गरिएको छ– मैत्रीभाव मन तिव, यशोधरा मते दुख ताय, क ख ग घ का गीत छन् भने कुनैमा हाम्रो शब्दको सादृश्य देखाइरहेको। कुनै कुनैमा हाम्रो संस्कृतिको विशेषता देखाइरहेको, कुनैमा हाम्रो कलाको चमत्कारिताको वर्णन गरिएको। कुनैमा त हाम्रो वर्ष, तिथिको नाम, हस्तलिखित पुस्तकको सूची, शब्दकोष र हाम्रो गीतका रङ्गढङ्ग पनि लेखिदिएको छ। फेरि हाम्रो नेपाः अक्षर एसिया खण्डमा सम्मान प्राप्त भएको अक्षर हो। तिब्बतमा त हाम्रा अनेक अक्षर र तिब्बती भाषाका अक्षरहरूको काठ सामग्री बनाइराखेको छ।
चीन, जापान र कोरियामा पनि उत्तिकै मान छ रे ⁄ त्यसमा पनि रञ्जना अक्षरको महत्व र मान धेरै नै रहेको छ। यस खालको चित्रण गरिएको यस लेखमा लेखक हृदयले नेपालभाषा साहित्य, कला, संस्कृति प्राचीन मात्र नभई अत्यन्त प्रभावशाली रहेको तर्क तथ्याङ्कका आधारमा प्रस्तुत गरेका छन्।
नेपालभाषा समृद्ध भाषा भएको कारणले यस भाषाका सम्बन्धमा थुप्रै विदेशी विद्वान्हरूले चर्चा र खोजी गरेका छन्। यस भाषाप्रति अनेकौं दूराग्रह राखी राणा शासकहरूले निमिट्यान्न पार्न जुन निरंकुश हैकम र दमन चलाए त्यसको परिणतिका रूपमा देशभित्र र बाहिरबाट थुपै्र आन्दोलन भए। भिक्षुहरूसमेतले आन्दोलनमा साथ दिएको कारणले राणाहरूको केही जोड चलेन। ३२ जना त यस भाषाका लेखक तथा विद्वत्जनलाई कालकोठरीमा राखे। थुपै्र भिक्षुहरू भारतसम्म पुगेर भाषाको प्रचार प्रसारमा जुटिरहे। सरकारको केही नलागेपछि पछि पुस्तक प्रकाशन गर्न स्वीकति लिनुपर्ने व्यवस्था मिलाए।
यससम्बन्धमा लेखक चित्तधर हृदयले यसरी अनुभव लेखेका छन्– २००३ साल कार्तिक १९ गतेदेखि हाम्रो भाषा पनि पास गर्ने उद्देश्यले एउटा विभाग खोलिदियो। अनि के चाहियो र ? त्यसै चोरी–छिपी भारतमा लगी छाप्नुपर्नेहरूलाई यहीँ नै पास गराई छाप्न पाइने भइसकेपछि जेलभित्र लुकी–लुकी लेखेका पुस्तकहरू पनि धमाधम पास गराई छाप्ने कार्य भयो, देशबाहिर भारतमा गई लेखी छापेको पुस्तक पनि पास गर्न गयो। जम्मा पास भएको पुस्तक संख्या ११५ पुग्यो। त्यसको संक्षिप्त परिचय हाम्रो नेपालभाषा विभागका निरीक्षक रहनुभएका खड्गमान मल्लजुले नेपाल पत्रिकामा लेख्नुभएको छ। यो नै हाम्रो साहित्यको आधुनिक युगको तेस्रो काल हो– भित्र र बाहिर।
फुस्वांको पनि यस लेखमा लेखकले कवि सिद्धिचरणद्वारा लिखित कवितासङ्ग्रह फुस्वांको समीक्षात्मक परिचय दिँदै कवि सिद्धिचरणलाई चिनाउने प्रयास भएको छ। सीस्वांपछिको फुस्वां पनि कवि सिद्धिचरणको चर्चित काव्य कृति मानिन्छ। कवि सिद्धिचरणले भूमिकामा लेखेजस्तै यो पुस्तक सिङ्गै नै भूमिका हो। यसको प्रत्येक पङ्क्ति मेरो परिचय हो। यस लेखमा लेखक चित्तधरले कवि सिद्धिचरण श्रेष्ठका काव्यगुरु सिद्धिदास भएको प्रसङ्गमा यी पंक्तिहरू उल्लेख गरेका छन्– मलाई पनि कविताको सौख भनौं कि लगन भनौं भएकोले त्यस व्यक्तिसँग म आकर्षित हुँदै गएँ। बरोबर उहाँकहाँ धाउन थालें। मेरो जीवनको मधुरतम क्षणमध्ये उहाँको आश्रयमा भएको दिन हो भन्ने कुरो अहिले बुझ्न थालें।
त्यसैले गौरवपूर्वक मैले भन्न पाएँ उहाँको एकजना शिष्य म पनि हुँ। सिद्धिचरण कविको सही ढङ्गले सटिक शैलीमा समीक्षा गरिएको यस लेखमा चित्तधर हृदयले जनजीवनका अवस्था चित्रण गर्न सफल कविका रूपमा सिद्धिचरणलाई उल्लेख गरेका छन्। उनको दृष्टिमा कवि सिद्धिचरण श्रेष्ठ राष्ट्रिय भावना व्याप्त भएका कवि हुन्।
यसै कारणले वि.सं. १९९७ मा यिनी १२ वर्ष जेल परे। जेलमा रहँदा कवि सिद्धिचरणले सीस्वां लेखेजस्तै अन्य लेखकहरूले लेखेका पुस्तकहरूको सूची यस लेखमा दिइएको छ। जुन पुस्तकहरूमा प्रतीक्षा, दिवसचित्र, ख्वबिं प्यागु मे, वनवासया छगू ख,ँ अर्हत्नन्द महाकाव्य, विश्वन्तरया मचात दान, ख्वबि, गौतम बुद्ध, हृदयकथा, अन्तरध्वनि, सुगतसौरभ पछि प्रकाशित भएका छन्। फुस्वांको समीक्षात्मक टिप्पणी यसमा राम्ररी भएको छ।

http://www.newsofnepal.com/2017/06/03/35556/

खुम्चिदो खर्पन संस्कृति

सोमबार, २२ जेठ २०७४, १२ : १६ |  शिवहरि घिमिरे 

काठमाडौं- 'सामान बोक्नुपरे खर्पन नै प्रयोग गर्छु,' गत साता टुकुचा तरकारी बजारमा भेटिएका भक्तपुरका पूर्ण भाषिकाले खर्पन उठाउँदै भने।

आफैँले उत्पादन गरेको तरकारी बेच्न उनी प्रदर्शनीमार्ग नजिकको यो बजारमा आउने गर्छन्। 'नेवार समुदायमा खर्पन बोक्ने चलन पहिलेदेखि नै चलिआएको हो,' उनी भन्छन्, 'यसैमा बोक्ने बानी परिसकेको छ।'

खर्पन राजधानी र वरपर बस्नेका लागि नौलो होइन। उपत्यकामा अझै पनि कतिपय स्थानीय नेवार समुदाय आफैले उत्पादन गरेको तरकारी खर्पनमा राखेर बेच्न निस्कन्छन्।

राजधानीमा बाहिरी जिल्लाबाट आउने तरकारीभन्दा खर्पनको तरकारीलाई ताजा मानिन्छ। कतिपयलाई उपत्यकामै उत्पादन भएको र स्थानीयले खर्पनमा घरघर पुर्‍याई बेच्ने तरकारीमा रस बसेको हुन्छ।

भक्तपुर थिमीकी इन्दिरा भण्डारी खर्पनबाट तरकारी किन्न रुचाउँछिन्। उनी भन्छिन्, 'यहीँ उत्पादन भएको भएर हो कि? खर्पनमा राखिएको र लोकलले बेच्ने तरकारी फ्रेस लाग्छ।'

हरियो तरकारी खर्पनमा बोकेर बजारसम्म पुर्‍याउनु मध्यपुर थिमीका धेरै बूढापाकाको दिनचर्याजस्तै हो।

तर, नयाँ पुस्ताले यसमा रुचि देखाएउन छाडेका छन्। आफ्नो खेतबारीमा उत्पादित तरकारी बेचेरै घरखर्च चलाउँदै आएका थिमीका कृष्णभक्त श्रेष्ठ पछिल्लो समय खर्पनको प्रयोग घट्न थालेको बताउँछन्। 'नेवार समुदायभित्रका ज्यापुले खेतबारीमा उत्पादन भएका वस्तुलाई बजारसम्म पुर्‍याउने साधन नै खर्पन हो, पहिला–पहिला खर्पनबिना दिनचर्या चल्दैनथ्यो,' उनी भन्छन्, 'अहिले नेवार समुदायमा पनि नाम्लोले टाउकोमा भारी बोक्ने चलन आइसक्यो।'

मुलपानीका शम्भूगोविन्द श्रेष्ठलाई पनि खर्पनमा सामान बोक्न सहज लाग्छ। उनी बजारबाट कुनै नयाँ सामान ल्याउनुपरे खर्पनकै प्रयोग गर्छन्। 'पुस्तौंदेखिको बानीले होला, खर्पन नै सजिलो लाग्छ,' उनले भने। छोराछोरीले खर्पन प्रयोग नगर्दा पुरानो संस्कृति नै लोप हुन्छ कि भन्ने उनलाई चिन्ता छ।

उपत्यकाका ज्यापु समुदायले खेतीपातीका सिलसिलमा खाजा, मल–बिउ, धान–पराललगायत सामान बोक्न खर्पन प्रयोग गर्छन्।

माइती–मावलीदेखि एक ठाउँबाट अर्को ठाउँमा सामान पुर्‍याउन खर्पन नै प्रयोग हुन्छ। 'खर्पन ज्यापुको मौलिक संस्कृति हो,' भक्तपुरका संस्कृतिपे्रमी तेजेश्वर बाबु ग्वंग भन्छन्, 'जहाँ पनि संस्कृति, परम्परा, चालचलन बहुआयामिक नै हुन्छ। हाम्रो समाजको मौलिकतासँग जोडिएको खर्पन संस्कृति लोप हुनु समाजकै विविधता घट्नुजस्तै हो।' आधुनिकताले गर्दा पछिल्लो समय खर्पन, हाकुपटासी र दौरा–सुरुवालको प्रयोग बिस्तारै घट्दै गएको उनले बताए।

अहिले पनि भक्तपुरको बालकोट, दधिकोट, मध्यपुर थिमी, काठमाडौंको स्वयम्भू, चक्रपथ, मुलपानी, नगरदेशलगायत क्षेत्रका बूढापाका तरकारी बजारसम्म पुर्‍याउन खर्पनकै प्रयोग गर्छन्। तर ज्यापु समुदायको पुरानो र मौलिक संस्कृतिकारुपमा रहेको खर्पनको प्रयोग सीमित बन्दै गएको छ। नयाँ पुस्ताले यसलाई अपनाउन छाडेका छन्। 

तीन प्रकारका खर्पन

स्थानीय बुढापाकाका अनुसार खर्पन तीन प्रकारका हुन्छन्–चकोंल्हँ, वाचाकोंल्हँ र गकोंल्हँ। संस्कृतिविद् सत्यमोहन जोशीका अनुसार चकोंल्हँ खर्पन खुला आकारको हुन्छ। नेवार समुदायका किसानले हलुका सामान बोक्न यसको प्रयोग गर्छन्। त्यस्तै, वाचाकोंल्हँ खर्पन डोको आकरको हुन्छ। मसिनो पारेर चोयाले यस्तो खर्पन बुन्ने गरिन्छ भने गकोंल्हँ खर्पन डाली आकारको गहिरो हुन्छ। नेवार समुदायले कालो धान (हकुवा) भिœयाउने बेला यही खर्पन प्रयोग गर्छन्।

पहिले–पहिले प्रयोग गरिने सबैखाले खर्पन बाँस र विशेष प्रकारको रूखकै चोयाबाट बनाइन्थ्यो। अहिले भने फलामका डण्डीबाट पनि खर्पन बनाउन थालिएको छ। 'सबै समाज र संस्कृति परिवर्तनशील भएपनि समाजको गरिमा गुम्नेगरि संस्कृति लोप हुनु दुःखद् हो,' जोशीले भन्छन्, 'खर्पन संस्कृतिले नेवार समुदायमा ठूलो महŒव बोकेको छ।'

उनका अनुसार १० वर्षअघिसम्म उपत्यकाका चोकैपिच्छे खर्पनमा अन्न र तरकारी बेच्ने किसानकोे भीड लाग्थ्यो। 'अचेल खर्पन बोक्ने मान्छे भेटाउन मुस्किल छ,' जोशी भन्छन्। 

खर्पन संस्कृति कहिले सुरु भयो भन्ने यकिन छैन। 'खासगरी खर्पन नेवारभित्र पर्ने ज्यापुकै संस्कृति हो,' संस्कृतिविद् हरिराम जोशी भन्छन्, 'पहिले–पहिले खर्पनको प्रयोग धेरै हुन्थ्यो अहिले संस्कृति नै लोप हुन थालेको छ।'

ज्यापुको प्रचलित औजार

पे्रम महर्जन

अध्यक्ष, ज्यापु समाज यलः

खर्पन संस्कृति ज्यापु समुदाय र किसानसँग जोडिन्छ। यसको सुरुवात यही समुदायबाछ भएको इतिहास छ। यो ज्यापु जातिको प्रचलित औजार हो। आजभन्दा १५ सय वर्षपहिले राजा नरेन्द्रदेवको पालामा भारतको अछामबाट रातो मच्छिन्द्रनाथको रथ खर्पन आकारकै औजारमा बोकेर ल्याइएको किम्बदन्ती छ। त्यो औजार बनाउने व्यक्ति पाटनका ज्यापु थिए। पछि उनैले त्यो औचारको नाम खर्पन दिएर स्थानीयलाई बनाउन सिकाएको इतिहास छ। उतिबेला किसानलाई खेतीपाती गर्न जाँदा अन्य औजार नभएकाले यसलाई नै उपयोगी मानेर प्रचलनमा ल्याएइको हो।

पहिले–पहिले हरेक सामान खर्पनमै ओहोरदोहोर गराइन्थ्यो। अरु औजारमा भन्दा खर्पनमा सामान बोक्न सजिलो छ। बाँस र डोरीको प्रयोगले बनाइएकाले यसमा सामान बोक्न सहज हुन्छ। सामान बोक्दा जिउलाई नै हल्का बनाउँछ।

यति हुँदाहुँदै पनि नयाँ पिँढीले अनुसरण नगरेका कारण यो संस्कृति लोप हुने अवस्थामा पुगेको छ। आधुनिकतासँगै वैकल्पिक औजार भित्रिँदा खर्पन लोप हुने अवस्थामा पुगेको मान्न सकिन्छ। अहिले पनि ज्यापु समुदायभित्र अधिकांश बूढापाका खर्पनकै प्रयोग गर्दै आएका छन्। खर्पनलाई जोगाउन नयाँ पिँढीले पनि यसको सिको गर्न जरुरी छ।  

http://www.nagariknews.com/news/21281/