Rafting

Few River Rafting in the world can match the thundering course of the rivers of Nepal originating from snow meltdown of the Himalaya terrain. The rivers gush through the twisted canyon, winding through calm valleys where small settlements are perched on the southern plains to merge with the sea. A river trip is one of the country's natural as well as the ethno culture heritage with massive doses of adrenaline buzz on our world caliber white water thrills. An explore some of the most ruggedly beautiful, yet forbidden places in the world. Here are about ten diffident world class river are waiting for the people to make your trip to Nepal more excitable and memorable in you lifetime. Recommendation for all kind of Rafter and Kayakers.

Trishuli River (Center Nepal)
This river rises from Mt. Langtang and is suitable for everybody. A class of its own where you will encounter around 20 rapids of 2-3 (+) grade. Beautiful landscapes surrounded by full of nature and following the national highway. After the trip, you can continue your journey to the Chitwan National Parks for Jungle Safari or to



Seti River (Center Nepal)
This river has clean & warm water. During rafting or kayaking trip, you will encounter around 10 rapids 2-3 grade, enjoy night camping at the bank of river surrounded with hills and the easy, relaxing and peaceful environment makes you feel, you are really with nature. Recommended for beginners and kayak clinic.



Kali Gandaki River (Western Nepal)
The river named after the goddess "KALI", rises from Mustang, close to Tibet. It is one of the best short white water rafting trips where you find around 35 rapids with 2-4 (+) grade. During rafting & kayaking trips, you will pass through the villages, remote areas & the world’s deepest gorge. Being one of the holiest rivers, you



Bhote Koshi River (Eastern Nepal)
The main source of Bhote Koshi River is Tibet and it start from near Tibetan border, Kodari through Araniko Highway. This beautiful mountain river offers one of the steepest and most challenging river rafting and kayaking trips. Specially recommended for advance rafters and Kayakers.



Sun Koshi River (Eastern Nepal)
Also known as "RIVER OF GOLD", Sunkoshi is one of the classic river in the world. It rises from Tibet & Mt. Everest region, it has a mixture of small and big volume warm water, surges for 270 km (160 miles approx) passing through the jungle, remote areas and unspoiled beautiful campsites. A classic multi-day River trip with



Karnali River (Far Western Nepal)
Nepal’s longest river, which rises from Kanti Himal & Tibet, flows through far Western Nepal’s untouched Hills, Jungle & remote areas. The adventure in the Karnali River begins with 2 days trekking, with the porters exploring Nepal’s most isolated & least explored areas known as the " Wild West of Nepal". During the river trip



Marshyangdi River (Western Nepal)
The Marshyangdi River rise from the northern slope of Mt. Annapurna and Tilicho Lake (Highest Lake in the world), which flows through the Manang valley. This is one of the most outstanding grade 4–5 (+) rivers and has been described as one of the best in the world; it contains 35-40 big rapids, continuously exhilarating white



Arun River (Far Eastern Nepal)
The Arun River is rise from the world’s famous mountain Mt. Makalu (8463m). This is the one of the exiting river for white water rafting in Nepal. We will drive and 5 days trek or fly to Tumlingtar and trek to Kartike Ghat (Rafting starting Point).Trekking route follows a 3000-meter ridge through beautiful woods and meadows with magnificent



Tamur River (Far Eastern Nepal)
No expedition to Nepal would be complete without a trek in the Himalayas and its no accident the one of the world's finest rivers starts with one of Nepal’s most scenic treks. Our 4 day trekking route follows a 3000 meter ridge through beautiful woods and meadows with magnificent views of Kanchanjunga, Makalu and the



Newly Open River
Drive from Katmandu on the way Breakfast, lunch evening Camp at Arughat and Dinner - Breakfast at Arughat and trek on the way lunch and Camp at Arkhet.Day 03: - Rafting and camp at Arughat. - Rafting and Camp at Durbungtar. - Rafting and Lunch at Charaudi and camp at Fishling.

Origin of Kathmandu

Origin of the Kathmandu Valley

If we look back into the antiquity of the Kathmandu Valley, and its physical composition and geographical condition, the contribution of Swayambhu Mahachaitya and Manjushri becomes evident. In ancient times the Kathmandu Valley was Nagadaha, a big lake full of water to the brim with Nagaraja and other Nagas living there. It is surrounded all around by a ring of mountains called Jamacho, Dhinacho, Fucho and Siphucho.
As this Valley was an abode full of natural beauties, it was an enchanting land. Therefore, the saints and sages of the hoary past came to this place accompanied by their disciples and settled here.
In course of time Sri Vipaswri Tathagata of Bandhumati Nagara came to Jatmatrocha (Jamacho) with his team of disciples. He was enamored by the beauty of Nagadaha. The meditated and enhanced his power of thought. Then, he threw the seeds of the unearthly nectar- like Paleswan ( lotus flower) over the Nagadaha. This holy act fell on the Full Moon Day of Lhutipunhi in the spring season. A few years after the Adhisthan (initiation) the seed sprouted on the Full Moon Day of Katinpunhi in Aswin in the autumn and a lotus of thousand petals came forth. The radiance and splendour of Nagadaha increased further. The radiant light of the glittering lotus spread here and there lending mysterious enchantment to the already pleasant environment of Nagadaha.
Due to the radiance of the lotus in the form of mysterious light of Nagadaha Shikhi Tathagata of Arunpuri and Viswabhu Tathagata of Anupama Nagara accompanied by their disciples came to Nagadaha to pay obeisance and see the resplendent lotus. Realizing the things to come in future and with deep contemplation they passed into oblivion in that mysterious light.
In course of time, Guru Mahamanjushri came to the Nepal Valley with his disciples to pay obeissance to Jyotirupa lotus. He then contemplated that it would be better could be transformed into a place of human settlement. He then cut Nhasikapa with his (Chandrahas Khadga) sword and drained out the water of Nagadaha. Thelatter was then made worth inhabitable by human beings and was converted into a land of civilisation. Nepal Mandala (the Kathmandu Valley) came to exist with the help of devotees who came to the valley under the leadership of Mahamanjushri and the inhabitants of hills surrounding the valley. It is because of this deed of Guru Mahamanjushri for the welfare of mankind that Manjushri was given the epithet of Guru, Maha and Jinasiddhi.

Establishment of Vihars, Sanghas
After the Nepal Mandala was established by making it inhabitable, Sahyanga Vihar (Swayambhu Vihar) was constructed in order to facilitate the direct view of the lotus with Swayambhu Jyotirupa and to convey the mysteries of Swayambhu Jyotirupa. This was the first Vihar in the Kathmandu Valley. After the establishment of this Vihar Guru Mahamanjushri introduced a Sangha system and made Gunakara, his disciple, accompanying him, the first Sanghanayaka (leader or head of the Sangha) and also entrusted him the responsibility of maintaining the Vihar. Later, with a view to protecting the land for continuing the auspicious activities uninterruptedly, Dharmakara was appointed king with the title of Chhetradhipati Bhumipati (Governor of the region in charge of the land). The land thus established was named Manjupattan (named after Manjushri) and its capital was named Rajpattan.
After the naming of the valley and its capital, the development in agriculture and settlements, was made for the continuation of the lives of the people of the valley. Arts such as architecture, handicrafts, sculpture were developed to beautify the valley.

Legend of kathmandu Vally

Manjushree Cave and the Legend of Kathmandu Valley

Kathmandu, the capital of Nepal, is rich in arts, architecture, culture and religious spots which make it a great tourist destination for national and international visitors. Manjushree Cave is a new destination in Kathmandu which opened for visitors from Jan. 30. It is located in Chobhar gorge of Kritipur municipality, which lies in the southern part of Kathmandu Valley. Chobhar gorge, where the Manjushree Cave is located, is related with the interesting legends of the origin of Kathmandu Valley.According to one of the legends, Kathmandu valley was a lake surrounded by hills during the Pleistocene era. It is believed that Manjushree, a divine saint from China had came here for pilgrimage and saw a huge lotus emanating bright light at the centre of the lake. So he cut a deep gorge allowing the water to drain from the lake because he wanted to observe and worship the lotus.

The base of the lake became the present Kathmandu valley and the gorge is called Chobhar gorge now. That is why the cave is named after the name of Manjushree.It is 7 kilometers from central Kathmandu and one hour's drive is enough to reach there if there is no traffic jams in the valley. At the base of the gorge flows the Bagmati River. A 104-year-old suspension bridge gives visitors the opportunity to enjoy the sight of the gorge, Bagmati River and entrance of other mystical caves (which are not open to the public).Manjushree Cave was formally opened by the Jal Binayak Community Forest Users' Group. The total length of the cave is said to be 1250m long, although only 350m of the cave is open to visitors. One has to pay an entrance fee to explore the cave.

The fees are a minimum US$5 to a maximum $10 per person. The price depends upon the length of the route that a visitor wants to visit. The cost of the headlamp and a cave guide is included in the price.There are five routes which have been opened at present. These routes converge at different points, so it is possible for visitors to enter from one point and to exit from another point. There are three entrance points; one is the main entrance and the others are Bagh Gufa and Naya Gufa. ('Gufa' means cave in Nepali). There are two small ponds inside the cave. The first pond is Mahadev Pond which is 40.3m from the main entrance and the other is Naya Pond which is about 60m from main entrance.

On June 4 I had an opportunity to explore Majushree Cave as far as Naya pond with my friend Dev and sister Prya. It was my first experience to explore a cave.

We were accompanied by a female guide named Urmila Shrestha. Before entering the cave I imagined that we could walk inside and be able to take lots of photos, but the reality was different. For most of the route we had to crawl, twist and turn our bodies.

There were some parts that we had to climb up and down with great effort.

Due to the adventure my bulky camera was not really suitable to shoot photos inside but still I managed to take some photos. I was not satisfied because I could not take better photos, but I am happy that I have taken some photos and had a great adventure in my life. Below are some photos that I was able to take.

Legend of kathmandu Vally

Manjushree Cave and the Legend of Kathmandu Valley


Kathmandu, the capital of Nepal, is rich in arts, architecture, culture and religious spots which make it a great tourist destination for national and international visitors. Manjushree Cave is a new destination in Kathmandu which opened for visitors from Jan. 30. It is located in Chobhar gorge of Kritipur municipality, which lies in the southern part of Kathmandu Valley. Chobhar gorge, where the Manjushree Cave is located, is related with the interesting legends of the origin of Kathmandu Valley.According to one of the legends, Kathmandu valley was a lake surrounded by hills during the Pleistocene era. It is believed that Manjushree, a divine saint from China had came here for pilgrimage and saw a huge lotus emanating bright light at the centre of the lake. So he cut a deep gorge allowing the water to drain from the lake because he wanted to observe and worship the lotus.

The base of the lake became the present Kathmandu valley and the gorge is called Chobhar gorge now. That is why the cave is named after the name of Manjushree.It is 7 kilometers from central Kathmandu and one hour's drive is enough to reach there if there is no traffic jams in the valley. At the base of the gorge flows the Bagmati River. A 104-year-old suspension bridge gives visitors the opportunity to enjoy the sight of the gorge, Bagmati River and entrance of other mystical caves (which are not open to the public).Manjushree Cave was formally opened by the Jal Binayak Community Forest Users' Group. The total length of the cave is said to be 1250m long, although only 350m of the cave is open to visitors. One has to pay an entrance fee to explore the cave.

The fees are a minimum US$5 to a maximum $10 per person. The price depends upon the length of the route that a visitor wants to visit. The cost of the headlamp and a cave guide is included in the price.There are five routes which have been opened at present. These routes converge at different points, so it is possible for visitors to enter from one point and to exit from another point. There are three entrance points; one is the main entrance and the others are Bagh Gufa and Naya Gufa. ('Gufa' means cave in Nepali). There are two small ponds inside the cave. The first pond is Mahadev Pond which is 40.3m from the main entrance and the other is Naya Pond which is about 60m from main entrance.

On June 4 I had an opportunity to explore Majushree Cave as far as Naya pond with my friend Dev and sister Prya. It was my first experience to explore a cave.

We were accompanied by a female guide named Urmila Shrestha. Before entering the cave I imagined that we could walk inside and be able to take lots of photos, but the reality was different. For most of the route we had to crawl, twist and turn our bodies.

There were some parts that we had to climb up and down with great effort.

Due to the adventure my bulky camera was not really suitable to shoot photos inside but still I managed to take some photos. I was not satisfied because I could not take better photos, but I am happy that I have taken some photos and had a great adventure in my life. Below are some photos that I was able to take.

Budhist bihar at Kathmandu Vally

Kathmandu Valley, a well known repository of mediavel art and architecture also houses the largest conglomeration of mediavel Buddhist monuments in the form of monasteries or Vihars- locally known as Baha in Newari dialect. In addition to religious sanctity, these Viharas or Bahas offer a living testimony of Buddhist Art florished since the mediavel times. Architecturally, a Baha, usually consists of a square central hall or courtyard enclosed by small rooms or cells, with the main shrine opposite the main entrance.
The deity enthroned inside the main shrine is called Kwapa-dyo, an image of the Buddha sitting in Vajrasana and showing the 'Bhumisparsa (earth touching) 'gesture. The courtyards contain at least one Chaitya. Other common features of a Baha is a 'Torana' (tympanum) over the main entrance and the main is entrance guarded by two stone mythical lions. From the inside, the main entrance is flanked by two Hindu deities Mahakal and Ganesh as the Guardians. The Baha or Bahis have a finial or a small tower on the roof above the main shrine. Although in the mediavel times, the Bahas were used to house communities of celibate monks, presently the Bahas are inhabited by the descendants of the monks who returned to common family life. They are known as Vajracharyas and Shakyas. There are said to be 356 Vihars (Large and small) of which only a few of the famous ones are listed below as representative guide to visit these marvelous Buddhist heritage.

Kathmandu

Kumari Baha or Kumari Chen :
Located just opposite the famous Gaddi Baithak in the eastern part of Kathmandu Durbar Square, the complex of Kumari Baha also house the goddess of Kumari - the Royal deity. The Baha or Vihar consists of a three storyed structure built round an enclosed courtyard and the main entrance is guarded by two huge stone lions. The external facade and inside facade facing the courtyards are embellished with the exquisite wood carved windows and doors. The main shrine is directly opposite to the entrance and there is a stupa / Chaitya in the courtyard. Aside from serving as a Vihar, this is primarily the shrine of the living goddess 'Kumari' a Buddhist girl - chosen and worshipped as an incarnation of Hindu mother deity.


Kwa- Baha:
This is situated in the northern part & Kathmandu in Tha-hiti a few minutes walk from the famous Thamel locality. The shrine is a three storyed building surmounted by a small cuppola. An artistically decorated by wooden frames, the door of the main entrance is flanked by the images of Sariputra and Mandgalyana
two principal attendants of Lord Buddha.
Inside the courtyard are an 'Ashokan Chaitya' a stupa structure of earlier period and a common small Chaitya on a pillar. The steps leading to the main shrine are flanked by two metal lions.

Musya Baha:
Located in Jyatha adjacent to Tha-hiti, this Baha is one of the few typical Baha structures left intact. The entire building is of two storeys. The main deity (Kwapa-dyo) is an image of Aksobhya facing north and the main door of the shrine is guarded by two stone lions. Wooden carved struts support the entire tiled roof structure.

Dhwaka Baha:
A few minutes walk down the road from Masya Baha is Dhwakabaha is a aspacious courtyard with the shrine of the main deity 'Aksobbya' located in the south-east corner facing north. Although the vihar has not been able to retain its original structure - due to the severe damage in the great earthquake of 1934, there are three stupas of which two stupas date back to Licchavi period testifying antiquity of the place. Historians have ascribed the origin of the Vihar to not later than 7th century A.D.

Chusya Baha:
Located in Jyatha Tole - a minutes walk down the road from Musya Baha, Chusya Baha, probably is the finest example of Baha architectures. Directly opposite the entrance is the shrine of Akshobhya the Kwapadyo, facing north. The entrance is flanked by two elephants. One of the most striking features of the Baha is the series of beautifully carved struts supporting the courtyard. As the struts are ascribed to the fourteenth century A.D., it is believed the origin of the monastery could be dated even earlier.

Itum Baha:
Situated a little west of Kilagal Tole, Itum Baha is one of the largest and oldest of Vihar complexes. It is a large, rectangular courtyard and surrounded on three sides by residential buildings. Although three other subsidiary vihars adjacent to the main courtyard comprise the vihar complex, the main shrine is located in second subsidiary courtyard. Over the entryway to this courtyard is an exquisitely carved wooden torana depicting an episode from Lord Gautam Buddha's life and is believed to belong sixteenth century A.D. or even earlier period. The main deity or the Kwapa dyo is an image of Aksobhya facing east- the main entrance. The Baha shrine is marked by a metal lions and stone lines flanked large temple bells. In the centre of the courtyard is an Chaitya (Stupa) and to the east of this a stylised stupa with large Buddha figures believed to be dated between eleventh or twelfth century.

Yatkha Baha:
A few walks from Itum Baha is another Baha in the Yatkha Tole. Although it does not bear any common features of a typical monastery anymore, this Baha is noted for a large stupa, in the centre of the large courtyard - surrounded by residential houses. The main shrine building is of recent renovation. However, the wooden 'Torana' is of unusal depiction of seven Buddhas and probably dates back to twelfth century A.D. The central stupa is a reminscent of the famous '

Swoyambhunath' Stupa.

Takse Baha:
The Baha is situated off Asan Tole - one of the busy bazaar areas of Kathmandu. The entrance to the shrine is marked by two stone lions each flanked by large temple bells. Over the doorway is a metal torana depicting Mahavairochana - the first of five celestial Buddhas. The main deity of the Vihar is an image 'Aksobhya' facing north. In the courtyard are an 'Asoka' chaitya and three other votive chaityas.

Te Baha:
A famous court yard or a locality in Kathmandu, is located in the eastern end of New road. Although the salient features of a typical Baha is virtually missing it is assumed the compound comprises two Bahas in mediavel times. One of the main shrines 'Kwapa dyo' is situated among the buildings along the western side. The second 'Kwapadyo' is located in the centre. The compound is more renowned because of other religious shrines and historic stupas existing here. Among others, within the complex are the house of a deity celled 'Sankata', the shrine of 'Bhadrakali' Chen (or the residence) two highly popular Shakta deities of the Kathmandu valley. In addition, the open area also houses several Licchavi - period stupas - chaityas. Historians attribute this area as of high historic importance and ascribe the origin to 5th century A.D.

Jana Baha:
Located in Kel Tole, this Baha is one of the most famous of all the Bahas of Kathmandu. Hundreds of devotees throng to this places since early morning to early afternoon. Also every evening, religious prayers are sung at the main entrance of the courtyard at the tunes of traditional devotional music. Culturally, this Baha is most well known as the home of White - Matshyendranath or Jana Baha dyo or Karunamaya - the compassionate one. Although, the Baha does not possess a typical Baha architecture (original structures destroyed in 1917 fire), the importance of the courtyard is enhanced by the shrine of Jan Baha dyo. The shrine is a two storyed elaborately decorated temple. The whole facade of the temple is decorated with a great array of Buddhist figures and each of the three doorways has a repousse torana / tympanum.
Directly infront of the main door of the shrine is a small chaitya - known as Kanak Chaitya (presently a shape of white dome). In addition, the courtyard is filled with an array of stone images and thirty one votive stupas.

Sigha Baha:

Situated in the Naghal Tole - few minutes walk from Thamel is a Sigha Baha also known as Kathe Swoyambhu - a large courtyard with a huge stupa - reminiscent of the great Swayambhunath. The dome of the stupa rests on white-washed pedestal. Above the dome or Garbha is a four sided harmika with all-seeing eyes similar to those at Swayambhu. In the courtyard around the main stupa are a number of votive Chaityas. shrines including mother Harati and deities from Mahayan Pantheon. Offer important feature is a stone standing Padampani assigned to the ninth century A.D.

Syangu Baha:
The local Buddhist community of Kathmandu refer the famous Swoyambhunath shrines as Syangu dyo - and it is assumed there existed a Buddhist Baha in the olden times, However, the whole complex is dominated by the all famous "Swoyambhu Mahachaitya" - the huge white dome towered by harmika in each cardinal.

Tham Bahi:
Also known as Bhagwan Baha, Tham Bahi is one of the best preserved complex of its kind. Located in the northern part of old Kathmandu township the famous area of Thamel drives its name from Tham Bahi. The Bahi/ monastery is only a stone's throw from the main bazaar of Thamel. The main shrine is located through an entryway which opens to the courtyard proper. The main shrine is directly opposite the entrance and is of three storeys with a large cuppola. The shrine is flanked by two mythical creatures Sardulas and lions. The main deity of the shrine is an image of Simha Sartha Bahu a legendary hero/ trader of ancient Kathmandu. The complex is typical with a two storied building with open halls on ground floor and lattice covered, overhanging balconies above.


Patan/ Lalitpur
Of all the Viharas in Kathmandu Valley the or Bahas of Patan also known as Lalitpur is more raknowned for the artistic workmanship in tera cotta metal and wood works. Numerically too, the town of Patan has more Bahas than other cities of Kathmandu and Bhaktapur. For centuries, Patan has remained prodominantly Buddhist.

Kwa Baha:
Kwa Baha also well known by its sanskrit name Hiranyavarna Mahavihar, is the foremost Baha (monastery) of Patan. Situated just down the street from the crossroads known as Kwalakhu Tole, this Baha is probably known as one of the most active Bahas. The complex is known as the most lavishly decorated of the Bahas primarily because the community members are wealthy traders who have constantly embellished the complex. The street entrance has two large stone lions as guardians and a stone facade with a stone tympanum depicting celestial Buddhas.
Passing Through this entrance and a small entry way leads to the main shrine complex. Nick named as 'the Golden temple' inside the complex are numerous gilded images and the facade of the imposing Kwapadyo shrine (the main deity). The temple in the centre of the courtyard is another attraction which is made of gild copper repousse work. The main shrine is a four storied structure with three gilded roofs. The entrance is flanked by two large cast iron mythical lions each standing on an elephant and surmounted by an image of Lokeswore. The doorway to the shrine is an excellent temple of metal workmanship - all finished in gilt repousse work and above it is one of the finest tympanum (torana) anywhere all made of silver. The Kawapadyo (main deity) of the Baha is a large silver image of Aksobhya facing east.
As said earlier, the other striking feature, of this complex is the shimmering temple in the centre of the courtyard which enshrines a Chaitya from Licchavi era. The shrine is an excellent piece of extraordinary metal work and almost entirely covered with gold and metal. It has a single gilt copper roof above which rises a pinnacle with four snakes whose curved tail raise to hold a multi-staged umbrella over the main bell shaped final, Historically, this Baha dates back to not later than eleventh century A.D. or even earlier.

Uku Baha:
Uku Baha is one of the best preserved and oldest of all Bahas of Patan. Located a minutes walk south mediavel heritage. Also known by its from the Sundhara (the golden spout), this Baha displays a unique collection of sanskrit name 'Rudravarna Mahavihara, this Vihar is said to have the largest number of branches in the valley. Passing through a gateway in the street one enters the first compound and an entryway from this is led into Uku Bahaitself.
The main shrine is of three two roof structure. Steps leading to the shrine are flanked by large stone mythical lions each standing on a crouching elephant an surmounted by an image of Lokeswore. The doorway is marked by a finely worked repousse of arch of leaf and floral motifs. The Kwapa dyo is a large metal image of Aksobhya. Opposite the shrine in the courtyard runs a row of traditional pieces. The first item is a Lichhavi Style Chaitya followed by 'Dharmadhatu Mandala' surmounted by a Vajra, a recess for the sacred fire, a metal lamp on a stand and an image of Manjushree.

Mahabuddha Baha:
The famous temple of Mahabuddha is the best known shrines of Patan. Situated in the south of Uku Baha and inside a small cramped courtyard, Mahabudha Buddha complex consists of a large terracotta 'Sikhara' style temple in the centre of the courtyard which houses the shrine of Kwapa dyo with a shrine to the mother deity to the side. Completely made of terracotta in this temple every brick has an image of Buddha. So the complex is also called the temple of 'thousand Buddhas'. Although, this unique temple is said to have been influenced by the architectural from of Bodh Gaya, a close look would reveal the originality of a Nepalese structure. Although the present structure is newly built after the great earthquake of 1934 exactly as of original one, the foundation of the structure was laid during sixteenth century A.D.

Chaku Baha:
Also known as Tanga Baha, this complex is located in the Tanga Tole on the east side of the road leading south from the Patan Durbar Square. The complex does not offer a typical Baha complex as most of the buildings and structures are of a recent origin except the free standing temple of main deity or the Kwapa dyo. The Kwapa dyo is the red image of Padampani Lokeswore. This deity is popularity known as Chakuba dyo or Minnath. The temple structure is two storeyed of which upper roof is gilded copper and the lower one is tiled roof. In addition the courtyard has several other pieces of antiquity and archaeological importance. It include a bathing platform, several votive chaityas, stone mandalas, interesting stone mythological lions, a large prayer wheel and a rest houses all dating not later than 17th century A.D.

Ta Baha:
This huge courtyard is located just opposite the Chaku Baha across the street. The complex is well known amongst the Buddhist community primarily because the Baha, in addition to a well established odd monastery (vihar) shrine, also houses the temple of 'Bungadyo' Red Machhendranath. And these two shrines are totally independent in functioning.
Along the southern wall of the complex is the house of 'Kwapadyo' the shrine of the Baha. It is a single standing - probably a part of larger complex in the earlier times. Doorway of the shrine is surmounted by a torana - itself surmounted by a triple parasol The deify 'Kwapadyo' is an image of Aksobhaya facing north.

Chovar or Cho Baha:
A Very popular Buddhist shrine Chobaha is located in the centre of the Chobhar Village above the gorge across the Bagmati river. The complex is an entirely closed courtyard at the top of the hill and the shrine of Kwapadyo is a three storyed, multiple roofed temple, Of the three roofs upper most is gilded copper the rest are tiled roofs. The most striking feature of the temple is the great array of pots, pans and household utensils nailed to almost all the open space on the surface above the ground floor. It is believed such offerings are done in the temple so as to benefit the deceased relatives in their after next birth. The Kwapadyo enshrine in the temple is an image of Adinath - Lokeswore and is the main attraction of the complex.

Ha Baha:
Also known as Hakha Baha or Hatko Baha, is one of the few Bahas of Kathmandu which has retained the original Baha architectural norms and preserved the mediavel beauty. The street entrance is a stone arch torana depicted with fine celestial Buddhas and the door is marked two sone lions. The shrine of the Kwapa dyo opposite the entrance is an imposing three storey temple. The doorway to the shrine is elaborately carved and finished in repousse metal. The image of the Kawapadyo is an image of Aksobhya facing north. In the courtyard, there is on array of several mandalas and Chaitya - some even dating back 7th century AD from Licchavi period.



Bhaktapur

Laskadyo Baha:
The complex is best known as the Bhaktapur Shrine of Matshyendranath. Situated in Itachhen Tole, this temple is a two storyed structure - one tiled roof surmounted by two smaller roofs farming a sort of cuppola. The lower of the small roof is tiled, the upper one is of gilded copper and surmounted by a golden gajur (pinnacle) make in the form of a Chaitya.
The Kwapadyo (the main deity) of the shrine is a metal image of Padampani Lokeswore. Locally also known Annapurna - Lokeswore is fully covered with a metal cloak embellished with floral ornaments. The locals worship this shrine as the local deity of Matshendranath Karunamaya or Loknath. In front of the temple are a cluster of seven Chaityas and dharamdhata mandala. The shrine is dated to belong around seventeenth century A.D.

Inacho Baha:
Situated in Inacho Tole, the Baha complex possess one of the few well preserved Baha shrines left in Bhaktapur. The doorway of the shrine is marked by two stone lions. The Kwapadyo in the shrine is Aksobhya facing west. The first storey has the customary five fold, carved window flanked by two smaller windows carved struts depicting the five Buddhas supporting the roof. In the centre of the courtyard are three chaityas, the central one of which has a ring of oil lamps around it. Historians ascribe this shrine complex to the late Malla period.


Tadhi Chen Baha:
Located just off the area of the Bhaktapur Durbar Square, it is possibly the only example of Baha architectural structure left intact. It is one continuos building in a small courtyard. Opposite the main entrance is the shrine of the Kwapa dyo - Padampani Lokeswore. The entrance is flanked by two stone lions. The shrine of Dipankara is located in the north west corner of the complex. The origin of the Baha is dated to early fifteenth century A.D.
When to visit the Bahas Although a Baha is always open to outside visitors except the Kwapa dyo Shrine, it is more rewarding to visit during certain occasions when the Bahas observes annual ritual/festival or during the initiation of Buddhist community (Bare Chuyegu) i.e. Bajracharyas and Shakyas. The recommended time to visit these Bahas is 'Gunla'- a month from a Newari Calendar which normally occurs in mid July to mid-August. During the month these festivals mentioned above take place.
Panchdaan - The alms giving of five offerings. The day differs in each of three cities of the valley.
Bahidyo - boyegu - The display of gods and goddess of the shrine which lasts for the days.
Mataya - a festival of light - This is a typical of Patan Buddhists which is not observed elsewhere. On this day, the Buddhists of Patan visit all the Bahas and Buddhist shrines carrying lighted candles, torches or tapers.

Why Kathmandu tour

KATHMANDU DURBAR SQUARE: -

The name Kathmandu, previously known as Kantipur, derived from Kasthamandap, a rest house built from the wood of a single tree. King Yaksha Malla divided the valley into four parts – Kathmandu, Bhaktapur, Patan and Kirtipur and presented them to his four children, three sons and one daughter respectively. Later, the three brothers started an artistic competition or warfare to outdo each other in impressive constructions. Thus, the three Durbar Squares were made, so rich in artifacts and craftsmanship. Kathmandu Durbar Square is in the heart of the city. It is most often called the Hanuman Dhoka Palace by the locals rather than Kathmandu Durbar Square on account of the big sculpture of the Monkey god – Hanuman placed at the entrance of the Palace, which is now a museum that houses the souvenirs of Shah Kings. Visits to the following are a must, if you have time: The Kumari Ghar – house of Living Goddess, Shiva Parvati Temple, various shrines situated inside the square premises, carvings, Bhairav temple. One can also visit Indra Chowk, Seto Machhindranath temple and Annapurna temple, which are ten minutes walk from the square. Kathmandu Durbar Square was listed in "UNESCO World Heritage Site in 1979".

PASUPATI NATH TEMPLE: -

Pahsupati Nath is the sacred shrine of Lord Shiva for all Hindus. Situated at the bank of the Bagmati River, 5km east of Katmandu’s city center, built in the Pagoda style this two-tiered golden roofed temple holds a very strong religious belief. If a Hindu takes his/her last breath at Pashupatinath and her/his body is cremated here and ashes are sprinkled in the holy water of Bagmati it is believed that her/his soul is released from the cycle of rebirth and finds the ultimate nirvana or salvation. Pashupatinath, which dates back to before 400AD is believed guard and protect Nepal and its people. "Pasupati Nath Temple is listed in UNESCO in 1979".

SWAYMBHU NATH STUPA: -

Swayambhu Nath Stupa is the most ancient and mysterious of all the holy shrines in Kathmandu Valley. Its origin is related to the visit of Manjushree – a Bodhisatva sage who created the Kathmandu Valley from a primordial lake. According to a legend of 15th century Swayambhu Puran, it is believed that past Buddha planted a lotus that miraculously blossomed from the lake. Manjushree, while meditating at the sacred mountain, had a vision of the brilliant but mysterious light radiated by the lotus and flew across China and Tibet to worship it. In order to make it accessible to the pilgrims, Manjushree drained out water from the lake and thus, the lotus was transformed into a hilltop and the light into Swayambhu Nath Stupa.Hence, the derivation of the title Swayambhu, which means self-creation. This superior white mound and glittering golden spire is visible from all sides of the valley. Both Hindus and Buddhists equally worship Swayambhunath eve though it is a Buddhist Stupa. Everyday people ascend the 365 steps to pay a visit to the deity. Every part of the Stupa holds a religious belief; according to Buddhism the thirteen gilded circles of the spire symbolize the thirteen steps that lead to nirvana or ultimate salvation – Moksha; the eyes on each of Stupa’s four sides symbolize the God’s all-seeing perspective that the God is looking everywhere to distinguish justice from injustice. The third eye on each face of the Stupa symbolizes wisdom. It is also believed that the only way to salvation is through Buddhism. "Swayambhu Nath Stupa was listed in UNESCO World Heritage Monument List in 1979".

BOUDDHA NATH STUPA: -

The largest Stupa in South Asia situated 6 km east of the city center. Bouddha Nath is one of the most auspicious pilgrimage sites for Buddhists. The huge Stupa stands 36m high on the ancient trade route to Tibet. The Tibetan refugees, who migrated in 1950s to Nepal, settled around Bouddha Nath and today it has become the center of Tibetan Buddhism in the world where one can still observe the Tibetan lifestyle in Bouddha Nath. Tibetans and monks in maroon robes with prayer wheels in their hands still practice the rituals. Devotees still hold big functions during celebratory in particular occasions, Buddha Jayanti – Buddha’s Birthday. "UNESCO listed Bouddha Nath in World Heritage List in 1979".

CHANGU NARAYAN TEMPLE: -

Changu Narayan temple is situated on of a peaceful hilltop about 6km north of Bhaktapur near Changu village, which offers a beautiful view of the surrounding hills, valley and mountains. This astounding artifact is believed to be an ancient temple built in the Kathmandu Valley some 1600 years ago. It is dedicated to Narayan, the incarnation of Lord Vishnu and is also worshipped by Hindus as the auspicious shrine of Vishwarupa. The two-tiered pagoda-styled temple, the struts with the carvings of ten incarnations of Lord Vishnu, the beautiful metal doors and the artifacts found inside the premises of the temple all signify the flawless talent of ancient craftsmen. This grand sanctuary reveals the secret of ancient Nepal. It was listed in UNESCO World Heritage Site in 1979.

World Heritage Site - 2

Bhaktapur, literally meaning "The Town of Devotees," is believed to have existed from the early ninth century AD. The town area covers four square miles and divided into twenty-four toles, sections. Bhaktapur was the capital of the Katmandu Valley from the twelfth century to the fourteenth century and then an independent kingdom until 1769, when the Shahs invaded. The Durbar Square is the central setting of Bhaktapur for architectural monuments and the arts. The Durbar Square is believed to have been established no earlier that the mid-twelfth century when Ananda Malla built Tripura, the name for the palace that was used until the sixteenth century. It is asserted in different archives that this Bhaktapur Palace was the most costly and largest of all the palaces in the country. It had ninety-nine courtyards and spread from the gateway to the Durbar Square in the West and to Sukul Dhoka in the East. The Mul Chowk, the main courtyard inside the palace, is dedicated to the mother goddess, Taleju, the clan deity of the Malla Kings. Most probably the Taleju Temple, adjoining the Mul Chowk at its south end, is the oldest standing monument of the Bhaktapur Durbar Square. However, there is no documented inscription directly mentioning the existence of the Mul Chowk until the seventeenth century. Yakseswar Mahadev, a temple built as a duplicate of Pashupati is another of the oldest monuments in the Durbar Square. This temple situated at the South end of the Durbar Square is believed to have been erected by Yaksha Malla (ruled 1428-1482).
There are significant records of the donors, constructions, and renovations of the complexes inside the Durbar Square since 1614. According to the archives, the last three kings of Bhaktpaur, Jitamitra Malla, Bhupatindra Malla, and Ranajit Malla, played the chief roles in shaping the present Durbar Square. During his twenty-three years as king starting in 1673, Jitamitra, influenced by the arts, made many extensive changes to the Durbar Square. He renovated Eta (Kumari) Chowk, a chowk adjoining Mul Chowk, and decorated the walls with carved windows and paintings of yoginis and scenes from the Ramayana, the god versus hero epic drama in which Taleju plays a large part. A year later, he added another palace wing, the Thanbu Durbar, northeast of the Mul Chowk. He designed fountains, gardens, and a pavilion for the new wing. In 1696, shortly before his demise, he built a sikhara temple of Siddhilaxmi next to the temple of Vatsaladevi. A rare feature added to the temple was the animal sculptures standing on either side of the steps to the temple.
After his death, his son, Bhupatindra Malla, continued to make additions to the Durbar Square. He reconstructed the Malati Chowk; the Fifty-Five Window Palace that was another wing built in his time. This palace has fifty-five wooden windows on its upper floor. The gate made of bricks and plaster, which is presently the main entrance to the Durbar Square, was also built by him. These gates were actually the entrance to the Basantapur Palace, of which nothing remains except the lions guarding the then gate and images of Ugrachandi and Bhairava. Both of the latter sculptures are dated 1707. Legend says that Bhupatindra Malla was so impressed by these two sculptures that he cut off both the hands of the sculptor, fearing that other kingdoms may exploit the man to sculpt other beautiful carvings outside of Bhaktapur. Bhupatindra Malla also built four modest monuments: the temples of Jagannatha and Rameswar, a sikhara style brick temple Kedarnath, and a two-storied pagoda style temple of Badrinath near the gate of the Durbar Square. Collectively, they are the char dhaam, four holy sites for Hindu pilgrims, though they are substitutes for the real char dhaam found in today's India. The most significant donation of Bhupatindra Malla in the architectural field is the two temples at Taumadhi Tole, an extension of the Durbar Square. Others were built under his rule as well. The three storied rectangular temple of Bhairava, the wrathful form of Lord Shiva, was enlarged from its single story, when reconstructed in 1717. There are seven golden gajurs, spires on its topmost roof. Next to it is Nyatapola, the five storied temple, made in 1702, is unique. It has five slanting roofs supported by one hundred eight struts and standing on five plinths. The steep flight of steps rising to the entrance of the temple is flanked on either side by sculptures of wrestlers, elephants, lions, griffins, and sculptures of the deities Simhini and Vyangini. These guardians are arranged in order of their powers; the one above is said to have ten times more strength that the one below. So the goddess Siddhi Laxmi, to whom the temple is believed to been dedicated, has ten times more power than the two deities on the topmost level of the stairs. Maybe it was this power that aided the 100 feet high temple to stand through the devastating earthquake in 1934. Only the topmost roof of the temple was destroyed.
After Bhupatindra's death in 1722, his successor Ranajit Malla ruled the kingdom for forty-seven years. Ranajit also showed great interest in the arts and donated for the promotion of the Durbar Square. He replaced the bell offered by his grandfather to Taleju with a larger one. This bell and the copper drums, Jitamitra had donated to the Taleju Temple, were sounded twice daily in worship to the goddess. West of the big bell is a stone pillar standing on a lotus pedestal. At the top of the pillar is a golden statue of Bhupatindra Malla under the shade of Chudamani, a golden umbrella, in a praying position and facing the Taleju Temple. The golden gate at the entrance to the main palace and also to the Taleju Temple, Ranajit Malla's greatest offers to the goddess Taleju came in 1753. The gate is decorated with the images of Kalash and other deities at both sides and a detailed sculpture of Taleju, above the gate looking at those entering the gate. The flags, spires, umbrellas, elephants, and lions at the roof of the gate also add to its notability. About this time he also added the chikka appa, bricks immersed in oil for strength and shine, to the passage leading to Mul Chowk.
It took more than three generations of kings to build the Bhaktapur Durbar Square. Most was damaged and destroyed during the earthquake of 1934. Almost all the palaces and temples in the Valley went through extensive renovation immediately following the earthquake. However, the massive restoration left the place deprived of its seventeenth century antiquity. As seen today, only half a dozen courtyards remain around the Mul Chowk. Nonetheless, this chowk is only open to Hindus and Buddhists. Malati Chowk was again renovated in the nineteenth century and does not feature much of traditional Malla arts anymore. Fortunately, only the upper floors of the Fifty-Five Window Palace were destroyed in 1934. Its lower floors along with the successive murals of Lord Krishna in scrolls like manner remained intact. These paintings are now on public display. The West wing of the palace towards the entrance to the Durbar Square, known as the Chowkot Palace constructed in the early sixteenth century by Jaga Jyoti Malla, has been transformed into a national arts gallery. An eight sided pavilion of Chasalin Mandap, stands in front of the Fifty-Five Window Palace. It was originally made by Yaksha Malla in remembrance of his queen, but has been recently reconstructed after its destruction the earthquake. With windows that open in all directions, the Chasalin Mandap, offers a prime view of the Durbar Square.