T.U.

, INSTITUTE OF ENGINEERING

PULCHOWK ENGINEERING CAMPUS

DEPARTMENT OF ARCHITECTURE
PULCHOWK, LALITPUR

REPORT ON ARCHITECTURAL CONSERVATION OF

KUMBESHWAR TEMPLE, PATAN
&
BHIMSEN STAMBH

SUBMITTED BY: SUBMITTED TO:

Purnima Adhikari (076bar030) Asso.Prof Ar Prajwal Hada
Saloni Khadka (076bar033)
Shikha Khanal (076bar042)
Deepa Malla Thakuri (076bar050)
Abstract
Nepal boasts an array of cultural and religious monuments that shows its rich heritage. These tangible
treasures not only hold aesthetic value but also embody profound intangible significance, reflecting
Nepal's cultural essence in a truly mesmerizing manner. From majestic palaces to ornate temples,
serene monasteries, each structure, constructed across different architectural styles and integrity,
beckons exploration and understanding.

This report attempts to reach into the historical and architectural fabric of two such monuments,
aiming to investigate their captivating narratives. Through the detail study and analysis, we seek to
bridge the past with the present and chart a course for their conservation and preservation. In doing
so, we honor not just their physical existence but also their role as an identity of Nepal's cultural
legacy, ensuring that they remain source of inspiration for generations to come.
Acknowledgement
Firstly! We would like to extend our deepest gratitude to Prof. Ar. Prajwal Hada for not only
imparting knowledge but also for his unwavering support and insightful feedback, which played a
great role in shaping our research project. Moreover, the collaborative spirit fostered by our team
members and other classmates, added layers of perspectives, enriching the project's scope and depth.

The involvement of bhajan mandals and the Pujari who generously shared their time and insights
through the questionnaire helped us to reach to the depth and details of the complex. Their
contribution lent authenticity and validity to the findings, highlighting the interdependent relationship
between academic inquiry and community engagement.

Furthermore, the acknowledgment of all individuals who contributed, whether through direct
assistance or through indirect means, collectively paved the way for the project's successful
completion, embodying the spirit of collaboration and mutual support.
 TABLE OF CONTENT

1.0 Introduction To Conservation

2.0 Purpose Of Selection
3.0 Objectives
4.0 Methodology
4.1 Primary Sources
4.2 Secondary Sources
5.0 Kumbeshwar Temple
5.1 Literature Review
5.1.1 Introduction
5.1.2 Site and surrounding
5.1.3 Kumbeshwar Temple Complex
5.1.4 Mythology
5.1.5 Historical Timeline
5.2 Socio-Cultural Significance
5.2.1 Cultural Value
5.2.2 Religious Value
5.2.3 Emotional Value
5.3 Inspection & Documentation
5.3.1 External Architectural Features
5.3.2 Internal Architectural Features
5.3.3 Artifacts Observed
5.4 Construction Materials and Technology
5.5 Tiered Temples
5.5.1 Proportions in Tiered Temples
5.5.2 Proportions in Kumbeshwar Temple
5.6 Proportions in Kumbeshwar Temple
5.7 Restoration : Post Earthquake 2015
5.8 Proposal
5.8.1 Prevention Of Deterioration
5.8.2 Consolidation
5.8.3 Preservation
5.8.4 Maintenance
5.8.5 Restoration
5.9 Issues And Recommendation
5.10 Conclusion
6.0 Bhimsen Stambha (Dharahara)
6.1 Introduction
6.2 Materials
6.3 History
6.4 Socio-Cultural Significance
6.5 Site Inspection
6.6 Preservation
6.7 Modification
6.8 General Survey and Questionnaire
6.9 Issues and Recommendation
6.10 Conclusion
7.0 Architectural Overview Comparision
8.0 Refrences
9.0 Gallery
1.0 Introduction to conservation
Conservation is a crucial process aimed at prolonging the integrity of built heritage through strategic
interventions. It encompasses preserving architectural, social, and cultural values, ensuring future
generations can appreciate and learn from our past. Heritage buildings serve as tangible links to our
history, reflecting the architectural and cultural richness of a nation. By safeguarding these structures,
we maintain a sense of identity and continuity amidst rapid societal changes. Preserving heritage not
only fosters cultural appreciation but also stimulates economic growth, particularly through tourism.

Conservation efforts involve a meticulous process of identifying, documenting, and analyzing

heritage buildings to understand their significance and assess their condition. This often includes
architectural surveys, structural assessments, and historical research to ensure accurate preservation.
Conservation interventions are carefully planned to mitigate deterioration and address any threats to
the building's integrity, such as weathering, pollution, or neglect.

Moreover, conservation goes beyond just physical preservation. It aims to maintain the cultural and
social value of heritage sites by engaging with local communities and stakeholders. This may involve
educational programs, cultural events, or adaptive reuse strategies that ensure heritage buildings
remain relevant and accessible to future generations.

In essence, conservation is a multifaceted endeavor that requires collaboration, expertise, and

long-term commitment. By preserving our built heritage, we can enrich our communities, inspire
creativity, and cultivate a deeper appreciation for the legacy of past generation.

2.0 Purpose of selection

The selection of the Kumbeshwar Temple aims to provide visitors with an immersive experience into
Nepal's cultural and architectural heritage. By preserving this sacred site, the endeavor seeks to
safeguard not only the architectural grandeur but also the spiritual significance embedded within its
walls. Through careful conservation efforts, the historical background, intricate architectural details,
Furthermore, the constructional techniques and materials used in its creation, the preservation
initiative aims to contribute to the broader understanding of traditional Nepali craftsmanship.
The selection of the Dharahara for architectural conservation is driven by its pivotal role as a symbol
of Kathmandu's architectural prowess and historical significance. As an iconic structure, the
preservation of Dharahara serves to honor Nepal's heritage and provide a tangible link to its past for
both locals and visitors. By safeguarding this monument, efforts are made to retain its cultural value
and ensure that future generations can admire and learn from its architectural brilliance. Additionally,
the conservation of Dharahara may serve as a beacon of resilience, particularly in the aftermath of its
destruction in previous disasters, symbolizing the determination to rebuild and preserve Nepal's
cultural landmarks.

5
3.0 Objectives
Conservation research studies for heritage projects typically aim to achieve a variety of objectives,
which may include:

Documentation and Assessment:

● To document and assess the current condition of heritage sites, artifacts, or cultural practices.

● To identify threats, risks, and vulnerabilities to heritage conservation.

Historical and Cultural Research:

● To conduct research into the historical and cultural significance of the heritage site or artifact.
● To explore the socio-economic, political, and environmental contexts that have influenced the
development and preservation of the heritage resource.

Conservation Techniques and Technologies:

● To investigate and develop innovative conservation techniques and technologies.
● To assess the effectiveness of different conservation methods in preserving heritage assets
while minimizing damage or alteration.

Preservation Proposal:
● To develop comprehensive preservation plans outlining strategies for the protection,
maintenance, and restoration of heritage assets.
● To prioritize conservation efforts based on the significance and condition of the heritage
resources.

Tracing the issues and necessary recommendations:

● To trace out the prevailing issues and recommending possible solutions through the precise
study of the the site,

Consolidating the fabric of the building

● To ensure continued durability or structural integrity of the heritage site.

Restoring the building to original design and material

● . To attain the original state of the building in harmony with close inspection and should not
falsify the historical and artistic evidences.

Rehabilitating the building without destroying its character

For replacing missing significant features of the building

● The analysis or inspection gives us a method by which, if the authenticable element of the
monument is missing it can be replaced.

By addressing these objectives, conservation research studies contribute to the sustainable

management and protection of cultural heritage for present and future generations.

6
4.0 Methodology
4.1 Primary Sources

Inspection
To conduct a thorough inspection on the site, we carefully observe the different parts of the temple or
monument while considering its religious, cultural, social, archaeological, and geographical
significance. We also pay close attention to its structural strength, the materials used in construction,
and its architectural characteristics.

Questionnaire
We conduct interviews with local residents and experts to gather information. We seek insights from
local people who have knowledge about the area and its history, as well as opinions from experts who
can provide valuable insights into the preservation and significance of the temple or monument.

4.2 Secondary Sources

Library Records
We referred to several books written by Nepali authors on Nepalese Temple Architecture, such as
"Temples Of The Nepal Valley" by Sudarshan Raj Tiwari. The knowledge we gained from these
sources proved valuable in identifying errors in our case study.

Internet
A great deal of information regarding temples and patan was gathered from the internet. We also
gathered information about the Nepalese temple architecture.

Museum Visit
In the illustrious halls of the Patan Museum, we unearthed treasures that transcended time itself:
ancient depictions capturing the grandeur of Dharahara and other monuments before and after the
devastating earthquake.

7
5. Kumbeshwar Temple
5.1. Literature Review
5.1.1 Introduction

Location: Patan, Nepal

Architectural Style: 5-Storied Pagoda Temple
Constructed by: Jaya Bhima under King
Jayasthiti Malla (originally in 1392)
Renovated: 1809, 1934, 1967, and 2015
Deity: Shiva
Present Status: Renovated after 2015
earthquake
Managing Body: Kumbeshwar Development
Committee
Fig. Kumbeshwar Temple in its present condition

The Kumbeshwar temple, Patan is one of the oldest Hindu temples dedicated to Lord Shiva as
indicated by the large Nandi facing the temple. It is one of the two free standing five-storied temples
within the valley which was originally constructed as a two storied shrine by King Jayasthiti Malla in
1392, however, the additional 3 stories were given by King Srinivas Malla during the 17th century.
The temple is noted for its graceful proportions and fine, artistic wood carvings.

5.1.2 Site and Surrounding

Fig. Aerial View of Kumbeshwar Complex 8

5.1.3. Kumbeshwar Temple Complex
1. Konti Hiti
2. Vishnu Icon
3. Ganesh Temple
4. Misa Hiti
5. Main Entrance
6. Tank
7. Gaurikund Temple
8. Gilded Bull
9. Kumbeshwar Temple
10. Baglamukhi Temple
11. Meeting House
12. Enshrined Stone
13. Narayan Temple
14. Garudasana Narayana
15. Harati Temple
16. Lalitadevi
17. Manakamana
18. Ganesh
19. Wall with various old sculptures
20. Kailash
21. Image of Unmatta Bhairav
22. Image of Harihara

Fig. Temples, sculptures, and hitis located within the Kumbeshwar temple Complex

Kumbeshwar Temple is located within the Kumbeshwar

Temple Complex. The Complex is located 200m north
from the Patan Durbar Square. It lies in Preserved Cultural
Heritage Sub-zone.

The complex has a spacious courtyard which encompasses

several Licchavi and Malla temples and shrines within its
territory, including Baglamukhi, Ulmanta Bhairav,
Badrinath Temple, Kedarnath Temple, Char-Narayan
Temple, Gaurikund Temple houses the water spring whose
source is believed to be Gosaikunda Lake, Harati temple,
and Kedarnath Temple. Similarly, the complex houses a
natural spring covered by white, domical Gaurikund
Temple, which is believed to originate all the way from
Gosaikunda Lake. The spring fills the nearby ponds - Konti
hiti, Misa hiti, and Kumbeshwar Pokhari. It is believed that
taking a dip in the ponds is equivalent to doing the same in
Gosainkunda.

The sunken water fountains indicate that the site is a very

old. The chaitya located in the Misa Hiti dates from the
Lichhavi period, which was renovated by a goldsmith in
1414. On the right-hand side, as we go from Patan to Legend
Kumbeshwar, below the two-storeyed sattal, lies the main
Preserved Monument Sub-Zone
entrance to the complex. Just outside the door are two Preserved Cultural Heritage Sub-Zone
9
statues of Mahakala.
 5.1.4.Mythology
Patan has an intricately woven history with
Kumbeshwar temple and Kontihiti. According to
local stories, a farmer who had leprosy came
where the temple is located now because the
grass was better for his cow. One day he stuck
his wooden pole into the ground and discovered
a water source. When he drank from it, he was
miraculously cured of leprosy. Meanwhile, his
pole had been magically bound to the spot. That
evening on his way back he saw the king passing
by. He stepped off the road as was the custom for
someone with leprosy. The king, however, saw
no trace of the disease. Indeed the king found the
man so handsome that he gave him a new name
"Lalita" or handsome. The king knew a miracle Fig. Kumbeshwar temple before 2015 earthquake

had occurred. Also the king had a dream that night in which he was told that there was a famous linga
called Sarveshwar (Kumbeshwar) buried just to the south-east of the water tank where the farmer had
drunk. He should find the linga and found a city there called Lalitpattana or Lalitpur. The tank in
question is the large tank in the northwest corner of the compound. It is filled from a spring which
appears in a stone ‘pot’ (kumbha, hence the name Kumbeshwar, ‘lord of the pot’). This mythical
connection links the site of Kumbeshwar to the founding of the city of Lalitpur, and suggests that the
city did indeed grow up from a nucleus around this area.
Another mythological connection is made between Kumbeshwar and Gosaikunda, the holy lake.
According to the story, a devotee of Shiva dropped his water pot in Gosaikunda and it emerged in
Kumbeshwar. Similarly, a local man lock his duck in Kumbeshwar and found it again when he went
on pilgrimage to Gosaikunda.

5.1.5. Historical Timeline

Original construction Top
under King Jayasthiti Royal Attention destroyed
Given its centrality to the city of Patan,
Malla various 18th and early 19th-century kings by 2015
Under benefactor Jaya Bhima as donated land and statues and even had the Earthquake
an act of merit to cure his wife’s temple's bell recast in 1802. Reconstructed to
fever. However, it was only two original design
storied at that time. after 2015

1672 1808

1392 1802 2015

Additional 3-tiers Toppled by Earthquake &
Additional three tires Reconstructed
were later added by King After 1808 earthquake toppled the
Srinivas Malla when he original temple, it was rebuilt under a
regilded the temple
wealthy man, Hanuman Singh, and his
three brothers.

Fig. Major events in history of Kumbeshwar Temple 10

History
The main temple was originally built during the reign of King Jayasthiti Malla in 1392. An inscription
records that the temple’s benefactor was Jaya Bhima, a wealthy man who offered to construct the
temple as an act of merit to cure his wife’s fever. Although she ultimately succumbed to her illness,
Jaya Bhima remarried but followed through with his commitment, constructing the basis of the
monument that we see today. However, it may have had only two roofs. The additional three tiers
may have been added in 1672 by King Srinivas Malla. The temple received considerable royal
attention in later centuries. In 1701, King Yog Narendra gave land to revive a guthi for the worship of
Sarveshwar, of Narayan, and of the goddess Harisiddhi. In 1735 King Jaya Vishnu gave the gilt bull,
Shivas mount, in front of the main shrine. Various 18th and 19th century kings donated land and
statues and even had the temple’s bell recast in 1802. However, disaster struck in 1808 when an
earthquake toppled the original temple. It was then rebuilt by a wealthy individual, Hanuman Singh
Amatya, and his three brothers in 1809. In 1811, they repaired the tank and donated a golden
Uma-Maheshwar image, and in 1815 they donated the gilt door to the main shrine. However, smaller
structures appear to have survived, such as shelter over the entrance gate, dating from 1780.

2015 Massive Earthquake and its Impact on Kumbeshwar Temple

Before 2015 Earthquake During 2015 Earthquake Reconstruction Post Reconstruction

More recently, the Kumbeshwar temple was moderately damaged by the April 2015 earthquake,
damaging the upper three stories. In 2017 several of the buildings and shrines with the complex were
freshly painted and cleaned up. The main temple was renovated in 2022 under collaborative efforts
of Ministry of Culture, Tourism, and Civil Aviation, Department of Archaeology, Nepal, and
Monument Protection and Palace Care Office, Lalitpur. Restoration concluded in 2022, with the main
mandir regaining its original appearance.

11
5.2. Socio-Cultural Significance
5.2.1. Cultural Value:
On the full moon in August called Janai Purnima in Nepali, when the annual pilgrimage to
Gosaikunda takes place, there is also a big festival at Kumbeshwar, which acts as substitute for those
who cannot make the trip to Gosaikunda. For 11 months of the year the main linga of Kumbeshwar is
covered by a gilt copper sheath showing four faces of Shiva. In the month before the festival this is
replaced by a holy serpent coiled up in a spiral. The night before the festival the tank in the north west
of the compound is flooded to about five feet deep, and the serpent sheath is enshrined on a platform
in the middle. The following day thousands of devotees queue up to make their offerings to Shiva
encased in the serpent.

5.2.2. Religious Value:

A large no. of devotees visit Baglamukhi on Thursdays & Shiva Temple on Mondays. Also, the
temple expects maximum visitors during festivals like Teej, Bala Chaturdashi, and Shiva Ratri.

5.2.3. Emotional Value:

People visit Kumbeshwar complex for social interactions and refreshments. Similarly, various other
rituals like Lakh batti, Bhoj, Bhajan, Baratabanda, Marriage Ceremony, Gupha, etc. are periodically
organized by local people at the temple complex. The temple complex also has an open space to cater
rituals for private purpose which has became one of the major financial source of temple.

Fig. Kumbeshwar Pokhari during Janai Purnima: the linga with a serpent coiled around it is displayed in the middle of
the bathing tank

12
5.3. Inspection & Documentation
Architectural Features

Kumbeshwar Temple stands as a distinct example of

traditional multi-tiered Nepali temple architecture -
‘Five Tiered Pagoda Style’. It is one of the ornately
decorated free standing Hindu temples. One can see
skillfully and intricately carved detailed motifs,
deities, floral patterns, and mythical creatures on the
wooden elements of the temple, including struts,
doors, windows, toran, & cornices.
Fig. Kumbeshwar Temple as seen from the south east.

The temple primarily consists of the sanctum in its semi-open sanctified room and its multiple
overhanging roofs. It is tentatively squarespace formed by 0.75m thick brick wall punctured with
doorways and framed openings in carved woodworks on all four sides. It is topped by multiple
overhanging roofs composed like a pile of pyramids of sharply reducing sizes in ascent. The large
overhangs of these hipped roofs are supported by wood-carved struts that are placed on the body of
the wall and reach out and upwards to meet the eaves. The brickwork in the core wall is divided into
two sections by an elaborate continuous cornice placed just below the springing level of strut and
taken round the core. The roofs have a structure of timber beams in a fanning pattern and capped by a
finial of gilded copper. The temple is perfectly symmetrical about its central vertical axis and all four
elevations are same.

Opposite the main door, past the bull Nandi, is the main entrance to Kumbeshwar shrine. Inside the
main shrine, the linga, usually covered by flowers and other offerings, can be seen. The main struts of
the temple show different Bhairava with female consorts. Four-headed and multi-armed forms of
Bhairav also appear in the panels at the side and bottom of the doors that are oriented in each cardinal
direction. It is inscribed that the temple was built in the form of Sivalayam devalayam prasada. It
rises on a single plinth with a sanctum core prasada having triple portals. The main portal doorways
have trefoil arches on side door panels and a torana arch over the central door. The new projection of
the eightfold gavaksha architectural features sanctifies the astabaktra imagery in the avarana temple.

Fig. Kumbeshwar Temple: Elevations: East (1st from left), North (2nd from left), and South (3rd from left) 13
Documented data rough sketches

Fig: plan of Kumbeshwar temple

Fig: measurement done in elevation

14
5.3.1. External Architectural Features

Gajur

Tiered roof overhang Corner tile (kuapa)

projection

Corner strut with leonine

motifs
Wind bells with
leaf
Strut showing different
Bhairava with female
Brick wall
consorts

Rafters (musis)
Chappajhya in
upper floors

Beam joint 0.56m thick brick wall

Gilded copper Ridge tiles

roof

Cornice carved in Torana arch

tiger faces above door

Blind alcove Triple portal

window on either doorways with
side of the door trefoil arches

Stone
sculpture of
Bhairab

0.6m high single

brick plinth with
stone topping

Fig. Kumbeshwar Temple and its major exterior components

15
5.3.2. Internal Architectural Features
Plan

1.7 m wide circumambulatory on all sides

0.75m m thick outer brick wall on four

sides with punctures for the placement of
doors and windows
Triple portal doorways with trefoil arches
on side door panels & a torana arch over
the central door.

4.3m*3.56m garbhagriha with North

Facing Shiva Linga
7.97m*7.63m sanctuary

False window miniature torana above it

0.6m high single plinth

Lion guards on either side of the entrance

Nandi on stone platform facing the temple

Fig. Kumbeshwar Temple ground floor plan

The ground floor consists of the garbhagriha which houses Shiva Linga, above which are the five to
protect the deity. The garbhagriha is surrounded by thick compound brick walls in two layers. The
space between the walls is called circumambulatory which acts a boundary between the sacred and
the mundane aspects of the world. The upper floors are not accessible and hence are not functional
serving the aesthetic purpose only. The plan of cella and the overall shape, size, and elevation of the
temple is determined by the deity in house. Therefore, the plan and elevation of Kumbeshwar, to
house lord Shiva, comprises of nearly square room, open on all four sides and encircled by a second
wall, which has a wide doorway on each of its four sides. The deity, Shiva, is centrally placed in the
cella. The puja is performed in the cella, which is located above one plinth step. The puja enables
communion between the god in the small cella and the devotee under the shelter of the dega’s roof.

16
Fig. West entrance: Lion guards and Nandi Fig. Top view from space between sanctuary and altar
Internal Architectural Features
Section

The ground tier is composed of two areas, outer and inner one. The outer area serves as a sanctuary
and the inner one as an altar. The sanctuary is 7.97 * 7.63m2 in plan while the altar is 4.30 * 3.56m2.
The first tier rises from the altar and the dimension in plan is the same as the altar. The second tier is
3.30 * 2.25m2. The third tier is 2.00 * 1.39 m2. The fourth tier is 1.60 * 1.20m2. The connection
between the walls of the altar and sanctuary is provided by timber beams whose section is 75 *
100mm2. These beams are located beneath the ceiling of the sanctuary. From the second tier to the
fourth tier, part of the wall of the upper tier sits on that of the lower one. The height of the ground tier
is 8.37m while that of the first tier is 4.70m. For the second, third and fourth tier, the height is 3.39m,
2.77m and 2.38m, respectively. The height of the pinnacle is 2.86m. The total height is 23.57m. The
walls of the sanctuary sit on a solid stone foundation whose section is 0.47 * 0.75m2 . The wall of the
ground and the first tier is 0.75m thick. The average thickness of the wall of the second, third and
fourth tier is 0.56m. The masonry is composed of burnt solid bricks and mud mortar.

The roof of each tier demonstrates a complicated structural system, consisting of timber rafters, joists
and beams. The section of the timber rafter is 100 * 75mm2. These rafters are supported by diagonal
timber joists whose section is 2.85 * 1.75m2. The timber beams compose a horizontal frame at the
height of the connections of the joist and rafter. At the connection of these timber members, timber
pegs are used. The section of the timber beam is 100 * 75mm2. Timber panels rest on the timber
rafters and are covered with steel plates. The thickness of the timber panel is 30mm while that of the
steel plate is 7mm.

17
Fig. Kumbeshwar Temple: Elevation Fig. Kumbeshwar Temple: Sectional view
5.3.3. Artifacts Observed

SN. Artifacts Number Description Image

1. Doors & Outer Wall - 4 Intricately carved wooden three-bay

Openings Inner wall - 4 door with trefoil arches
Total - 8

2. Windows Ground Tier - 8 Decorative wooden alcove window

First Tier - 12 or false window with miniature
Second Tier - 12 torana on either side of the main
Third Tier - 12 door in the ground floor, &
Fourth Tier - 12 Chhapajhya on upper floors
Total - 56

3. Facade Ground Tier - 24 The main struts show different

Struts First Tier - 24 Bhairava with female consorts. The
Second Tier - 16 total no. of facade struts is 88.
Third Tier - 16
Fourth Tier - 8
Total - 88

4. Corner Ground Tier - 4 Leonine motifs from the corner

Struts First Tier - 4 struts on the underside of lowermost
Second Tier - 4 roof. The total no. of corner struts is
Third Tier - 4 20.
Fourth Tier - 4
Total - 20

5. Torana 4 - 1 on each Symmetrical, semi- circular

facade intricately carved wooden torana or
tympanum decorate the main
entrance door in each cardinal
direction

6. Shiva 1 centrally placed North facing centrally placed Shiva

Linga Linga in the altar usually covered by
flowers and other offerings, can be
seen

7. Bells with West Facade - 2 Bronze bells hanging on stone frame

frame South Facade - 1 on either side of the door

8. Lion 2 on either side of Pair of stone lion guards are erected

Guards the main door on either side of the main entrance
which are believed to provide
protection against real and
18
imaginary enemies to the temple
5.3.5. Artifacts Observed

SN. Artifacts Number Description Image

9. Nandi 1 Brass statue of sacred bull, nandi

placed near the entrance. Nandi sits
above the stone raised platform.

10. Gajur 1 Gold plated gajur/ pinnacle is placed

on the top tier directly above the
shrine.

11. Stone 2 Four-headed and multi-armed forms

Sculptures of Bhairav appear at the sides
bottom of the main doors in west
facade. Above them are seated
Mother Goddesses, each on a
different mount.

12. Diyo 3 Two diyo stambha are placed beside

Stambha the main entrance where devotees
light lamps as offerings. The third
Deepstambh follows the
circumambulatory path, allowing
devotees to light lamps as they walk
around the temple.

13. Wind bells Ground Tier - 132 They hang from the overhanging
with leaf First Tier - 92 roofs on a chain and sway in the
Second Tier - 92 wind. The bell plays a delicate
Third Tier - 66 sound which helps give the temples
Fourth Tier - 40 tranquil aura. They are cast from
Total - 422 solid brass and hang from a chain
with a hanging hook.

19
Fig. Kumbeshwar Temple: Wind bells hanging from the overhanging roof
Struts
The real pronunciation of a strut in Newari is
twaanaasin meaning the tibia made of wood.
Twaanaa means tibia and sin is the Newari word
for timber. The primary function of a strut
(twaanaasin) is to support the heavy weight of the
flaring canted roof of the Nepalese structures and
keep the structure stable then transmit the weight
coming down from up to the spinal wall finally to
the gravity in order to keep the temple standing
and make that stable even during the earthquakes. Fig. Kumbeshwar Temple: Struts
They're placed diagonally between columns and beams to add support, structural stability and
aesthetic beauty to the temple. They are intricately carved with religious motifs and mythological
scenes, showcasing the skill of the artisans and adding to the temple's grandeur and cultural
significance. The total numbers of struts in whole temple is 108.

Door
The main door of the Kumbeshwar
temple is unique. It's made by
combining smaller doors into one large
unit, similar doors, you'd find in
monasteries or priest houses. There are
three door units, but only the middle
Cornices Torona
one is opened regularly for rituals. The
other two doors are kept closed and are
only opened during major festivals like
"Janai Purnima." Interestingly, this
special door is found on every side of
the temple, making it symmetrical both
vertically and horizontally. It's a
significant feature of the temple's
design and adds to its beauty and
spiritual importance.

Fig. Shrines main door

The Kumbeshwor temple has an additional opening

around the altar, resembling the main door's middle
opening. It features a steel mesh for safety, allowing the
pujari to pass ritual items to devotees while maintaining
security. This design ensures smooth ritual conduct and
preserves the sanctity of the sacred space.
Shrines
secondary Total no of external main door :4
opening Internal opening door :4
Total no. of doors: 8
20
Windows

Kumbeshwar temple has different types of windows. Windows on ground floor are decorative rather
than functional. We can find blind windows with miniature torona attached above and below it. in
either side of door in each elevations while in upper tiers Chhapajhya can be seen. It can be clarified
from given picture. The lattice windows are decorative openings made of wood with intricate lattice
patterns. They provide ventilation and light while offering privacy and security. These windows
feature elaborate carvings, adding to the temple's beauty and cultural significance.

Construction Technology: The window construction s done in double frames. The inner frame
(duchubaha) is structural and tied to the inner ma-apa section of the brick walls and the outer frame
(puratva and mubaha set) is simply attached to the facing brick and the inner frame system from the
outside. The carved elements are on outer frame and can be replaced without dismantling the
structural frames.

Fig. Blind Alcove

Floor Blind window (No.) Chhapajhya (No.)

Ground Tiers 8 0

First Tiers 0 12

Second Tiers 0 12

Third Tiers 0 12

Fourth Tier 0 12

Fig. Lattice window on first tier of Total 8 48

the temple 21
Nandi

The Nandi of the Kumbeshwar temple is a statue of a sacred bull

placed near the entrance. Nandi is a devoted follower of Lord
Shiva and is often seen sitting outside Shiva temples. It's usually
made of metal, sitting above the stone raised platform and adorned
with decorations. Nandi holds significance as a guardian and
symbol of devotion to Lord Shiva. People offer prayers to Nandi
before entering the temple, believing it acts as a mediator between
them and Lord Shiva, seeking blessings and guidance on their
spiritual journey.

Bells

The main bell of the Kumbeshwar temple, intricately designed and

cast from metal,is usually suspended from a sturdy frame within
the temple's premises, holds a central place in Hindu rituals and
ceremonies. Its melodious chime is believed to dispel negative
energies and awaken the divine presence, guiding devotees on their
spiritual journey. As devotees enter the temple, they ring the bell to
announce their presence and seek blessings, while priests use its
resonance to accompany sacred chants and prayers, creating a
tranquil ambiance for worship and meditation. There are altogether
3 main bells: 2 at West and 1 at south .

Metal Flags

The metal flag atop the Kumbeshwar temple symbolizes victory,

prosperity, and spiritual power. It serves as a distinctive marker of
the sacred site, sanctifying the temple complex and inviting
devotees to offer prayers. Additionally, it reflects the rich cultural
heritage and religious traditions of Hindu temples in Nepal. There
are two metal flags at main door at west elevation on either side of
door .

Deepstambh

In the Kumbeshwar temple, there are three Deepstambh. Two are

situated beside the main entrance, adorned with lion guardians,
where devotees light lamps as offerings. The third Deepstambh
follows the circumambulatory path, allowing devotees to light
lamps as they walk around the temple. These deepstambh, made of
sturdy materials and decorated intricately, symbolize the spreading
of divine light and blessings throughout the temple complex,
enhancing its spiritual ambiance. 22
Gajur (Finial)
The "gajur" or "gajura" in Nepali refers to the pinnacle or
spire crowning the topmost part of the temple's main
structure.

Symbolism: The gajur symbolizes the highest point of the

temple, representing spiritual elevation and the connection
between the earthly and divine realms. It serves as a visual
focal point, guiding devotees' attention upwards towards
the heavens and the divine presence.

Spiritual Significance: As the highest point of the temple,

the gajur is associated with divine blessings and protection.
It is believed to radiate positive energy and blessings to all
who visit the temple, enhancing their spiritual experience
and fostering a sense of reverence and awe.

Overall, the Gajur of the Kumbeshwor temple is not only a striking architectural feature but also a
symbol of spiritual elevation, cultural identity, and divine blessings, enriching the spiritual experience
of devotees and visitors alike. Its is constructed from gold plated bronze , it requires regular
maintenance to preserve its significance. Its composition shows a kalas with lotus bud cover set on a
representation of lotus seat, all piled on bell shaped base .

Torana
An important woodwork element that has
only ritual and decorative function is
semicircular tympanum (torona) placed over
the main ceremonial doorway or windows of
temple . The tympanum is held with top part
projecting forward, its carved surface at an
incline and with its base resting on the lintel
of the doorway . The layout of the
semicircular torona is ritually standardised
with the motif of Garuda or chhepu at the
head and crocodiles (makara) facing
The torana is believed to
outwards at the diametric ends at the base bestow blessings and
flanking a semicircular medallion with a protection upon those who
group of three or five images of which the pass through the entrance.
central one is of the god image housed in Placing the torana above
temple and other are either guarding dieties the entrance holds
or subsidiary power image of central deity. symbolic importance in
Cheppu is an image similar to kritimukh and Hindu and Buddhist
architecture. It signifies the
symbolises cyclical time and timelessness of
transition from the secular Fig, Torona above blind
god idea . likewise , makara symbolises world to the sacred space alcove of Kumbeshwor
water while Garuda symbolises strength and temple 23
within the temple or shrine.
divine protection.
5.4. Construction Materials and Technology

● Many temples in Newari architecture, relies on a variety of materials for its construction and
decoration. These materials include brick, stone, mud, tiles, wood, and metal. They are used
both for the structural framework of the temple and for enhancing its aesthetic appearance.
● Traditionally, the temple was constructed using stone for the base, brick for the walls, wood
for structural elements, jhingati tiles for roofing, and metal for decorative pinnacles. These
materials not only provide strength and support to the temple but also contribute to its unique
and ornate design.
● Likewise , The Kumbeshwor Temple, Lalitpur, is a prime example of Newari architecture. Its
foundation is built with strong stones, providing a solid base for the temple. Above this, the
temple's walls are made of sturdy bricks (burnt solid bricks ) held together by a mixture of
mud or lime. These materials make the temple strong and durable.
● Inside, the framework of the temple is built using Sal wood, known for its strength. This wood
supports the entire structure and keeps it stable.
● On top of the temple, you'll find a shiny roof made of metal sheets, often copper or brass.
These sheets protect the temple from rain and shine, while also making it look beautiful.
● Decorative pieces made of copper or brass, like spires and ornaments, add to the temple's
beauty. They are like the finishing touches that make the temple special.
● Overall, the Kumbeshwor Temple is a wonderful blend of stone, bricks, wood, and metal,
creating a stunning piece of architecture that reflects the talent and heritage of Nepal's Newari
people.

24
Construction Materials
Here is the details of materials used in specific places
● Stone: Various types of stones, such as red bricks and locally available stone blocks, were
used for the construction of the temple walls and structural elements. The stones were
carefully carved and placed to create decorative motifs and intricate details.
● Wood: It was used for the intricate wooden carvings, beams, columns, and roof structures.
Skilled artisans crafted elaborate carvings on the wooden elements, showcasing their artistic
craftsmanship
● Brick: Bricks were used in the construction of the temple walls and inner chambers. The
bricks were placed in intricate patterns to create visually appealing designs.
● Mortar and Plaster: A mixture of lime, sand, and water was used as mortar for binding the
stones and bricks together.

Details of East Torona

Decorative and carved Sha Jhya
(wood) in lintels ,struts , toran etc

Metal roof supported by timber rafter Burnt brick wall and stone plinth with door deities
sculpture
25
Construction Technology
● Traditional Construction Techniques: The construction of the Kumbeshwar Temple followed
traditional Newari architectural techniques. These techniques emphasized interlocking
construction, where stones and bricks were placed precisely to ensure stability and structural
integrity. Wooden beams were typically joined using intricate dovetail joints or wooden pegs.
● Pagoda-style Roof: The Kumbeshwar Temple features a pagoda-style roof, a hallmark of
Newari architecture. Multiple levels of these roofs are layered on top of each other, creating a
tiered effect.
● Carvings and Ornamentation: Skilled artisans carved decorative motifs, deities, floral patterns,
and intricate designs on beams, columns, windows, and other architectural elements

Wooden pegs

Rough Sectional drawing Of Kumbeshwor temple with

measured plan

Details at A

Interlocking of wooden
beams

26
Construction Technology
Substructure
Foundation
The foundation consists of a few layers of a few layers of
natural stones followed by brickwork which gradually attain
the wall thickness of the ground floor i.e. 0.75m. The single
level plinth of height 0.6m extends in front of the raised
ground floor brickwork as a protection against damp
penetration and to give the appearance of lifting the building
above the road level.

Superstructure
Walls Fig. Foundation Details

The walls enclosing the sanctum are done in bricks

with mud-mortar. The wall construction is a
composite of kiln-fired rectangular bricks (ma-apa) on
the inside and glazed rectangular facing bricks on the
outside. The two layers are toothed and linked. The
facing brick (dachi-apa) is wedged shaped so that
there is minimum exposure of mud-mortar to
weathering. The load bearing brick wall is tied at
several levels with horizontal ties such as cornices,
Fig. Load bearing brick wall section simhamora.

The structural system consists of two core load bearing walls surrounding the sanctum core. This
arrangement has led to the formation of inner circumambulatory and also provides the building up of
inner wall to form the upper core to support upper roofs.

Cornice Details

The cornice, mikhafusi, supporting the lower

end of slanting roof struts is formed by
different projecting carved timbers and two
layers of projecting moulded bricks,
karnesappas, which overlap at the corners of
the building to become an important decorative
building element. The string course in cornices
have frill pattern in wood. Wood with
simhamvah patterns are laid which symbolizes
Fig. Section and Elevation of Cornice
the seat of lions.

27
Superstructure
Roof

The roof overhang in the temple is about 2.6m. It is of

purlined construction with rafters (musis) of the topmost
roof meeting on a central post (tham). The ridge piece
(dhuri) rests on a row of simple vertical posts (dhuri tham).
The wallplates (nas) rest on low sleeper walls that are an
extension of the lower wall structure, and the roof plate rests
on slanting struts. Wooden nails (chukus) keep the various
components in place.

Rafters and floor beams are spaced at intervals of 10 cm.

The rafters slope outwards and overhang to reach the eaves
beams that are propped up by its set of inclined struts. With
the main rafters placed along the hipped ridges of the roof,
the rest of the rafters again form a fan pattern around the
central kingpost. The roof is covered with copper metal. The
corner at the junction of the eaves is emphasized by a corner
tile (kuapa) designed in the shape of bird (gwagacha). The
special feature of the roof is pinnacle (gaju) which is bell
shaped and made of gilded sheet copper. The gajur, which
covers and seals the complex joints of rafters, is supported
by the kingpost. The construction purpose behind
wide-base of the finial is to prevent the ingress of the water
from the top and thereby protect the vulnerable joint and
timber elements meeting there. Fig. Section showing roof details

28
Fig. Roof construction technology

29
5.5. Tiered Temples:
According to the nature of the project of study i.e. Kumbeshwar Temple, we have studied various
journals on planning, designing and mechanisms and taken references of the already built buildings
which are in operation currently.

Some of the notable examples from the Malla Period are described below:
Temples of that period signify the Shikhara style features. Also, tiered form of temple with the
increasing height can be observed in these temples.
• Tripurasundari Dyochhen, Bhaktapur: 1467 CE
• Taleju Kathmandu 1564 CE by Mahendra Malla
• Charnarayan Patan: 1566 CE
• Krishna Temple 1630 CE Siddhinarshima Malla
• Nyatapola Temple 1702 AD: Bhupatindra Malla.
Typology of Tiered Temples
• No. of Tiers: Temples can have varying number of tiers, one, two, three, four, five, etc with upper
roofs in reducing size and upper core walls in reducing sizes.
• Plinth tiers: one, three, five, seven, nine etc.
• Circumambulatory path
i. Outside
ii. Outside + one additional inside
iii. Outside + one additional colonnaded outside
Also there can be more varieties of circumambulatory path like square with wall on one side, square
with Wall on three sides, Square closed single door – external circumambulatory, Square closed
three doors – external circumambulatory and square closed four doors – external Circumambulatory.

Symbolism of Tiered Temples:

• The Cave in the Mountains: Garba-griha
• The Four dimensions: Temple placed on
three major axes: Horizontal two axes – east,
west, north, south and Vertical one axis – z
axis towards the heaven and time.
• The Five Elements: representation of water,
earth, fire, air and void (sun/sky) in a vertical
axis.

30
5.5.1 Proportions in Tiered Temples
Proportioning of Plans:
In tiered temples, proportions are made for both practicality and symbolism. The Vastupurusha
Mandala guides the layout of the plan. Width goes on decreasing with increasing height forming the
triangles in elevation. The square principle shapes the form, with an odd number of bays for balance.
Every element including colonnades, strutting, window positioning to lion faces in cornices, gajurs,
etc. are positioned in odd numbers in the temples built in Malla Period.

Proportioning of Plans

Proportioning of Elevation:

• Plinth doors, horizontal bands above the door in

different motifs and placed in varying levels
showing the level difference among different
elements
• Little cornice where struts rest, bakoo jhya above
the cornice on the wall, one, three, five depending
upon the size of the temple roof and often odd in
number.
• Elevation has been proportioned in specific set of
proportioning and intersecting triangles within
different levels of roof.
• Triangles can be obtained from plan form for
elevation.
• The triangles formed by the intersection are
isosceles triangles. Proportioning of Elevation 31
Proportioning of Elevation:

Proportioning in Elevation

Proportioning in Elevation
32
5.5.2. Proportions in Kumbeshwar Temple
Proportion in Plan
The temple is constructed based on some standards of Newari architecture. It can be observed that the
Kumbeshwar Temple is also constructed based on related anthropometry and standards. We can
observe almost a squared form in the plan of as length and width of are almost equal i.e. (Length=
7.8m and Width= 7.6m). The garbhagriha portion is also proportionate being squared in plan.

Proportioning of Plans

Proportioning of Elevation:

½L
• The five storey of the temple narrows down

⅔ L
proportionately with the increasing height First
two floors are of similar floor height and rest of
⅔ L
the floors narrow down in specific proportion as
mentioned in the figure. •Triangles can be obtained
from plan form for elevation.
¾L

•Little cornice where struts rest, above the cornice

on the wall.
• The triangles formed by the intersection are
L

isosceles triangles.
• Kuapa(Corner tile) of the roof of ground floor
and first floor lie in the same line connecting to the
L

base of top floor.

• Kuapa(Corner tile) of roof of first floor, center of
that of roof of ground floor and the corner ends of Proportioning of Elevation
Proportioning of Elevation 33
plinth lie on a same line
5.6. Preservation and maintenance practices:
Like many historical structures, Kumbeshwar temple has undergone restoration work over the years
to preserve the architectural integrity and structural stability of the temple. This includes
repairing damaged carvings, repaintings, and reinforcing the structure as needed. Every year every
structure and elements within the periphery of Kumbeshwar is painted before Janai Purnima. The
temple is under the care and protection of local government authorities and heritage
organizations. They collaborate with experts, conservationists and historians to develop preservation
plans and guidelines for the temple’s long term sustainability. Efforts are made to document the
temple’s historical background, architectural details, and cultural significance. The
documentation facilitates better understanding and enables informed decision making during the
restoration work.

Documentation inscribed in stone; Shila patra

The temple management committee, bhajan mandal, local people play a significant role to
emphasize the conservation practices within the temple complex and the surroundings. Measures may
include waste management, preserving the surrounding and open spaces, visitor management and so
on. These practices ensure proper behavior and respect towards the temple premises and using
designated pathways to prevent damage to sensitive areas. Different signage, hoodings are put within
the premises of the temple to acknowledge visitors about the importance of the elements and to
encourage responsible behavior towards the temple and its surroundings. The temple authorities
conduct regular inspections and assessments to identify any signs of decay, damage or potential
threats to the temple’s preservation and interventions are then planned and implemented to address
these issues.

Notice boards encouraging the responsible behavior, metal gate in important spaces 34
5.7. Restoration; Post Earthquake 2015

The devastating earthquake that struck Nepal in April 2015 also caused significant damage to
numerous cultural heritage sites, including the Kumbeshwar Temple. After the earthquake, extensive
preservation and restoration efforts were undertaken to repair the temple and restore its architectural
and cultural integrity. Some initiatives implemented after the earthquake:
● Immediate Stabilization: Supportive measures, such as installing temporary wooden beams
and braces, were implemented to prevent any immediate risks.
● Damage Assessment: Experts and conservationists conducted detailed assessments of the
temple's damage, documenting the extent of the destruction and identifying vulnerable areas
that required urgent repair.
● Emergency Repair and Reconstruction: The damaged portions of the temple were carefully
dismantled, and conservation experts, along with skilled artisans, began the process of repair
and reconstruction. Traditional construction techniques were employed to preserve the
authentic architectural features of the temple
● Material Conservation: Traditional building materials such as wood, stone, and brick were
sourced to ensure authenticity.
● Capacity Building: Skilled artisans and craftsmen were trained in traditional conservation
techniques to ensure that the restoration work aligned with the traditional aesthetics and
architectural style of the temple.
● Documentation and Research: Throughout the restoration process, documentation and
research were carried out to gain a deeper understanding of the temple's historical significance
and architectural features.
● Community Participation: The local community, along with heritage organizations, actively
participated in the restoration process. Their involvement helped reinforce a sense of
ownership and responsibility for the temple's preservation.
● International Support: Several international organizations, UNESCO, and foreign
governments provided support and funding for the restoration efforts of the Kumbeshwar
Temple and other damaged cultural heritage sites in Nepal.
35
5.8.Proposal for the conservation of the Kumbeshwar temple
5.8.1 Prevention of deterioration
This is the method of conservation to stop any further decay in an existing accelerated pace.
Prevention entails protecting cultural property by controlling its environment, thus preventing agents
of decay and damage from becoming active. Therefore the prevention includes control of humidity,
temperature and light, as well as measures to reduce atmospheric pollution, traffic vibrations and
ground subsidence due to many causes, particularly abstraction of water.
Accordingly, the following works should be carried here in this complex; The icons and shrines are
embedded on the wall should be properly housed which are likely to be deteriorate due to the climatic
effects, so necessary steps should be taken to prevent such deterioration. Similarly, the cracked
wooden structure of the complex poses a significant preservation concern, requiring attention to
prevent further deterioration.
Small cracks and holes with appropriate stone fillers or epoxy resin to prevent further deterioration.
For the stabilization, grouting and mortar can be used to secure loose stones and prevent movement.
Drainage systems around the temple should be improved to prevent water from pooling on the stone
floor. Similarly regular maintenance schedule to inspect and address any emerging cracks or damage
promptly has to be implemented.

5.8.2. Consolidation
This method seeks to insert some strengthening in elements in case the monument is no longer able to
withstand the decay mechanism on its own. The roofing of the temple was previously done by clay
roofing i.e. Jhingati roofing which is now replaced by copper metal making it waterproof. Existing
structural pattern and form isnot deviated. Originality has been retained in the temple by the use of
local skill. Some of the parts of the temple requires strengthening to some extent which is given as:

Tie everything together

Tying of rafters, columns through beam at optimum level in
such a way that it holds together, also when minor shifts
occur inside the construction. The effect of the tie-together
principle is that the building will not start falling apart or
lose supporting wall pieces, columns or struts making the
complex earthquake resistant.

Reduction of mass:
Reduction of the mass of the walls by reducing the thickness
and weight of the materials used, while strengthening the
internal bonding. Thinner wall partly with hollow blocks, is
one option; introducing wooden post is another making the
structure earthquake resistant to greater extent.
36
For improvement of the Sanctum floor:
● The pasting of bitumen paper between the
brick wall and the wood beam, as well as
under the beams where these are laid on
the stone supports, will extend the lifetime
of the beams.
● The corner connection of the inner
tie-beam can be better made with a
combination of a bolt with grip- anchor
plates, split-ring or toothed ring plates.
The split or toothed ring is embedded
halfway into each beam. This
wood-to-wood connection allows a
30-40% smaller wood dimension than a
half-wood connection. Fig: improvement of sanctum floor

5.8.3. Preservation
This method of conservation seeks to keep the monument in its existing state. Damage and
destruction caused by humidity, chemical agents, and all types, parts and micro-organisms must be
stopped in order to preserve the object or structure. Repair must be carried out when necessary to
prevent further decay and to keep the cultural property in the same state. For preservation following
activities should be carried out;
● The regular inspection of the cultural property should be done and necessary documentation
of historical records, archaeological studies, and any other relevant documentation has to be
kept..
● If any physical damages seen should be treated properly according to its identity and
character immediately.
● Protect the natural environment surrounding the complex, as it can affect the site's long-term
preservation.
● Continuously monitor the condition of the complex and evaluate the effectiveness of
preservation efforts. This allows for adjustments to be made as needed to ensure the site's
long-term sustainability.
● Establish a robust monitoring and maintenance regime to ensure the ongoing conservation
and management of the complex.

5.8.4.Maintenance
The maintenance of the temple complex and its surrounding is community based. Bhajan Mandal is
responsible for the maintenance of the temple premises. Regular cleanliness is performed by the
community. As per the pujari, painting is done yearly before the mela of janai purnima which is an
admirable practice. But still the walls are found to be stained in different parts. For this different
temple conservation and involving parties has to actively participate in controlling deteriorating
behaviours of the visitors.

37
5.8.5. Restoration
Attainment of the original state in totality is called restoration. The objective of restoration is to
revive the original concept or legibility of the object. After the earthquake 2015, extensive
preservation and restoration efforts were undertaken to repair the temple and restore its architectural
and cultural integrity and the restoration completed in 2021 so the temple does not seek further huge
restoration at the current state. The surrounding temples within the complex seeks some degree of
restoration. There are broken and some lost roofing tiles causing vegetation growth in the roof which
need to be replaced to prevent further damage of roofing timbers. The Jhingati tiling can be replaced
by metal tiling so as to keep the roofs waterproof. Bell striker of one of the big three bells was
missing which needed to be restored immediately.

38
Existing drawing and proposed drawing of different sections of the complex:

Fig. Section showing roof details

Rough Sectional drawing Of Kumbeshwar
temple with measured plan

Fig: improvement of sanctum floor

Details at A

Fig. Section and Elevation of Cornice

Fig: Typical weight distribution 39
5.9. Issues and Recommendation
Lighting selection
The corners of the temple is well installed with the big
LED bulbs for the illumination but it somehow creates
visually unpleasing scene. When considering lighting
options for old heritage buildings, it's essential to balance
the preservation of the building's historical character with
the practical need for illumination which seemed lacking.
Soft Ambient Lighting and accent lighting could be better
options to highlight specific architectural features, such as
ornate moldings, decorative columns, or artwork.
Directional spotlights or adjustable track lighting can be
strategically positioned to draw attention to these details
without casting harsh shadows.

Justifiable addition of elements within the premises of

complex

The gatehouse built in 1780 by a wealthy Kathmandu

resident currently accommodating Bhajan Mandals has a
beautiful intricately designed woodworks in the upper
storey as well as the posts and the beams. However, the
blue colored metal bars could have an alternate options as
it seems visually not justifying the building’s historical
values and authenticity.
Interior face of the gatehouse, built in
1780 by a wealthy Kathmandu resident.

Aesthetic degradation due to birds:

From the regular inspection of the site, Pigeon feces on the

roof of complex is seen to be an issue to address cause
aesthetic degradation, environmental contamination, and
attract pests. Implementing measures such as regular
cleaning can mitigate the negative impacts of pigeon feces
on the roofs of Kathmandu heritage sites

40
Covering or grating of apron drain
An apron drain; designed to manage surface water
runoff and prevent it from pooling around a structure
could assist better sanitary maintenance if it was grated
or covered since accumulation of wastes was seen
within. Also complex being high traffic area where
people might trip over it, apron drain is recommended
to be covered for safety purpose too.

Keeping Roofs Waterproof

Improperly maintained tiled roofs (for example, when
broken or lost roofing tiles are not replaced before the
rainy season) allows rainwater to enter in between the
tiles and into the underlying clay pack, causing
vegetation to grow and subsequently the roofing timber
to rot.

Tie everything together

Tying of rafters, columns through beam at optimum
level in such a way that it holds together, also when
minor shifts occur inside the construction. The effect of
the tie-together principle is that the building will not
start falling apart or lose supporting wall pieces,
columns or struts making the complex earthquake
resistant.

Reduction of mass:
Reduction of the mass of the walls by reducing the
thickness and weight of the materials used, while
strengthening the internal bonding. Thinner wall partly
with hollow blocks, is one option; introducing wooden
post is another making the structure earthquake
resistant to greater extent.

41
Repair of the cracks and holes:
Fill small cracks and holes with appropriate stone fillers
or epoxy resin to prevent further deterioration. For the
stabilization, grouting and mortar can be used to secure
loose stones and prevent movement. Drainage systems
around the temple should be improved to prevent water
from pooling on the stone floor. Similarly regular
maintenance schedule to inspect and address any
emerging cracks or damage promptly has to be
implemented.

Termites and its threats:

Termites can pose a significant threat to the intricately
detailed work on the wooden structures. The warm and
humid climate of Kathmandu provides an ideal
environment for termite activity, making it essential for
conservation efforts to include regular inspections,
treatment, and preventive measures against termite
infestations to preserve these valuable cultural assets.

Attention to the wooden cracks:

The cracked wooden structure of the complex poses a
significant preservation concern, requiring attention to
prevent further deterioration.

Timely painting:
As per the pujari, painting is done yearly before the mela
of janai purnima which is an admirable practice. But still
the walls are found to be stained in different parts. For
this different temple conservation and involving parties
has to actively participate in controlling deteriorating
behaviours of the visitors.

Natural decay is another factor, since the Valley's

subtropical climate does not encourage a long life-span
for building materials such as wood, clay mortar and
bricks.

42
Risk of fire and its prevention:

To prevent fire in wooden structures of temples, implement fire-resistant coatings, install fire
detection and suppression systems, conduct regular inspections, and educate staff and visitors on fire
safety protocols.

Other recommendation:
● The houses surrounding the temple should be restored to the original traditional facades so
that the site gets back its true value and form.
● An institutionalized body and yearly evaluation of the conditions should do the monitoring of
the temple condition.
● A team of experts should analyze the temple conditions on yearly basis and suggest for any
repair before it is too late.
● Involvement of the local people in the conservation process and to develop the route as a
tourist street, which will have positive impact on the economy of the locals. The involvement
of the local people will also educate the public about the need of conservation.
● Bell striker of one of the big three bells was missing which needed to be restored
immediately.

Missing Bell striker

5.10. Conclusion
In conclusion, the conservation efforts undertaken at Kumbheswor Temple have been instrumental in
preserving this cultural heritage site following the devastating earthquake of 2015. Through
meticulous reconstruction, the temple now stands proudly with its original three stories rebuilt and an
additional two stories added, reflecting both its historical significance and adaptability to modern
needs.
The comprehensive study conducted on various elements of the temple, including construction
materials and technologies, has provided valuable insights into its structural integrity and longevity.
This understanding forms the foundation for the proposed strategies aimed at further enhancing
conservation and preservation efforts.
Moving forward, it is imperative to continue prioritizing the maintenance and safeguarding of
Kumbheswor Temple, ensuring that future generations can continue to appreciate its architectural
beauty and historical significance. By implementing the proposed recommendations for conservation
and preservation, we can uphold the legacy of this sacred site for years to come, enriching the cultural
fabric of our society and honoring our shared heritage.

43
6.0. Bhimsen Stambha (Dharahara)

6.1. Introduction
Location: Sundhara, Kathmandu, Nepal
Style: Mughal and European Style
Constructed: 1832 by Bhimsen Thapa
Destroyed: 1934, 2015
Reconstruction:.2018-Present(Officially
Completed)
Height: 72m

Dharahara, also known as Bhimsen Stambha, stands in Sundhara, Kathmandu, Nepal, to a height of
72 meters. Originally constructed in 1832 by Mukhtiyar Bhimsen Thapa under the commission of
Queen Lalit Tripurasundari, this iconic tower boasted a spiral staircase with 213 steps and a circular
balcony on its eighth floor, offering views of the Kathmandu valley. However, in 2015 when the
caused significant damage to the structure. Nevertheless, reconstruction efforts commenced in
October 2018, reopened of the tower on 24 April 2021.
● The architecture of Dharahara exhibits a fusion of Mughal and European styles, showcasing
a unique blend of design elements.
● It is widely believed that the original towers drew inspiration from monuments in India, such
as the minarets at the Taj Mahal in Agra and the Qutb Minar in Delhi.
● Bhimsen Thapa, the builder of Dharahara, was a known admirer of the Mughal architectural
style.
● His palace, though now demolished, reflected Mughal influences with a touch of Kathmandu
Gothic.
● The design of Dharahara is thought to have been modeled on Indian structures, particularly
the minarets found at the Taj Mahal complex.
● The architectural influences suggest a connection to the grandeur of Mughal constructions.

6.2. Materials
● The main materials used in the construction of Dharahara were Vajra-Surki (Brick dust),
Chuna (Lime), Maas (Black lentil), and Chaaku (Caramel).
● This combination of materials is considered to be stronger than the commonly used cement in
contemporary construction.
● The combination of traditional materials in Dharahara is believed to be stronger than modern
cement
● Present Dharahara is made up of modern building materials, concrete, steel, floor system of
reinforced concrete beams, etc. 44
6.3. History
● Dharahara in Kathmandu, Nepal, was initially built by Bhimsen Thapa as a watchtower in 1824 at
Janarala Bagh.
● The first tower was destroyed in the earthquake of 1834 and never reconstructed.
● Bhimsen Thapa later built a second Dharahara in 1835 along with Sundhara, dedicated to Queen Lalit
Tripura Sundari Devi.
● On January 15, 1934, another earthquake destroyed the first Dharahara, leaving only two of the nine
storeys of the second tower intact.
● Prime Minister Juddha Shumsher Jang Bahadur Rana undertook renovation work to fully restore the
Dharahara tower.
● After the destruction of the original Bhimsen Tower, Queen Lalit Tripurasundari's tower came to be
known as Bhimsen Stambha (Bhimsen Tower).
● Dharahara was originally constructed as a military watchtower for signaling during incidents of
national importance.
● The tower collapsed leaving only its base standing in the earthquake of 2015
● The tower served as a means to summon people to gather on Tundikhel, the military parade ground, to
hear government announcements.
● Reconstruction started in 2018 and was officially completed in 2021.

Original Dharahara before 1934 earthquake Dharahara before 2015 earthquake

Dharahara after 2015 earthquake Newly built Dharahara on 2018 45

6.4. Socio-Cultural Significance
● Dharahara is a historical landmark, standing
as a symbol of Nepal's rich cultural heritage
and history which contributes to the
country's identity.
● Dharahara holds memories from its first
construction to the present. Queen Lalit
Tripura Sundari, Bhimsen Thapa and also
the people of Nepal, having withstood
earthquakes and reconstruction efforts. Its
resilience is a testament to the strength and
endurance of the Nepali community.

● As a prominent architectural structure, Dharahara attracts tourists and visitors, promoting cultural
tourism and contributing to the local economy.
● The reconstruction and preservation of Dharahara can serve as a symbol of unity, resilience, and
national pride, fostering a sense of belonging among the people.
● Dharahara is an integral part of the Kathmandu skyline, contributing to the city's identity and serving
as a recognizable symbol for both locals and outsiders.

6.5. Site Inspection:

Modifications:
First built : 1835 BS (1778)
Destroyed : 2072 BS
Renovated : Still in process

Dharahara Site : Under Construction

Landscape on the site 46

Pavilion and Pathway towards Dharahara
 Dome and Pinnacle on the top Ganesh Mandir at Entrance

Modernized Approach of Landscape Layout

6.6. Preservation :
1. Post-Earthquake Restoration: The area, including the remains of
Dharahara, is under restoration following the 2072 earthquake, with
visible scaffolding covering the damaged structures.But the Sundhara hiti
(water spout ) is still in the same state . Its preservation work might be
done after the restoration of Bhimsen Stambh .

1. Renovation and Rebuilding: Some temples

and structures existing before the earthquake Remains of Old Dharahara
were being renovated, while emphasis seems
to be on constructing a new, larger Dharahara
adjacent to the original site.

2. Redesign for Modernization: The area's

layout reflected a modernized approach,
focusing on accommodating contemporary
needs, such as parks and other amenities,
reflecting a departure from the site's
Sundhara Current State
historical context.
47
6.7. Construction Material and Technology:

1. Quality Material Usage:

a. Bricks: High-quality burnt first-class bricks, often combined with lime mortar, are
prevalent in the construction, ensuring durability and structural integrity.
b. Wood: Premium-quality wood is strategically utilized in essential areas, reflecting a
balance between traditional building aesthetics and contemporary structural
requirements.
c. Concrete: Reinforced concrete serves as a fundamental material for modern structural
elements, providing strength and stability.
2. Technology Implemented:
a. Modern Techniques: Advanced construction methodologies, including reinforced
concrete structures, are applied to enhance the tower's resilience and strength against
seismic activities.
b. Design Adaptations: Incorporation of modern architectural designs and engineering
methods enables the construction of a safer, more robust tower.
c. Functional Additions: Adoption of modern technology for added functionalities, such
as elevators, safety features, and underground parking, cater to contemporary user
needs.
3. Innovations and Future-Forward Aspects:
a. Sustainable Practices: While specifics may vary, efforts to integrate eco-friendly
practices, such as green building techniques or energy-efficient designs, might be
included in the construction.
b. Smart Infrastructure: Potential integration of smart technology elements like
surveillance, fire safety systems, and other digital advancements to ensure a secure and
efficient environment, integration of lift.
4. Adherence to Safety Standards:
a. Compliance Measures: The construction aligns with local building codes,
emphasizing safety and adhering to regulatory standards for public structures.
5. Overall Integration:
a. Balancing Tradition and Modernity: Striving for a harmonious blend of traditional
architectural heritage with contemporary construction practices to honor the original
structure while meeting the demands of modern safety, functionality, and aesthetics.

Dharahara Under Construction (Reinforced Concrete Structure)

48
6.7. Modifications:
1. Extensive Structural Changes: Notable modifications were observed in various aspects,
including the site's dimensions, building placements, and overall layout.
2. Impact on Aesthetics: The alterations, though accommodating modern design and
technology, seemed to compromise the site's original cultural and historical appeal. The
changes appeared to overshadow the traditional warmth and historical significance that
characterized the original structure.
3. Shift towards Contemporary Needs: The transformation leaned more towards modern
functional aspects than prioritizing the preservation of the site's original cultural heritage,
raising concerns about the potential loss of its historical value.
In summary, the site's ongoing restoration revealed a blend of preservation efforts, the use of quality
construction materials, an integration of modern technologies, and significant modifications that
might have impacted the original cultural essence of the Bhimsen Stambh site.
6.8. General Survey and Questionnaire
Field survey and questionnaire
Regarding the insights gathered from the workers at Bhimsen Stambha (Dharahara), the current phase
of work appears to be in progress, with access to the iconic structure facilitated through both the
underground parking and a primary external entrance. Notably, on the interior, provisions have been
made for easy navigation, including elevator facilities and staircases.
Workers on-site also mentioned the establishment of various structures in the vicinity. Temples, an
administrative office, and accommodations for staff have been visibly constructed, forming a
periphery around the central tower.
Internet Research
According to comprehensive internet research findings, the
ongoing reconstruction project seems to be at around 60%
completion, estimated at a cost of approximately 3.48 billion
rupees.
The proposed area around the tower, encompassing 42 ropani
of land, aims to offer an array of features. These include a
sprawling garden, a museum, an ornate fountain, an Way to basement
exhibition hall, retail spaces, and ample parking. Notably, the
construction blueprint has factored in accessibility, ensuring a
visitor-friendly environment tailored for both children and the
elderly.
Distinctive features are planned for various floors. For
instance, the 18th floor is designated for an observation room,
while the broader premises envision a museum, an artful
water fountain, verdant landscaping, a dining facility, and Escalator to basement
contemporary parking accommodations. Notably, the parking
area is designed to be capacious, with a capacity to house 350
cars and accommodate up to 6,000 two-wheelers.
This collective information reflects the ongoing construction
progress, the range of amenities and features being developed,
and the envisioned aspects of the Bhimsen Stambha
(Dharahara) site, amalgamating insights from workers'
On-site Landscape 49
testimonies and comprehensive online research.
6.9. Issues and Recommendations
● Wall hindering the landscape view
The presence of a boundary wall surrounding Dharahara,
exceeding eye level and obstructing visibility into the
picturesque landscape within, presents a significant
architectural challenge. This design flaw not only limits
the appreciation of the inner beauty and landscape but
also hinders the overall aesthetic experience for visitors.
A lack of transparency in the boundary wall obstructs
potential views and disconnects observers from the
captivating surroundings, highlighting the need for a
more inclusive and visually engaging architectural
solution to enhance the overall experience of Dharahara.
● Old Dharahara in deteriorated state
The old Dharahara, though currently dormant and
neglected, holds immense potential to be repurposed as a
significant architectural element. Rather than remaining
concealed, its weathered facade could be embraced and
highlighted, serving as a poignant reminder of resilience
and history. Alternatively, innovative redesigns could Wall Hindering Landscape View
integrate the structure into new developments, such as
transforming it into an observation deck, cultural center,
or even an art installation. By creatively reimagining its
purpose, the old Dharahara could become a symbol of
regeneration and cultural preservation, enriching the
urban landscape and offering valuable insights into
Nepal's architectural heritage.
● Maintenance of Sundhara
Sundhara, the water spout near Dharahara, is neglected
now, but fixing it could make it a beautiful spot again. If
we clean it up and manage the water better, it could
become a peaceful place where people enjoy the flowing
water. We can use new technology to make sure the
water keeps flowing sustainably. Fixing Sundhara would
not only give Kathmandu a nice place to visit but also
show how we care about our history and city, making
Dharahara area nicer for everyone.

Old Dharahara in deteriorated state

Neglected Sundhara Water Spout 50

6.10. Conclusion
In conclusion, Dharahara stands as a significant historic landmark that holds profound importance in
both the Kathmandu skyline and the hearts of the Nepalese community. Despite enduring several
devastations due to earthquakes, its resilience symbolizes the enduring spirit of the Nepalese people.
Constructed with traditional materials such as Surkhi, Lime, and Brick, the original Dharahara
exemplified the authenticity of Nepalese craftsmanship and local materials. However, recognizing the
seismic vulnerabilities, modern materials have been incorporated into its reconstruction, blending
Mughal and European styles while preserving the essence of the old structure.

Moving forward, there are opportunities to enhance Dharahara's significance further. The
incorporation of design elements such as removing outer walls or adding openings could provide a
more immersive visual experience for pedestrians, allowing them to appreciate the beauty of the
landscape within. Moreover, efforts to revitalize the deteriorated state of the old Dharahara can
transform it into a compelling testament to Nepal's rich history, rather than merely preserving it in its
current condition. Additionally, maintaining and enhancing elements within the site, such as
Sundhara, can contribute to the overall improvement of the area.

In essence, while the reconstruction of Dharahara honors its heritage, there remains potential for
further enhancements that not only strengthen its structural integrity but also enrich its cultural and
historical significance for generations to come. By preserving its past while embracing modern
advancements, Dharahara can continue to stand as a beacon of resilience and pride for Nepal and its
people.

51
 7.0. Architectural Overview Comparison

Basis Kumbeshwar Temple Bhimsen Stambh

Site Location Kwalakhu Road, Patan, Lalitpur Sundhara Road, Kathmandu

Built By King Jayasthiti Malla Bhimsen Thapa (Old Dharahara)

Construction 1832 1392

Renovation 1809, 1967, 2015 1934, 2015(Reconstruction)

Architectural Style Traditional Newari Style Mughal and European Style

Design Features Five-Tiered, Pagoda Style Temple 79.2m tower with dome and
pinnacle on the top

Changes Jhingati Roof to Metal Roof Surkhi,lime (Traditional materials)

to cement (modern materials)

Surrounding Spaces Various temples within the Sundhara, Landscape, Busy Traffic
boundary, Hiti, Newari Settlement Area

Construction Multi-Tiered, Interlocking Reinforced Concrete Structure

Technology Construction, Wooden Beam

Conservation Reconstruction in traditional style Contemporary form with modern

Activities after earthquake construction materials for strength

Positive Aspects Historic and Religious Value, Historic landmark, View tower,
Traditional Newari Architecture Tourism attraction, Memorial

Negative Aspects Cracks and Holes, Open Drain, Sundhara in neglected state, View
lighting selection, termites Blocking walls, Modern materials

Recommendation Proper Maintenance and painting, Visual access inside boundary,

Close Drain Aprons restoration of Sundhara
52
8.0. References
1. Kumbeshwar Temple Complex. (2023, Nov 22). In Wikipedia.
en.wikipedia.org/wiki/Kumbheshwar_temple_complex
2. Kumbeshwar Temple (2023, July 27). In Wikipedia.
en.wikipedia.org/wiki/Kumbheshwar_Temple
3. Temples of the Nepal Valley
4. Traditional Architecture of Kathmandu Valley
5. https://globalnepalimuseum.com/objects/temple-of-kumbesvara-patan/
6. https://www.tandfonline.com/doi/full/10.1080/15583058.2020.1808909
7. https://www.researchgate.net/publication/232659617_Options_for_Reconstruction_and_Retro
fitting_of_Historic_Pagoda_Temples_Example_of_the_Narayan_Temple_Kathmandu_Durba
r_Square
8. http://www.kailashkut.com/wp-content/uploads/2016/05/materialauthenticity.pdf
9. https://www.orientalarchitecture.com/sid/1592/nepal/patan/kumbheshwar-temple
10. https://www.alamy.com/nepal-patan-kumbeshwar-temple-hindu-image575234387.html?imag
eid=DF68C2F9-976E-4154-BC82-18CCF62600E1&p=6727&pn=1&searchId=c4324dfde373
f1d93085e1adcd8249fb&searchtype=0

53
9.0. Gallery

Closer view of mid level brackets

Returning to the ground level, the southwest corner. The main entrance, in shadow, is at left. The four facades
are generally similar in design; the following sequence will focus on the east facade, which is best illuminated.

54
Trefoil arch flanking the central bay of the east facade.

Detail of a celestial being to one side of the trefoil arch.

55
Elegant woodwork over the central “entrance” which normally functions as a window.

Lattice work over the base of left bay.

56
Fine geometric detail

Bhairab figures are seen as a guardian at the foot brackets.

57
Medallions insert into the wood near the top of the wall surface.

Bracket ends (dhalinkhua) near the cornice carved in the shape of tigers and other creatures.

58
Modern bracket on the lower tiers of the roof.

Various antique and replacement brackets on the lower roof

59
Wide view from the east

Roof brackets between the third and fourth tiers.

60
Reference photo

Sketch of Kumbeshwar temple

61
Beam Intersection details

62