Tourist Attractions & Monuments Nepal

From this star-shaped crossroads, follow the traditional route taken by the merchants, which extends diagonally. The bazaar leads to the small square of Kel Tol, but just before it, on the left, a courtyard guarded by two griffins opens up. The sanctuary hidden there is dedicated to Seto Machendranath, the white form of the protector of the valley. Not far away, the copper and tinware district extends nearby, leading to the Asan Tole square, in the heart of the old town, where the traditional market is held.

The temple dedicated to Annapurna, goddess of grain and fertility (another form of Lakshmi, goddess of wealth), dominates the square. One street continues straight on towards Kantipath and the National Theatre, which is at the corner, while another artery on the right joins Rani Pokhari and Kantipath Avenue, from where it is possible to find a rickshaw or a taxi to reach his hotel.

From Asan, stroll through the narrow streets leading to the old northern districts of Kathmandu. A detour of a hundred meters, behind the Annapurna temple, will lead you to the Mahabouddha temple, where a very large painted statue of Buddha is strangely locked in an anonymous building. Only a white stūpa signals its existence. Back in Asan, turn left through the fruit and vegetable market. Shortly after, the street narrows and, on the left, an ordinary door opens onto the courtyard of Haku Bahal. There stands a window and a balcony topped by an ancient torana, an arc of a circle loaded with sea monsters.

Certainly the finest museum in the country, dedicated to the religious arts of Nepal, it's well worth a visit. Housed in the former palace of the Malla kings, built in 1734, the museum was inaugurated in 1997. It boasts a unique site, a haughty testimony to traditional Newar architecture. Although, like all the buildings, it was only slightly damaged by the 2015 earthquake, it has now been renovated and is fully open. You'll need to take the time to explore both floors and the first floor, and to read the many detailed explanations, both religious and historical. Alcoves and showcases highlight the exhibits (over 200 devotional objects, statues and sculptures). The whole is highly instructive, and the objects well displayed. Visitors learn how to recognize the gods: their positions, finery and clothing, and their attributes. The well-presented explanations help you find your way through the multitude of gods. The visit provides an interesting insight into Buddhism and Hinduism, a glimpse of the links between these two religions and, more generally, a different approach to Nepal's history. The exhibition also presents the different techniques used to create these remarkable pieces. Allow a good two hours to get the full picture. And don't forget to take a close look at Gallery H, where you'll discover that Durbar Square hasn't changed much in over a century.

The Golden Temple, the "Golden Temple", owes its name to the golden metal plates that cover its facade: it is certainly one of the most beautiful in Patan. A passage guarded by two stone lions leads to a small courtyard that gives access to the main Buddhist monastery of Patan. The three-storey pagoda, with its gold-covered roofs, is said to have been built in the 12th century and houses a large prayer wheel. Nearby is a small shrine, also covered in gold. In its present form, the shrine was founded in 1409 by King Bhaskar Varna. Before entering the shrine, please get rid of all leather objects, which are impure materials. In a small space, treasures pile up in a jumble. Buddhas and Tara line up in whole rows, griffins appear here and there and goddesses ride elephants balancing on turtles. Bronze tongues hang from the roofs to suck up prayers. Upstairs there is a small shrine whose centrepiece is a statue of Lokesvar.

The temple is extended by a network of courtyards, Baidya Baha and Michu Baha, where doctors and goldsmiths of the Sakya caste live. Here Buddhist priests have long since renounced their vows of celibacy. A special feature is that the high priest of the Golden Temple is always a young boy under the age of 12. He holds this office for 30 days before being replaced by another one. In this place it is not uncommon to see mysterious rituals.

The palace is located on the outskirts of the city. Many scenes from Bernardo Bertolucci's film Little Buddha were shot here. The earthquake of 2015 caused heavy damage. Reconstruction is underway.

The royal palace: The foundations date back to the 15th century, at the time of King Yaksha Malla. The 1934 earthquake wreaked havoc there, as can be seen in the old photos on a porch.

The palace with 55 windows: Painted in red and black, the palace dates from the 18th century and now houses the National Art Gallery. But of the 99 courtyards that made up its splendour, only half a dozen remain. Linked to Kumari Chowk, inaccessible to visitors, Mul Chowk, the main courtyard, is dedicated to a shrine to Taleju, the tutelary goddess of the Malla kings. While the temple is off limits to non-Hindus, no one will prevent you from admiring the carved wooden tympanum above the entrance. Two statues symbolizing the sacred Indian rivers, Ganga and Jamuna, frame the door surmounted by a torana representing Taleju, with 4 heads and 8 arms. With a bit of luck, the soldier posted at the entrance will let you have a look, so that you can appreciate the richness of the sculptures.

In Sundari Chowk, a superb bronze nâga, a marine deity, rushes into the Nak Pokhari, the sacred pool. The golden statue of the hero Bhupatindra Malla, is perched, in a prayer position, at the top of a pillar, facing the golden Sun Dhoka gate, dating from 1753. The gold-plated copper door set within a glazed brick wall is undoubtedly one of the most beautiful works of art in the valley. Its gilded roof, surmounted by elephants and lions, is an addition by the last king of Bhaktapur, Ranjit Malla. Framed by the monkey god Hanuman and the lion-man Narsingha, this gate was once the entrance to the palace.

As you exit and turn left, two temples are dedicated to Siddhi Lakshmi and Durga. Behind the Taleju stone bell, erected in 1757 by King Ranjit Malla to call the faithful to morning prayer, stands Vatsala Temple, whose shikara style is reminiscent of the Krishna Mandir of Patan. Next to it, the Yaksheshvara temple, a superb replica of the Pashupati temple, stands out for its erotic sculptures. It owes its name to its founder Yaksha Malla. After a major earthquake that shook the city, the temple was restored in 1968.

A little away from the square, continuing straight ahead, you arrive at the Tadhunchen temple, venerated by both Hindus and Buddhists.

Changu Narayan, "The Moving Hill of Narayan", is undoubtedly one of the oldest shrines in the valley, as evidenced by the delicacy of its sculptures. The construction of this temple would go back to the 4th century, but nothing remains of the original wooden temple. A fire devastated it completely in 1902. The site is dedicated to Vishnu in the form of Narayan, and beautiful stone carvings from the Licchavi period depict several of his avatars. An entrance door, flanked by two stone elephants, opens onto a real open-air museum. In the centre of the courtyard stands the two-storey main temple. Behind the building are the attributes of Vishnu - the conch, wheel, lotus and lasso - set on the top of four pillars. A multitude of stone sculptures and small shrines dedicated to Lakshmi, Kali and Shiva surround it. The temple houses a gilded representation of Vishnu that only the priest is allowed to see. It is said that the statue sometimes oozed, testifying to Vishnu's fight against the Naga. The cloth used to wipe his forehead is said to protect against snake bites. Kneeling before its master, the statue of Garuda, more man than bird, probably dates from the seventh century. At its side, protected by a golden grille, the king of Bhadgaon, Bhupatindra Malla, and his wife are kneeling in the position of donors. The base of the wheel pillar bears the oldest inscription in the valley. Attributed to King Licchavi Manadeva, it dates back to the year 454. On the right, on a small terrace, stands a black stone slab with a broken upper right edge. This 8th-century sculpture symbolizes Narayan lying on the serpent Ananta, surmounted, as in Buhanilkanta, by Vishnu Vishwarup - in his universal form - with a thousand heads and a thousand arms, a mark of his power. On the temple of Lakshmi Narayan, another sculpture dating from the same period depicts Vishnu Trivikranta (he who takes three steps) who, taking the form of a six-armed dwarf, tears the universe from the claws of the Bali demon king. He then asks his permission to withdraw and, using his powers, travels in three gigantic steps through earth, sky and space. Next to it, an 11th century sculpture shows Vishnu in the form of Narasimha, the Lionman. On the other side of the temple, you will see Vishnu Vaikunthanata, the effigy of the ten rupee bills, the traveller riding Garuda, and Vishnu Sridhara, the most classical representation of Vishnu.

This white complex, located on the hill overlooking the lake, is very visible from Pokhara. Placed at the cardinal points, four stupas were offered by different countries: To the east, Japan, which initiated the construction, Thailand to the north, Sri Lanka to the west and Nepal to the south. The World Peace Stupa can be reached by crossing the lake by boat and then climbing the hill on foot (stay in a group, as there have been attacks), or by taxi. Up there, there are several cafes and a magnificent view of the mountain range.

Crowned by its five roofs and dominating the whole city from the top of its 30 m, the Nyatapola pagoda is probably the most beautiful of the valley and the highest. It is located on Taumadhi Square and rests on five pyramidal pedestals. Its solidity has enabled it to resist earthquakes. Each pair of animals framing its staircase is ten times more imposing than the pair above, so the two Malla wrestlers at the bottom are the largest. At the top of the staircase are statues of the goddesses Baghini and Singhini. Built in 1703 by King Bhupatindra Malla, the shrine is dedicated to Siddhi Lakshmi, a mysterious Tantric goddess, incarnation of the goddess Durga (Parvati), who is so terrifying that she appears only in the dark to Brahmin priests. She is represented in her many forms on the 180 sculpted and painted props. The power of the Tantric goddess is contrasted with the terrifying power of Bhairav, to whom the rectangular, three-storey temple of Kasi Bishvanat is dedicated. Her 30 cm high statue stands in a niche one metre above the ground. You can see his mask by looking out of an upstairs window, but it is probably another mask that is carried in great pomp during the Bisket Jatra festival in mid-April. A vaulted passage leads to the temple of Mahadev Narayan (a form of Vishnu, called Tilmadhav), which has attracted pilgrims since time immemorial.

The Dattatreya temple would have been built, with the wood of a single tree. Dating from the 15th century, this three-storey temple is a Nepalese specificity where Brahma, Vishnu and Shiva are worshipped in the same place. It is built on a wide brick base decorated with erotic scenes that are also found on the lintels. Two Malla wrestlers, identical to those at Nyatapola, guard the entrance. The building was formerly used as an inn and welcomed the Gosain, these Hindu monks who, between two preachings, traded with Tibet.

Indra Chowk Square is dedicated to the god of heaven and rain. Upstairs, the shrine dedicated to Akash Bhairav, another form of Shiva, blue in colour, is forbidden to non-Hindus. On the steps of another temple on the other side of the square, blankets, cotton carpets and shawls are spread out and hung. All around, most of the shops are run by Muslims, descendants of the Kashmiris who settled in the valley three centuries ago. In the background, a small bead market invites to make interlaced necklaces.

Every day, the mahouts take their old elephants to the little East Rapti River for a bath, which they maintain with the money from tourists who come to interact with them. It's a moment of relaxation and play for the pachyderms, who squeal with delight. Visitors can massage him with a pebble (a sort of scrub to scratch him, he loves it) and then climb on (without a saddle) to get sprayed. The mahouts are members of a cooperative, the price is fixed per group, and it's a good alternative to an elephant safari without harming the pachyderms.

Durbar Square in Patan is probably the most beautiful complex of temples and palaces in all of Nepal. As in Kathmandu and Bhaktapur, temples and pagodas stand in front of the palace. The most remarkable of them is dedicated to Krishna, the avatar of Vishnu who is also the god of love. Apart from the classical Nepalese-style pagodas, made of brick and wood, you will notice a multi-storey stone temple that devotees can bypass through the open galleries.

To the north of the square and at the end of a street with a view of the mountains stands the temple of Bhimsen, protector of the merchants and supposedly possessing superhuman strength. Opposite and below is the Manga Hiti, a public fountain built in stone steps that has been flowing since the 6th century. Further south the Hindu temple of Vishwanath is a richly decorated two-storey pagoda. Note on the west side, the statue of the bull Nandi, the mount of Shiva.

In the centre, facing the palace, the bronze statue of a 17th century king stands on a stone column. Yoganarendra Malla, kneeling, looks out of his bedroom window where people continue to prepare their beds and bring food every day. He will remain immortal until the bird perched above his head has flown away. He owes this privilege to the powers of Taleju, the protector of the royal clan, who is worshipped in three shrines inside the palace. Degu Talle, a seven-storey tower built in 1640 by Siddhi Nara-singh Malla, faces the pillar. Note the huge bell suspended between two pillars.

The Royal Palace, built in the 14th century, has been extended several times over the centuries. Its symmetrical red brick façade is punctuated by carved wooden windows. The palace consists of a succession of temples separated by courtyards. The main gate is guarded by two stone lions and leads to the central courtyard, the Mul Chowk. Taleju Bhawani Mandir, a three-storey octagonal-shaped pagoda, overlooks Mul Chowk, an inner courtyard where there is also the family altar dedicated to the goddess, the saint of saints. Only royal priests can push the door, guarded by Ganga and Jamuna, two elegant bronze statues representing the sacred rivers and sketching a dance step on either side. On the other hand, at the far end of the palace, visitors can sometimes enter the intimacy of the Royal Bathroom at Sundari Chowk, another courtyard where a stone basin adorned with delicate statuettes is enthroned.

In the heart of the densely populated suburbs 6 km from the center of Kathmandu lies a historic Buddhist sanctuary: the Bodnath (or Boudhanath) stupa. For this reason, it is a UNESCO World Heritage Site. It is not only an important prayer site for the faithful, but also a major pilgrimage site for Tibetans, as it is closely linked to the creation of Lhasa. It was the culmination of the difficult Himalayan route for pilgrims who, over the centuries, left many offerings here to thank Buddha for their safe journey.

The original stupa was built by King Licchavi Amshuvarma in the ^11th century, then considerably enlarged in the ^14th century. Its spire was damaged in the 2015 earthquake, but has since been renovated and replaced. Today, it stands proudly at 40 metres high and 100 metres in circumference, its golden spire pointing skywards. It is encircled by the roofs of Tibetan monasteries, and below, along the circular square, a multitude of small religious and tourist stalls line up. Bodnath leaves no one indifferent. Could it be because of the whirlwind of pilgrims reciting " Om Mani Padmé Hûm ", coupled with the sound of prayer wheels? Whatever the reason, visitors will want to join the crowd and walk in circles around the giant white dome.

The stūpa, architecture and symbolism. In the Buddhist religion, the stupa is a religious sanctuary consisting of a white dome housing the relics of Buddha or a holy man, topped by a golden spire pointing skywards. Seen from the air, the imposing edifice, built on five descending terraces, forms the geometric diagram of a three-dimensional mandala symbolizing the universe and spiritual powers. This terraced structure symbolizes the Buddhist doctrine of the primordial elements: earth(Vasupara), water(Nagpura), fire(Agnipura), air(Vayapur) and the celestial vault(Akashpura). It also represents the five directions south, north, east, west and zenith. At the base, on the ground, a belt of prayer wheels in niches encircles it, forcing pilgrims gravitating around it to focus their attention on turning them, as is religious custom. These mills contain Tibetan mantras written inside, which are scrolled through as they are symbolically turned. At the entrance to the stupa, a chapel houses a large prayer wheel that chimes with each turn, illuminated by a multitude of small butter lamps. Note the two statues of warriors on elephant backs above the entrance. The dome rests on a circular base punctuated by 108 (the sacred number) medallions of Amithaba Buddha. The two blue eyes painted on each gilded side of the cubic harmika, set on the white dome, seem to scan the horizon. The arrow represents the path to enlightenment. Multicolored prayer flags float in the air, forming an aerial marquee. They undulate, casting their shadows against the bright white of the stupa. These colorful pieces of cloth, printed with mantras, float in the wind, symbolically diffusing them in the air and transmitting them to the gods. Blue, white, red, green and yellow, they are considered good luck charms. Here again, they represent the five elements. Blue: the sky, white: air, red: fire, green: water and yellow: earth.

The area around Sauhara is a great place to take a walk and discover the way of life of the Tharu, a Hindu people from Rajasthan who settled in Nepal after fleeing the Muslim invasion of India in the ^10th century. Their presence in the Terai dates back to the Middle Ages. The Tharu village dedicated to visitors may seem a little artificial, but it provides an insight into the life of this people, whose discretion is de rigueur. It houses a small museum, a traditional wattle-and-daub house in which everyday objects are exhibited.

It is in the morning, at a time when birds hunt, where crocodiles take their sun bath, that the descent of the river into canoe is required. The lucky ones even found gavial, one of the rarest crocodilians reptile species.

Leaving the Narayan temple and turning right, you just have to walk down the alley for a few minutes to reach the picturesque and tiny Potters' Square where Bertolucci shot a poignant scene of Little Buddha. This is one of the most fascinating places in the city, where the clay is still worked on hand-powered wooden wheels. Don't miss the work of the potters, who turn the clay on foot-operated wooden lathes. Their welcome is kind and smiling, it is possible to take pictures, but respect is appreciated and it is better to ask for a sign beforehand. The multitude of ochre-coloured pots drying in the open air is a testimony to the skill of the craftsmen. Several women are usually involved in drying the pottery before firing it. Here you are entering the lower caste quarter. If you look down, you will not fail to see a chvasa stone. These are lotus-shaped stones embedded in the tarmac of the road, at a crossroads or near a temple. They are the abode of deities who accept offerings, known as "impure" among Hindus, in connection with birth and death. Each family has its own. A small shrine dedicated to Vishnu occupies a corner of the square; Ganesh, the patron saint of potters, has his residence in a two-roofed temple, the Jet Ganesh, built by a potter in the 17th century.

Swayambhunath is one of the most important and oldest Buddhist temples (2,500 years old) in the Kathmandu Valley. For Buddhist Newars, Swayambhu is the holiest of pilgrimage sites. Most of Swayambhu's iconography is in the Vajrayana tradition of Newar Buddhism. This does not prevent the temple from being visited by Buddhists of all schools, as well as Hindus.

Orientation. The complex boasts a giant stupa and a myriad of Licchavi sanctuaries and temples. There's also a monastery, the national museum and a library, all of more recent construction. The stupa stands out from afar, with its white dome topped by a huge golden spire. The eyes of the all-seeing Buddha seem to reign over this valley. You'll have to earn your way up a staircase of 365 steps (the main entrance to the east), some of them very high! Another option is to drive to the parking lot via the south-west entrance. But climbing the steps is synonymous with the spiritual and physical elevation needed to admire this marvel and soak up the faith of the pilgrims, literally taking their breath away. The view of Kathmandu from the top is breathtaking.

Practical. At the top and bottom of the stairs, vendors selling coconut, fruit and cold drinks invite you to take a thirst-quenching break. There are also small cafés (including one with a rooftop) for a welcome break at the top and, of course, plenty of small stores selling Nepalese art, religious objects and souvenirs.

The legend. It is said that the valley was once a lake. At its center floated a lotus generating blue light, the manifestation of the primordial Buddha, Swayambhu, the "spontaneous". With a stroke of his wisdom sword, Manjushri opened the mountain, allowing the waters to flow and the light of an eternal flame to reveal itself at the top of the hill. It was here that he raised the stupa of Swayambhunath. The spire has been restored with 20 kg of gold, a renovation funded by the Nyingma Tibetan Meditation Center in California in 2008. It suffered damage in the 2015 earthquake, but everything has since been renovated.

History. According to the Gopālarājavaṃśāvalī, it was founded by King Mānadeva's (464-505 AD) great-grandfather, King Vṛsadeva, around the beginning of the^5th century AD. This coincides with what a damaged stone inscription found on the site says, indicating that King Vrsadeva ordered its construction in 640. Its foundations appear to be much older: emperor Ashoka is said to have built here in the ^3rd century BC! It was a Hindu monarch, Pratap Malla, King of Kathmandu, who ordered the construction of the main staircase in the ^17th century. The stupa was completely renovated in 2010, its ^15th restoration in almost 1,500 years of existence!

The stupa is the Buddhist monument par excellence. This white dome surmounted by a golden spire takes on different forms and names depending on the era and country, but the basic symbolism is unchanging. When the historical Buddha, Sakyamuni, went into Parinirvana, his body was cremated and his ashes divided into eight. This led to the creation of the first eight stupas, each linked to an episode in Buddha's life. The stupa has retained its function as a reliquary for the ashes or embalmed bodies of enlightened beings, or a garment or object that belonged to them. The stupa symbolizes the five elements, and should be walked around in a clockwise direction, the gyratory direction of the universe. This immense white dome has five golden Buddha shrines at its base, each with a Buddha statue inside. The Panch Buddhas are Buddhas in the Tantrayana metaphorical sense: Vairochana (the master of the temple), Akshobhya (the cosmic element of consciousness), Ratna Sambhava (the cosmic element of sensation), Amitabha (the cosmic element of Sanjna) and Amoghsiddhi (the cosmic element of confirmation). The dome is surmounted by the harmika, representing the Earth, with both eyes and eyebrows painted on its four faces, and thus looking in all four directions. Buddha's eyes" represent wisdom and compassion. The number one(ek), which resembles a question mark, signifies the unity of the primordial Buddha. Note the spiritual "^3rd eye", the red dot; this is the eye of knowledge. It is said that when Buddha preaches, cosmic rays emanate from the third eye. Note also the five pentagonal toranas above each of the harmika's four sides, with reliefs of Buddha, responding to the five Buddhas at the stupa's base. Resting on the cubic base, the half-sphere represents water, fire is symbolized by a pyramid, while air takes the form of a semicircle facing upwards. Next come the ten Bodhisattva lands to be crossed until the Buddha state is reached, symbolized by his three bodies(kaya). Nirvana, the great liberation, is represented by the umbrella that caps the building, surmounted by the sun and moon, Yang and Yin, symbols of knowledge and wisdom.

At the top of the grand staircase stands a giant vajra, symbolizing the durability of Buddhist doctrine, and two lions guarding the entrance. Turning in a gyratory direction around the stūpa, we discover a jumble of temples, monasteries, a museum and five small shrines. The great stupa is surrounded by a profusion of religious monuments.

Vasundhara Mandir temple. This is the first temple to be reached by the grand staircase. Dedicated to the goddess Earth. The temple is closed, but it is said that throwing a few coins over the threshold increases one's wealth. Pass the Agam house, a shelter for pilgrims where they are offered food. Then comes the small sanctuary dedicated to Vayu, the Vedic god of wind and storms. Beautiful statues of Tara face the stupa. On the second floor of the adjacent building is the Deva Dharma Mahavihar monastery: shoes must be removed before entering. Occasionally, an officiant crouching on the ground performs complicated rites in front of the half-open door of the very popular temple dedicated to Harati, a form of Ajima, the goddess who protects against smallpox. Buddhists see her as the incarnation of Maya Devi, the mother of the Buddha. Further back, the small sanctuary of Agnipur, guarded by two lions, is dedicated to the Vedic god of fire, Agni. Leaning against the wall, the beautiful, sober Gandhara-style statue of the standing Buddha is one of the oldest sculptures in the area. The Nagpur sanctuary, meanwhile, is a simple basin rarely filled with water, dedicated to the underground Naga deities.

Karmapa Sri Karma Raj Mahavihar Monastery. Located in the southeast corner of the kora, this Tibetan Buddhist monastery is still in operation, and it's not unusual to hear trumpets and oboes sounding. The entrance is overflowing with butter lamps lit by pilgrims. It's possible to walk around to the left, in semi-darkness, where statues of Manjushri and his consort Sarasvati can be made out.

Shantipur. You'll find this to the northeast of the stupa, past the Agni shrine and down a few steps. This is a place dedicated to the element of space. It is said that, in the^{5th century} , the hermit Shanti Shri walled himself up here, only to reappear when the time was right... He's still here.

Sarasvati. Behind the Vayu sanctuary, a path fluttering with mantra-covered prayer flags leads to the parking lot and nearby hill dedicated to Sarasvati, goddess of wisdom and learning. A white stupa marks the spot. During Basant Panchami, the festival of knowledge (or spring festival), held in February, schoolchildren gather here to have their penholders and inks blessed and increase their chances of passing exams.

Buddha Amideva Park. This shrine houses three giant golden statues: those of Sakyamuni Buddha, of the four-armed Chenresig, the Tibetan Bodhisattva of Compassion from whom the Dalai Lama is said to emanate, and of Guru Rinpoche. It is located behind, below and to the west of the Swayanbhunath hill.

Situated to the north of the bazaar, the Hindu temple of Bindebasini proudly displays its highly charged decoration. Its facades are covered with sculptures and colour is omnipresent. A two-storey building that bears witness to Newar architecture and the skill of its craftsmen, this large temple is dedicated to the goddess Durga, shown here in her destructive form. On New Year's Day, in April, a chariot in her image is pulled through the city.

A museum entirely dedicated to the mountain and its peoples. It presents not only the different ethnic groups that inhabit these mountains, but also the fauna and flora that flourish there. The museum is divided into four large rooms, where you will find the trades practiced by the different ethnic groups of Nepal, the main peaks over 8,000 m and the great Himalayan ascents. The opportunity to relive the adventures of Herzog and his companions.

From the Place des Potiers, a street leads directly to the Hanumante River, a bathing and cremation place named Ram Ghat. Heading even further south, you leave the pure caste district and - in keeping with traditional urban planning, which keeps all activities deemed degrading away from the centre - head down to the ghâts, the platforms where cremations are carried out. On the other side of the river is the sanctuary of Surya Binayak, dedicated to Ganesh. Take the street adjacent to the temple of Bhairav, leaving it on the left. By the riverside, an open-air shrine is dedicated to Bhadrakali, represented by a simple stone. On the right, just before the bridge, temples, shrines and patti, these refuges for travellers, border the waters. Past the bridge, the road is paved: it is the traditional road that leads to Tibet. Through the countryside, it is easy to quickly reach Hanuman Ghat, located at the confluence of two arms of the river. Soon, a very large sculpture of linga-yoni (Hindu symbol of the universe and creation) stands in front of you, as well as a statue of Hanuman draped in a red cloak and an idol of Rama. Further south, behind a pilgrims' shelter (dharmasala), Ganesh and Buddha guard the entrance to a place where a silver-covered linga stands. Many are these shelters where the sick and the old wait for the end. When they die, their feet will be soaked in sacred water and their bodies will be burned on one of the platforms along the river.

Thahity's square is marked in its center by a large white stūpa decorated with prayer banners. In the street that goes from Thahity to Indra Chowk, on the right, a square courtyard opens, housing the stūpa of Katesimbhu, a contraction of Kathmandu-Swayambu. The licchavi sculptures that surround it bear witness to its antiquity. This stūpa offers a substitute for those who cannot make the pilgrimage to the hill every morning. Next to the stupa, a school dedicated to thangkas, Healing Mandala Thangka Painting School, will be happy to introduce you to this art.