Refine your search

The results of your search are listed below alongside the search terms you entered on the previous page. You can refine your search by amending any of the parameters in the form and resubmitting it.

Select all Deselect all Add selection to lightbox
Large Small
Thumbnails per page
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (kotyahuti-yagya), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden torana shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the torana, an image shows the Garuda with serpents coiling all around him.
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (kotyahuti-yagya), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden torana shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the torana, an image shows the Garuda with serpents coiling all around him.
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (<i>kotyahuti-yagya</i>), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden <i>torana</i> shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the <i>torana</i>, an image shows the Garuda with serpents coiling all around him.
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (<i>kotyahuti-yagya</i>), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden <i>torana</i> shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the <i>torana</i>, an image shows the Garuda with serpents coiling all around him.
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (<i>kotyahuti-yagya</i>), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden <i>torana</i> shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the <i>torana</i>, an image shows the Garuda with serpents coiling all around him.
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (<i>kotyahuti-yagya</i>), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden <i>torana</i> shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the <i>torana</i>, an image shows the Garuda with serpents coiling all around him.
The Golden Gate or Sun Dhoka, marks the entry to the Taleju Temple within the palace complex. The gate was built in 1753 by Ranajita Malla (r. 1722 - 1769) and his wife Jayalakshmi to commemorate the performance of a religious fire rite (<i>kotyahuti-yagya</i>), and it turned out to be the finest piece of gilded copper-work in Bhaktapur, possibly in the whole Kathmandu Valley.<br/><br/> Highly ornate in itself, the panels left and right of the door, depicting ten different deities, are superb examples of the art of repoussé. On the panels, Ranajita is mentioned as the ruler of a territory that extended as far as the Dudhkoshi River in the east, including the town of Dolakha.<br/><br/> Above the door, the golden <i>torana</i> shows Taleju Bhavani with her sixteen arms radiating out like some strange kind of half-insect, half-goddess. Above her, at the top of the <i>torana</i>, an image shows the Garuda with serpents coiling all around him.
The Royal Palace supposedly dates back to the Licchavi period (5th-13th century), but, with the exception of a few inscriptions, there is little substantial evidence for this. In the earliest inscription, which hails from the year 643 CE and which was found at the Keshav Narayan Chowk, Licchavi King Narendra Deva announced the abolition of three types of taxes, presumably making him popular with his subjects. This indicates that there may at the time have been a palace at the site of Keshav Narayan Chowk, which is part of the present royal palace complex.<br/><br/> The royal palace as seen today in Durbar Square has its origins in the 14th century; however, the most active building period was the 17th century.
The Royal Palace supposedly dates back to the Licchavi period (5th-13th century), but, with the exception of a few inscriptions, there is little substantial evidence for this. In the earliest inscription, which hails from the year 643 CE and which was found at the Keshav Narayan Chowk, Licchavi King Narendra Deva announced the abolition of three types of taxes, presumably making him popular with his subjects. This indicates that there may at the time have been a palace at the site of Keshav Narayan Chowk, which is part of the present royal palace complex.<br/><br/> The royal palace as seen today in Durbar Square has its origins in the 14th century; however, the most active building period was the 17th century.
The Royal Palace supposedly dates back to the Licchavi period (5th-13th century), but, with the exception of a few inscriptions, there is little substantial evidence for this. In the earliest inscription, which hails from the year 643 CE and which was found at the Keshav Narayan Chowk, Licchavi King Narendra Deva announced the abolition of three types of taxes, presumably making him popular with his subjects. This indicates that there may at the time have been a palace at the site of Keshav Narayan Chowk, which is part of the present royal palace complex.<br/><br/> The royal palace as seen today in Durbar Square has its origins in the 14th century; however, the most active building period was the 17th century.