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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.
Degu Taleju Temple is dedicated to goddess Bhavani and it includes a room for meditation and prayer, built at the request of King Shrinivasa (r. 1661 - 1685 CE).<br/><br/> 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 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 towering Taleju Temple was constructed in its present form by Mahendra Malla in 1559 to house the Mallas’ family goddess Taleju Bhavani, a manifestation of the ferocious Kali or Durga. Unusually, there is no image or statue of her in the main shrine; instead she is represented by a yantra, a magical diagram.<br/><br/> The temple reaches a height of 35 metres, making it the highest temple in the Kathmandu Valley. Such height was necessary in order to enable Taleju to 'communicate spiritually' with another Taleju temple in Bhaktapur, which was located at a slightly higher elevation. Aside from its unusual height, the temple was given a unique design, with a five-tiered base covered by a three-tiered, richly ornamented roof.