Nestled in the heart of Thamel, Dalai La Boutique Hotel is more than just a place to stay, it’s a living tribute to Artistry of Nepalese Architecture. Every corner of our hotel is inspired by centuries-old craftsmanship, influenced by Newari artistry and spiritual symbolism. From the majestic Toran above ancient temple doors to the finely carved struts (tudals) supporting tiered rooftops, the essence of traditional Artistry of Nepalese architecture can be felt throughout. Elements like ornate windows (Jhya), mythical Chhepu motifs, vajras, and symbolic wooden pillars tell stories that intertwine mythology, spirituality, and the timeless design of the Kathmandu Valley. In this article, we invite you to explore the cultural significance and stunning beauty of the very details that define not just temples and viharas but also the soul of Dalai La itself.
1. Torana or Tympanum
The Toran is a major part of architecture found in Nepalese Architecture, especially in temples and viharas. Torans have been classified into three categories based on their location. They are placed above the main entrance gate of the temple, which is called ‘Dyo-torana’ in Newari. They are placed above the window; it is called ‘jha torana’ in Newari. The third toran is placed between pillars. It is called ‘Dalan torana’. Toranas are carved in wood, gilded metal, and stone. The wooden torans were mostly found in five pieces, and any needed joined together to form one piece. The semicircular dome shape is very heavily carved. Generally, in Torans the main deity or God was depicted in the center and then other Gods which are related to the main God were made either surrounding the main God or on either side of the god. Chhepu, the mythical creature or Garuda was depicted on the top. The top is always placed three chatras above the Chhepu or Garuda. On either side of the Toran, there were mostly found images of mythical creatures (Makara), and celestial girls.
The fascinating mythology story about the ‘cheepu’ is popular in Kathmandu. Hindu and Buddhist religious scriptures say that the Kathmandu Valley was a huge lake. It is also proved that the Kathmandu Valley scientifically was a huge tank. There were and inhabited countless number of says aquatic animals. The majority of animals were serpents. So, the Kathmandu Valley was also known as Naga Daha or the home of Serpents. In the Buddhist text says, one-day Manjusri Bodhisattva came to Kathmandu valley and he imagined if the water of the tank was thrown out, men could make a beautiful city. Then, he immediately cut the mountain of the southern part with his legendary sword. Water flew out of the valley; all the animals were also flown but one aquatic animal was still hidden under the water. Manjushree saw it and said to leave the water in a moment. A creature aquatic animal ‘cheepu’ was terrified when he saw that he could not go against the power of Manjushri. So, he said that he would leave the tank if Manjushree would promise not to look at his horrible features when he moved out of the lake. According to the promise, Manjushree closed his eyes and Chhepu prepared to come out of the water. As the fear-stricken creature pushed half of his ugly body above the surface, Manjushree could not help but open his eyes stealthily, out of curiosity.
When Chhepu saw Manjushree open his eyes, he got so upset that he quickly divided back deep under the water to hide again. Manjushree broke his promise and Chhepu told him that he would never see the lower half of his body. He also promised that he would allow him to occupy a very significant place in the temple, where /men can easily see its face.
2. Strut (Tudal)
A tiled roof is used in Newar Houses, Palaces, Vihars, Public Buildings, and Temples. Newar houses, Palaces, Public buildings, and Vihars consist of a one-story tiled roof. In the case of a story temple, it consists of up to five roofs. In each of the buildings, woods are projected 45 degrees out of the cornice ledge to meet the dangling roof, displacing the weight of the overhanging roofs to the load-bearing walls. It is made of ‘Sal’ wood in Sanskrit word; ‘Dhusim’ in Newari word and ‘Agartha’ in Nepali word. The length and breadth are according to the roof’s dimensions.
The strut can be simple and decorated. The simple strut consists of a general house, patio, and farmhouse. The decorated strut can be found in temples, vihar, public buildings, and palaces. The decorated struts are mostly used for two reasons: to support the roof which is based on four walls, and to support a very heavy load of the roof which is known as Kusala. It is known as Śārdūla’, or ‘Vyāla’, or ‘Vyālava’, or ‘Sarabha’.
A single decorated strut have three sections: top, middle portion, and bottom. The top and bottom sections are separated from the middle part. The whole decorative strut is carved in three-dimensional figures. The top of the strut is carved mostly of tree branches with heavy foliage hanging down, which serves as a background to the main gods in the middle part. The middle portion of the strut forms more length than the top and bottom parts. The middle part is carved into three-dimensional single or pair images supported by attendants or vehicles, which are related to the main god of temples and vicars.
3. Window (Jhya): Artistry of Nepalese Architecture
There is extreme concentration in the façade of artistic windows. It has both functional and decorative purposes, the latter being the most dominant. The detailed carving of windows indicates the socio-economic status of the owner. Therefore, the windows are more flourished in religious buildings and palaces than in ordinary residential buildings. Newari windows were developed and flourished in the Valley since the rise of Malla’s reign. The development in variation and designation of windows were developed. Residential buildings, palaces, temples, Maths, Vihars, and Vahils, etc had their distinguished forms of windows.
In some significant architecture like palaces, temples, and vihars, there is invariably a semi-circular tympanum above the window. There is generally a mikhaphusi; a brick cornice above the window throughout the lintel that symbolizes eyebrows. The window carvings of the 17th Century CE are still in existence. The three Royal palaces of Kathmandu Valley as well as other public and religious buildings still contain the significant window carvings of the Late Malla period.
4. Tiki Jhya (Ankhi Jhya)
It is flushed to the wall. It is placed on the second floor or below the roof or the projected windows and generally contains three bays. The numbers of bays are odd and could increase to nine or eleven bays. It has an openable screen that can either be a single top-hung or a side-hinged double shutter. As the window occupies the whole height of the wall, a bench is required in the interior to sit and look outside. It faces either the courtyard or the street and is placed at the center of the building façade. Lattice windows are placed on both sides to make it symmetrical. Sa-jhya with three bays is often called Swakha jhya (triple window) and five bayed Sajhya is often called Pancha Mukhi jhya (five-bayed windows).
You may also like: The Artistry of Aankhi Jhyal
5. Vajra: Artistry of Nepalese Architecture
The Sanskrit word “vajra” translates to “the hard or powerful one”. It conveys a sense of unbreakable strength and brilliance. Symbolically, the vajra represents the never changing, indestructible, inseparable, and unshakable nature of enlightenment, often referred to as the vajra mind—the ultimate state of awakened consciousness in Buddhism. Often likened to a thunderbolt, commonly used in ritual practices, it serves as a sacred instrument for channeling spiritual energy and offering protection.
Crossed Vajra
The Vishvavajra, or crossed vajra, symbolizes the key structure of the universe centered around Mount Meru. It embodies the concept of complete stability, reflecting the solid and grounding qualities of the earth element. A crossed vajra is often engraved on the metal base used to seal a deity statue after it has been blessed and devoted. In this context, the upright vertical vajra stands for the imagined form of the deity, while the horizontal crossed vajra represents the deity’s mandala palace—the sacred space around them. It also symbolizes the steady, unshakable ground that supports the entire structure.
6. Traditional Pillars
The traditional pillars from Newari architecture are usually created from wood, which helps support the structure which are seen in temples, courtyards and traditional houses. There are depiction of pillars with different symbolic motifs and patterns related to the architecture. The carving of different deities, mythical creatures and geometrical shapes reflecting the culture and tradition of Newari community. We can see lotus motifs at the bottom or at the top of the pillars. Some of the pillars are carved out of stones but they are mainly carved from wood. The pillars are not just for the support but play an important part in overall aesthetic values and rich visual appeal of Newari architectures and Artistry of Nepalese Architecture.
Conclusion
At Dalai La Boutique Hotel, we proudly preserve and celebrate the artistic legacy of Nepalese architecture. Each Toran, Tudal, and Jhya woven into our space is more than decoration, it is storytelling in structure, echoing centuries of devotion, craftsmanship & artistry of Nepalese Architecture. From the Chhepu’s mythological tale guarding temple entrances to the symbolic pillars and vajras that reflect cosmic harmony, these elements not only define traditional Nepali architecture but enrich the cultural experience of every guest. Whether you’re a lover of heritage, an art enthusiast, or simply a curious traveler, a stay at Dalai La offers you the rare opportunity to live amidst history crafted with soul, rooted in tradition, and inspired by the divine.
