Kathmandu Durbar Square, recognized as a UNESCO World Heritage Site and commonly referred to as Hanuman Dhoka square, stands as a prominent attraction in the Kathmandu Valley, encompassing the essence of its cultural and historical heritage. The square is home to a unique living god, further contributing to its distinctive character. Noted for its wealth of historical significance and landmarks, the Hanuman Dhoka Palace has served as both a residential and administrative center since ancient times. The name “Hanuman-Dhoka Durbar” originates from King Pratap Malla’s installation of a Hanuman statue at the palace entrance in 1672 A.D. additionally, the Basantapur Durbar, established by King Prithvi Narayan Shah in 1770, forms an integral part of this complex.
Within this compound, visitors encounter a fusion of Hindu and Buddhist temples, many constructed in the pagoda style with intricately carved facades, dating back to the 15th to 18th centuries.
The Hanuman Dhoka Palace Management and Conservation Office, established by the Nepalese Government under the Ministry of Culture, Tourism, and Civil Aviation, supervise the preservation and restoration of the palace, as well as its historical artworks, artisanship, and monuments. This site, with its ancient temples and palaces, embodies the spiritual and cultural essence of the local community.
Noteworthy structures such as Kumari Ghar, Kasthamandap, Shiv-Parvati Temple, Jagannath Temple, and the big bell, alongside the inner palace complex and its courtyards like Naxal Chowk, Sundari Chowk, and Mohankali Chowk, contribute to its allure. Furthermore, the square hosts various festivals, cultural gatherings, and long-standing traditions, including Indrajatra, Dashain, Gaaijatra, and Machchhindra-nath Jatra, attracting people from across the city to celebrate their enduring heritage.
Renowned for its intricate carvings and architectural marvels, Hanuman-Dhoka Durbar Square is a significant destination for travelers seeking to immerse themselves in Nepal’s cultural richness. Over the centuries, the present Hanuman Dhoka Palace complex and other monuments have been constructed between the 15th and 20th centuries. Each ruler, from Ratna Malla to Prithivi Bir Bikram Shah, has contributed to the expansion, repair, or renovation of the palace, with notable additions by Mahendra Malla, Pratap Malla, and Prithivi Narayan Shah. These include the creation of temples, courtyards, and the Basantapur Nine Storied Palace, highlighting the distinctive architectural styles of the Malla and Shah Dynasties.
Serving as an open-air museum, the site features over ten courtyards, with four currently accessible to the public. Memorial museum galleries and various sections have been curated with essential amenities for the enjoyment of both locals and tourists alike.
The Tribhuvan Museum of Nepal, situated in Hanuman Dhoka, had designed by the Ranas during the mid to late 19th century and served as the primary residence of the late Shah Kings for many years. It believed that the king monitored the welfare of the local populace through the museum’s windows, ensuring that every household had food. The museum houses a collection of artifacts used by the kings, including historical artworks acquired by the king. Exhibits include boxing gloves, thrones, statues, woodwork, stonework, and weapons from the 19th century. Additionally, the museum features a unique collection of coins and photographs depicting past historic events, including King Tribhuvan’s hunting expeditions. Visitors can explore a recreated bedroom and study room belonging to the king in a separate section of the museum.
The Taleju Bhawani Temple in Nepal is an ancient and important Hindu temple dedicated to the goddess Taleju Bhawani, seen as a form of the goddess Durga. It is highly revered by the Malla Kings who ruled Kathmandu for centuries. The temple designed in traditional Nepali style, resembling a mystical diagram called a “yantra.” It boasts a golden roof, intricate carvings, and detailed decorations. The main shrine is surrounded by smaller ones, all housed on a multi-tiered platform enclosed by stall. Inside, you will find beautiful paintings and wooden carvings depicting heavenly scenes and deities. A big bell signals the beginning and end of worship sessions, and stone lions guard the entrance gates. The temple is only open to the public on Maha Navami, the ninth day of Navaratri, and even then, only Hindus are allowed inside; non-Hindus only can observe from outside.
Kal Bhairav is a Hindu god linked with death, destruction, and change. He shown as a fierce deity with an angry face, often holding a trident and a bowl made from a human skull. In the past, Kal Bhairav seen as the ultimate authority, making judgments and carrying out punishments.
The Kal Bhairav statue in Basantapur Durbar is very important and respected. It is a massive: 12-foot-tall figure believed to carve from a single stone in many years ago. Legend says King Pratap Malla found it in a paddy field and placed it near the old royal palace in the 17th century. The statue acted like a court, with people believing that lying in front of it would bring punishment from Kal Bhairav himself. Every day, a long line of devotees waits to worship the black-painted statue, offering incense, flowers, and other gifts.
Gaddi Baithak is a neoclassical palace in Kathmandu Durbar Square. Chandra Shumser Jang Bahadur Rana built it in 1908. The Gaddi Baithak neoclassical place sites on the UNESCO World Heritage site in Durbar Square. Nepal’s kings were once crowned and legitimized here and used the palace to welcome heads of state and other high -ranking foreign guests. The structure retrofitted by Miyamoto Global Disaster Relief funded by the USA Ambassadors fund for cultural preservation under supervision of the Department of Archaeology (DOA)
Today, anyone can visit the Gaddi Baithak. A cool spot shows off Kathmandu’s royal history. You can walk around, see the room, and learn about its history and the significance.
Kasthamandap, meaning “wooden pavilion,” is a temple devoted to Gorakhnath and located in Kathmandu Durbar Square. King Laxmi Narsingha Malla built it in the 12th century entirely from the wood of one tree. Its name comes from the “Kastha” tree, also known as “Salla.” This three-story pagoda-style temple houses an idol of Gorakhnath at its center, along with four idols of Lord Ganesh on its second floor.
It is fascinating that the entire temple was constructed using only the wood from a single tree, without any metal. Adjacent to Kasthamandap, a shelter was built using the leftover wood. Beneath the temple, there is water reservoir a pond that provided water to the local residents.
Over time, Kasthamandap offered as a resting place for travelers and a site for religious rituals. However, in 2015, a severe earthquake destroyed it. Despite the devastation, extensive restoration work carried out using traditional methods and materials. By early 2022, the temple fully restored, maintaining its original design.
Today, the renovated Kasthamandap Temple stands as a revered destination, attracting tourists and Hindu devotees like.
Kumari Ghar, the residence of the living Goddess Kumari, is situated on the southern side of the Kathmandu Durbar Square premises. Built by King Jaya Prakash Malla in 1757, Kumari Ghar exemplifies Nepal’s magnificent architecture with its intricate woodcarvings of gods and various symbols. Kumari represents Taleju Bhawani and is believed to be the living incarnation of the goddess herself.
The selection process for a Kumari resembles that of Tibetan Lamas. Dating back to the 17th century, the practice was institutionalized by a Malla King. A Kumari candidate is chosen from a Buddhist family of the Shakya clan. Once selected, she is deeply revered by both Hindus and Buddhists. Picking her is a rigorous process. Girls aged 3 to 5 undergo numerous tests to determine their suitability for the role. They must be physically flawless with no marks and possess a good personality. Once chosen, she must separate from her family to reside in Kumari Ghar and accept worship. Once a Kumari attains her first menstrual cycle, she loses the divine status and the selection for another Kumari begins. After that, she is no longer considered a living goddess due to impurity. She only leaves the premises for special occasions and ceremonies, where many people come to seek her blessings. Visit Kumari Ghar at Basantapur to witness the residence of the goddess and catch a glimpse of the living deity.
