KATHMANDU UNIVERSITY

SCHOOL OF ENGINEERING

DEPARTMENT OF CIVIL ENGINEERING WITH ARCHITECTURE

PROGRAM

A FIELD VISIT REPORT ON

PATAN DURBAR SQUARE

A second year first semester report submitted in partial fulfilment

of the requirements for ARCH 202.

Submitted By: Submitted To:

Manish Baniya Ar. Buddha Shrestha

Prajeeta Gyawali

Anusha Ojha

Bandana Sharma
 TABLE OF CONTENTS
 INTRODUCTION
 HISTORY
 THE MAJOR ATTRACTION OF PATAN DARBAR
SQUARE
 CHYASIN DEWAL
 TALEJU BELL
 HARISHANKAR TEMPLE
 PATAN MUSEUM (KESHAV NARAYAN CHOWK)
 MUL CHOWK
 SUNDARI CHOWK
 KWA BAHAL-GOLDEN TEMPLE
 CHAR NARAYAN TEMPLE
 KRISHNA TEMPLE
 VISHWANATH TEMPLE
 ROYAL PALACE
 GOLDEN GATE (SUN DHOKA)

INTRODUCTION
Durbar Square, which means Royal Squares in English, is the generic name used to describe
plazas and areas opposite the old royal palaces in Nepal. It consists of temples, idols, open
courts, water fountains and more. Before unification of Nepal, Nepal consisted of small
kingdoms, and Durbar Squares are most prominent remnants of those old kingdoms in Nepal. In
particular, three Durbar Squares in the Kathmandu valley, belonging to the three Newar
kingdoms situated there before unification, are most famous: Kathmandu Durbar Square, Patan
Durbar Square and Bhaktapur Durbar Square. All three are UNESCO World heritage site.
 Patan Durbar Square

Patan Durbar Square on the map

Location, GPS coordinates: 27.6731 N 85.3250 E

Categories: Cities and towns, Ancient cities and towns
Values: Visual, Archaeology, Architecture, History

Where is located? Asia, Nepal, Bagmati, Kathmandu Valley, to

the south from the centre of Kathmandu,
centre of Lalitpur
Name in Nepali: पाटन दरवार क्षे तर्
Alternate names: Lalitanpur, Manigal, Yala, Yupa grama
UNESCO World Heritage status: part of "Kathmandu Valley", 1979, No.121
Founded: the 3rd century BC or earlier
Flourished: 1500 – 1800
 Fig: Patan Durbar Square
Patan, the oldest of all the three cities of Kathmandu valley. It is the best known for its artistic
heritage. It is probably one of the oldest Buddhist City in the world. It is a center of both Hinduism
and Buddhism with 136 bahals or courtyards and 55 major temples. Most of these structures are in
the vicinity of the Durbar Square. The city is situated on a plateau across Bagmati River. Another
name of Patan, is Lalitpur. The city is surrounded by 4Stupas as 4 corners of Patan, one at each
corner of its cardinal points. These stupas are said to have been built by the famous Emperor
Ashoka. This is one of the most elegant architectural treasures of which Patan is very proud. It is full
of Hindu temples and Buddhist monuments with bronze gateways, guardian deities and wonderful
carvings and many visitors come here to see the these monuments. Patan Durbar square is the
famous visiting place. The square is full of ancient places, temples, and shrines noted for their
exquisite carvings.
The former royal palace complex is the center of Patan's religious and social life and houses a
museum containing an array of bronze statues and religious objects. There are three main
courtyards or chowks, so named central Mul Chowk, Sundari Chowk and Keshav Narayan Chowk in
the square. The Sundari Chowk holds in its center a masterpiece of stone architecture, the Royal
bath called Tushahity.

General Characteristics
 Courtyard System
 It consists of TWO distinct sections: Palace with its temples and courtyards
 Group of Temples built in front of the palace complex.
 2-3-4 floors, No towers in early days –Temple towers of the Mallas
 Construction: Brick wall gable, Jhingati-tile roof, doors, windows, struts of carved
timber, Teliatiles floor etc.
 Use of courts: Residence, worship, bath, garden, ponds, entertainment etc.
 Centrally planned town, geometrically almost tried to be centre. Geometrically axial
planning.

HISTORY
Some scholars put the origins of Patan Durbar Square back to just after the Licchavi
era ended in 879CE. This was when the Thakuri kings ruled several parts of Nepal.
The evidence for this is sparse but it is believed a royal palace of one kind of another
was in Patan Durbar Square during that time. The Pradhana cast are also believed to
have been associated with the square just before the more famous Malla kings rose
to power. It is in the 1600s during the Malla era that Patan Durbar square truly rose
to actual fame. King Siddhinarasimh Malla is largely associated with starting the race
for the most beautiful city in the Kathmandu valley. This is when the other Malla
kings of Kathmandu and Bhaktapur joined in to "out do" each other artistically.
However, by the end of the 18th century the three kingdoms where united as the
Mallas were overthrown by the Shahs. The great artistic Malla era ended and the
Shah Dynasty started following which the country united into that is now known as
Nepal.

The Major attraction of Patan Darbar Square

 Patan Museum
 Hiranya Varna Mahavihar
 Golden Window
 Mahabouddha Temple
 Golden Temple
 Krishna Temple
 Mulchowk
 Sundari chowk
 TusaHiti

Fig: Plan of Patan Durbar Square

CHYASIN DEWAL
The very first temple you will come across is Chyasin Dewal, one of two Krishna
temples in the square. The attractive octagonal solid granite temple was built in
1637-47 by Siddhi Narasimha and is worthy of a walk around as it is one of the
square’s best examples of solid stone temples. We can see two stone lion
guardians at the bottom of the platform steps leading to the first floor. Inside here
 is the statue to Krishna. Two stone floors above have unique balconies

Fig; Chyasin Dewal under reconstruction

Taleju Bell
Just north of the Krishna Temple is a huge cast-iron Taleju Bell. Mounted
between two stone pillars it was erected in 1736-37 and rumored to terrify the
king’s enemies when it was rung. More likely it was used to signal incoming
invaders and later city announcements.

HARISHANKAR TEMPLE
Built in 1706 it was dedicated to Shankar Narayan deity who is half Shiva and half Vishnu. The
Harishankar temple was built by the daughter of king Yoganarendra Malla. This temple is now
totally destructed by the 2015 earthquake that took place in Nepal. But now renovating work is
going on and made as before as it is.
 Architectural Features
 Three storied temple
 Number of roof tier is equal to plinth tier
 Size of the plinth tier and roof tiers decreases as it goes up.
 The steps have stone at edges and corners
 Roof is carved with glimpses of the tortures one faces in hell after death
 Well carved struts which support the roofs
 Square in plan
 The temple is guarded by two stone sitting elephant

Construction Technology
Construction materials-Brick, timber, mud, tiling, jhingati roof, wood .timber used for windows,
struts, pillar frame etc in this temple. The foundation would be brick. Outer bricks are telia while
inner are ordinary.

PATAN MUSEUM (KESHAV NARAYAN CHOWK)

Running along the wall of the old palace is an ornate doorway. It leads to part of Patan Museum.
If you enter it will also give you access to Mul Chowk and Sundari Chowk.The museum falls
under the UNESCO’s World Heritage Sites .The Patan Museum was inaugurated in 1997 by
Late King Birendra Bir Bikram Shah. The Patan Museum displays the traditional sacred arts of
Nepal in an illustrious architectural setting. Its home is an old residential court of Patan Durbar,
one of the royal palaces of former Malla Kings of the Kathmandu Valley. The royal palace was
built in 1734, on the site of a Buddhist monastery.The museum quadrangle is known as Keshav
Narayan Chowk.The Museum’s exhibits cover a long span of Nepal’s cultural history and some
rare objects are among its treasures. Most of the objects are cast bronzes (mostly sculptures of
Hindu and Buddhist deities)and gilt copper repoussé work, traditional crafts for which Patan is
famous.The Museum has over 1,100 artifacts, about 200 of which are on permanent exhibition.
Patan Durbar Square was heavily damaged by the earthquake in April 2015

Fig: Plan of Patan Museum

East wing, First Floor, Gallery E
A triangular hole under the ridge of the gable wall allows a ray of sun light to enter during noon
hours, apart from providing the traditional exit for volatile spirits. The crossing of two invisible
lines (defined by the axis of alcoves and doors as dominant features) suggests the main route of
visitor circulation where it turns between the East- and the South-wing.
East wing, First Floor, Gallery A

This gallery is the first one the visitor enters. It provides an introduction to the exhibits and
explains how to recognize the various Hindu and Buddhist deities or ritual objects by their
particular features. One showcase and two separate stone reliefs in this gallery display
miscellaneous aspects of iconography and include objects which cannot be identified: e.g. the
faceless image of the repoussé shrine in the center would only be recognized by the family who
had dedicated this object to their personal deity in 1855.
South wing, second floor Gallery D
To maximize a sense of space in the long and narrow galleries, freestanding exhibitions were
kept to a minimum and showcases were suspended from the ceilings. each object again has been
given a particular space, either in a niche receding from the slanting main plane or on a pedestal
protruding from it. Thus, each exhibit has its own “spatial aura” in distinction from its neighbors,
and each group is gathered in a homogenous setting.
North wing, second floor Gallery G, technology section
The niche above one of the typical latticed windows was converted into a showcase with a
glazed steel frame in front and a hidden light box above. The case exhibits a pair of gilded
bronze hands, cast in the lost wax (cire perdue) process which is explained in this gallery. Bigger
than life-size, the hands may have been part of a large image of Shakyamuni, the historical
Buddha (a superb example of which is shown on the facing page). In this most common pose he
is seated in meditation, one hand in his lap, the other in the gesture of “calling the Earth to
witness” by touching her with the tip of the middle finger at the moment of his enlightenment.

Construction Materials
 Wood used mostly on door and windows, beams and columns as well as for struts.
 Red burnt brick with yellow mud mortar used for the facing of the museum
 Stones used on the foundations as well as on base and plinths.
 Stones also used for the construction of statues and sculptures.
 Tiles used for the roofing of the museum
 Topped with metal gajur.

Architectural Features
 Patan Museum is a marvel of Newar architecture.
 The art of repousse and the ‘lost-wax’ method of casting techniques used to create these
wonderful objects.
 The collection is displayed in a series of brick and timber rooms, linked by steep and
narrow stairways.
 Informative labels on each of the hundreds of statues, carvings and votive objects,
  Golden gilded door and window face one of the most beautiful squares in the world.
 The main temples are aligned opposite of the western face of the palace.
 The entrance of the temples faces east, towards the palace.
 Windows are highly carved. Highly used sunjhya, tikijhya in odd numbers in each floor.
 Doubly plinth and stone was used on the edge of the plinth.
 Two pillars are joint with the base of stone.
 The upper most part of the pillar was called as “Metha” leading to nina and cornice of the
beam above it.
 The outermost wall was made up of chika appa to give the smooth wall.
 Deep bay windows on the second floor provide sitting comfort and views of the square
below. The original mud floors have been replaced by handmade terracotta tiles.
 Wall niches with or without the sculpture were found.
 Looking through into Gallery E, Stone sculptures of the Vedic Gods Chandra and Surya
on the left, and of tantric deities of Nepal in the hanging show cases.

MUL CHOWK
Damaged during the earthquake renovation is nearly complete. Today it's often used as a
restoration area by artisans. The courtyard was built in 1666 and is known as the heart of
Durbar Square. It is now quite plain aside from the gilded figures straight ahead Ganga and
Jamuna, goddesses of the river system that runs from the Himalaya and the copper shrine in
the middle. Two decades ago the courtyard was richly decorated in wood work until several
thefts left it bare. Continue through to Sundari Chowk.

 Yantaju shrine
The goddess known as Yantamode and later Yantaju was an istadevata (personal deity) to the
Malla kings during their reign. King Srinivasa Malla commissioned this gilt copper repousse
shrine to Yantaju in the center of Mulchowk, a companion to the nearby Taleju shrines.
  Golden Doorway
The Golden Doorway marking the entry to the Taleju shrine inside Mulchowk is a fine example
of the metallurgical arts of Patan. The ensemble consists of three gilt copper repoussé
components: a door, an ornate torana, and two life-size sculptures of Ganga and Yamuna,
deifications of the two most sacred rivers of Hinduism.

Architectural Features
 The chowk is a magnificent quadrangle with its large open courtyard.
 It has two storeys, surrounded by courtyard where the palace priests lived.
 In courtyard, various dances and ceremonies were performed.
 The Agamdevta temple erected in the southern wing of the mulchowk.
 Bhandarkhalhas a Pokharihaving tunnel to flow of water to Bagmati (Shankhamul).
 In Patan, there is a triple–roofed temple on a three–storeyed palace.
 The corner of the roof were cut back to create the octagonal towers.
Fig: Plan of Mulchowk and Sundari chowk
 Fig: Tham and Torona

SUNDARI CHOWK
The centerpiece attraction is without doubt the stunning Tushahiti step-well in the center of the
courtyard. Built in 1647 by King Siddhinarasimha Malla for ritual ablutions. South of Mul Chowk
is the smaller Sundari Chowk, arranged around a superbly carved sunken water tank known as
the Tusha Hiti. The chowk was restored in 2014, and again after the 2015 earthquake. Built in
1647, the renovated water tank has 72 carved stone plaques depicting Tantric deities and was
used by the king for ritual ablutions. The spout is new; the original was stolen in 2010 (and
recovered). Ancient carved wooden struts lie scattered in the corners.
The highlight of Sundari Chowk is the superbly carved sunken water tank known as the Tusha
Hiti. Built in 1647, the renovated tank has 72 carved stone plaques depicting Tantric deities and
was used by the king for ritual ablutions. The spout is new; the original was stolen in 2010 but
recently recovered. Ancient carved wooden struts lie neglected in the corners like kindling
wood.On the way out look at the restored Bhandarkhal water tank, once the main water supply
for the palace, featuring a charming meditation pavilion.
Back in Durbar Sq, the traditional gateway to Sundari Chowk features three magnificent statues
of Hanuman (barely recognisable beneath layers of orange paint), Ganesh and Vishnu as
Narsingha, the man-lion, tearing out the entrails of a demon.
Fig: Front façade of Sundari chowk Fig: Tusa Hiti

Construction Material and Technology

 The construction technology is load bearing system (brick and mud motor).
 Construction materials –Brick, timber, mud floor, tiling, Jhingatiroof etc.
 Timber used for joists, frame, windows, doors, floor planks, etc.
 The foundation is of brick.
 Roofs have ridge, centre post raised in King post truss supported by struts.
 The corridors / balconies walkways (cantilevers) are supported by struts.
 Windows and doors are not load bearing components and consists of a lot of carving.
 The windows openings are normally slope narrow out.
 It is said that Sundari chowk building has got no foundation, wall itself acting as
foundation.
 Courtyard is paved with square slate of stone.
Architectural Features
 It is single bayed with parallel load bearing walls.
 Three dalans on the three faces, except in the south.
 The main entrance is at the north with decorative wooden gate guarded by two stone
statue representing Ganesh and Narsimha
 At south, there is continuous carving of shivalingas defining no dalans.
 It built on the concept of Vastupurusha Mandala.
 Carving on the different doors with different motifs, erotic carving related to Kamadevea.
 Ground floor stair & anteroom access from Petiin Court.
 First floor: 2 small rooms, used as bedroom.
 Second floor living and other spaces linked through balcony to other units used as kitchen
and dining area
 Ground floor used as stable, open area with double collanade and place for guards to stay
 Courtyard is paved with square slate of stone.
 Five bayed entrance door between two walls of Mulchowk and Sundari Chowk. In this
chowk, have a north side entrance. Later south door opened for priest.
 Mulchowk built at the last probably it closed the doorway of Sundari Chowk, which is
interconnected by Agam Mandir.
 In bedroom, there is mural painting of the Machhindra Nath Jatra on the wall in north
side.
 First floor is long continuous rooms.
 Where rooms are not interconnected as per security purpose.
 Discontinuous as many functions held by King there. Approached from many access.
 Second floor again discontinuous but connected through balcony.
 It is not usual characteristic of Durbar. May be later added.
 The unique character of this Palace is corner window (only three corner windowed
building).
 Tusa hiti was built in the centre of the courtyard in octagonal shape ( king’s devotion
towards the eight nagas).

KWA BAHAL

This unique Buddhist monastery is just north of Durbar Sq. It was allegedly founded in the 12th
century, and it has existed in its current form since 1409. The temple gets its name from the
gilded metal plates that cover most of its frontage and it is one of the most beautiful in Patan.
Architectural Features
 Entry is via an ornate narrow stone doorway to the east, or a wooden doorway to the west
from one of the interlinked courtyards on the north side of Nakabhil.
  Entering from the east, note the gaudy lions and the 1886 signature of Krishnabir, the
master stonemason who sculpted the fine doorway with its frieze of Buddhist deities.
 A free-standing shrine with a gilded roof tapering to a gajur (bell-shaped top) occupies
the center of the temple court.
 The temple itself is a magnificent example of courtyard temple architecture. Two
elephant statues guard the doorway and the facade is covered by a host of gleaming
Buddhist figures.
 Inside the main shrine is a beautiful statue of Sakyamuni (no photos allowed).
 To the left of the courtyard is a statue of Green Tara and in the right corner is a statue of
the Bodhisattva Vajrasattva wearing an impressive silver-and-gold cape. Both are inside
inner shrines.
 Facing the main temple is a smaller shrine containing a ‘self-arisen’ (swayambhu)
chaitya.
 The four corners of the courtyard have statues of four Lokeshvaras (incarnations of
Avalokiteshvara) and four monkeys, which hold out jackfruits as an offering.
 A stairway leads to an upper-floor chapel dedicated to a white eight-armed
Avalokiteshvara, lined with Tibetan-style frescoes including a wheel of life.
 Finally, as you leave the temple at the eastern exit, look up to see an embossed mandala
mounted on the ceiling.
 Outside of winter, look for the tortoises pottering around the compound – these are the
temple guardians.
 There is south towards Durbar Sq to see the small, two-tiered Uma Maheshwar Temple
and the handsome stone Gauri Shankar Temple, in the Indian shikhara style.
 Across the road, the Buddhist Maru Mandapa Mahavihar is set in a small courtyard.

GOLDEN TEMPLE IMAGE

Construction Material and Technology

 The construction technology is load bearing system (brick and mud motor).
 Construction materials –Brick, timber, mud floor, tiling, Jhingati roof etc.
 Timber used for joists, frame, windows, doors, floor planks, etc.
 The foundation is of brick.
 Roofs have ridge, centre post raised in King post truss supported by struts.
 The corridors / balconies walkways (cantilevers) are supported by struts.
 Windows and doors are not load bearing components and consists of a lot of carving.
 The windows openings are normally slope narrow out.
 CHAR NARAYAN TEMPLE
Also known by the name Jagan Narayan Temple, Char Narayan Temple in Patan is again
another temple built in accordance with Pagoda style, and is dedicated to Lord Vishnu. Some
scholars believe it was built in 1565, while others suggest the early 17th century as a more
reasonable date. It is a tall temple constructed with red bricks and has an artistic metal statue of
Garuda in a stone pillar right in front of the temple.

Construction Material and Technology

 The construction technology is load bearing system (brick and mud motor).
 Construction materials –Brick, timber, mud floor, tiling, Jhingati roof etc.
 Timber used for joists, frame, windows, doors, floor planks, etc.
 The foundation is of brick.
 Roofs have ridge, centre post raised in King post truss supported by struts.
 The corridors / balconies walkways (cantilevers) are supported by struts.
 Windows and doors are not load bearing components and consists of a lot of carving.
 The windows openings are normally slope narrow out.
 Fig: Plan and Elevation of Char Narayan Temple

KRISHNA TEMPLE
One of the most remarkable stone temples ever built only took six and a half short years to
construct it in 1637. This elaborate temple is dedicated to Krishna and worth some minutes to
enjoy. Opposite it is a beautiful Garuda mounted on a column. It is said that one night the King
saw Lord Krishna and his consort Srimati Radha standing in front of the royal palace. He ordered
a temple to be built on the same spot. There are 21 golden pinnacles in the temple. Below the
pinnacles are three stories. The first floor holds the main shrine of Lord Krishna with shrines of
Radha and Rukmini at each side. The second floor is dedicated to Lord Shiva and the third to
Lokeshwor (Avalokiteshvara).
The square is crowded with thousands of Hindu Pilgrims and devotees during Krishnastami.

Architectural Features
 Carved out of stone
 21 golden pinnacles in the temple
 The first floor pillar carvings narrate the events of the Mahabharata
 The first floor of pinnacles enshrines Krishna, the second Shiva and the third lokeswar
 While on the second floor there are visual carvings from Ramayana
 Southern influence in form
 Mughal style i.e. multiple storied

Construction Technology
This is very different temple from the usual Nepalese pagoda temple made of bricks and wood. It
is entirely made of stone and well carved and paved. It stands on its stone based about 4feet in
height. The circular motifs helps make for a design of light, balanced composition and almost
weightless appearance despite the narrowness of the columns and the considerable mass of the
upper two third of the structure

VISHWANATH TEMPLE
 Vishwanath is a manifestation of Shiva. The temple was built between 1676- 78
during a time when King Siddhi Narsingh witnessed the moguls destroy the
Vishwanath Temple in Banaras. Today you can view two stone riders on elephants
guarding it.

Construction Technology
 Construction materials-Brick, timber, mud, tiling, jhingati roof,
 wood .timber used for windows,
 struts, pillar frame etc .
 The foundation would be brick.
 Outer bricks are telia while inner are ordinary.
 Plinth is brick work with stone trimmings covered with stone bands.

ROYAL PALACE
Forming the entire eastern side of Durbar Sq, the Royal Palace of Patan was originally built in
the 14th century, and expanded during the 17th and 18th centuries by Siddhinarsingh Malla,
Srinivasa Malla and Vishnu Malla. The Patan palace predates the palaces in Kathmandu and
Bhaktapur and remains one of the architectural highlights of Nepal.
Behind the extravagant facade, with its overhanging eaves, carved windows and delicate wooden
screens, are a series of connecting courtyards and a trip of temples dedicated to the valley’s main
deity, the goddess Taleju. The closed external Bhairab gateway leading to the central Mul
Chowk courtyard is flanked by two stone lions and colourful murals of Shiva in his wrathful
incarnation as Bhairab. Strings of buffalo guts are hung above the door in his honour.
The northern courtyard is reached through the Golden Gate (Sun Dhoka). Installed in 1734, this
finely engraved and gilded gateway is topped by a golden torana showing Shiva, Parvati, Ganesh
and Kumar (an incarnation of Skanda, the god of war). Directly above the gateway is a window
made from gold foil wrapped around a timber frame, where the king once made public
appearances. This gateway now forms the entrance to the Patan Museum and northern ticket
office.
Restoration works following the 2015 earthquake are not the first to take place at the palace.
Reconstruction followed the conquest of the valley by Prithvi Narayan Shah in 1768, and again
after the great earthquake of 1934.

Construction materials
 Wood used mostly on the openings as door and windows, beams and columns as well as
for struts.
 Red burnt brick with yellow mud mortar used for the facing of the museum
 Stones used on the foundations as well as on base and plinths.
 Stones also used for the construction of statues and sculptures.
 Tiles used for the roofing of the museum
 Topped with metal gajur.
 GOLDEN GATE (SUN DHOKA)
Golden Gate is the entry to Patan Museum through the Royal Palace. It was installed in 1734.
This finely engraved and gilded gateway is topped by a golden torana showing Shiva, Parvati,
Ganesh and Kumar (an incarnation of Skanda, the god of war).Directly above the gateway is a
window made from gold foil wrapped around a timber frame, where the king once made public
appearances.