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Introduction

In Nepal, the initiation of stone art is believed to be the result of artistic experimentation. during the reign of the Licchavi King Vrishdeva, the great grandfather of King Manadeva, a farmer named Balbala made a self-portrait in stone for the first time. He son gained recognition in the community due to his innovative experimentation in this new field and ended up as the founder of stone sculpting in the country. For those with an eye for details, stone images are abundant in Nepal. Beneath water taps, around temples and stupas and along ancient and modern street alike, there are images of lion and griffins, detailed and obscured gods that date back centuries and those that have been set there recently by the faithful, seeking a connection with the immortal. The history of Nepal has been told in stone. There seemed to be no other alternative. Few manuscripts have survived; the oral tradition fails to identify the nation's archaic culture; wooden images have mostly rotted away, and metal work barely reaches the 10th century. For all those seeking an insight into Nepali history and cultural antiquity, stone tells the clearest stories.

When Kathmandu valley was divided into different kingdoms (Kathmandu, Bhaktapur and Patan) under three Malla kings, competition grew among the three cities regarding their wealth of architectural monuments and art collections. So strongly protective did they feel about this issue, that they had the hands of the most talented artistes cut off, fearing that neighboring kingdoms, would replicate their prized works of art. Such attitudes were not uncommon in archaic societies. Some may resent the gruesome mindset of these kings, but it also shows their ob session with art. If a piece or art can make sane men go insane, how wonderful must the art itself be? Creation is a phenomenon that can topple a state of mind.