Artist Jeevan Rajopadhyay, 61, worked with landscapes for a long time. So long that one fine day he decided he was tired of it. There came a time when he felt that the mountains and the trees in his paintings caused disturbances in his creative renderings. With the realization that people, after all, needed change, he started experimenting with other formats of creative expression. He soon found happiness in the fact that he could break free from the limitations of predetermined shapes and boundaries of landscape paintings. I had to transfer my style from one technique to another. I never knew if the work I did was correct or not. Eventually, I presented these works in an exhibition, and the public totally loved them. I felt like I was on the right track. My longing for something new led me to the path I am in now -- the correct path, as far as I am concerned.
In addition, MoNA provides a vibrant continuity, by exhibiting the work of newer generations, whose manifestations differ in form and content. Delving deeper into the artworks, we see a rich interplay of western styles juxta positioned in local cultural context that gives the art a character that is ‘whole Nepali’, and places Nepal on a global platform.
The Kathmandu Valley has been a center of cultural heritage for thousands of years, spanning many dynasties and ‘schools of thought’, to receive its World Heritage Inscription in 1979. To date most great works of Nepali art have been denied a wider audience, being housed in private collections or a part of limited exhibitions. MoNA breaks that restrictive barrier, presenting masterpieces, mainly produced after the mid-19th century, to a wider and all-inclusive public.
The museum encompasses documentation, conservation and preservation of the country’s artistic heritage, with the aim to both maintain and expand this identity. Thematic presentations of Nepalese art, both traditional and contemporary and sometimes both will run as temporary exhibitions throughout the year to provide a ‘living’ Museum.