A 16th-century paubha painting of the Malla era from Nepal is currently held at the Collège de France in Paris. This artistic masterpiece vividly depicts King Pratap Malla’s Tuladaan ceremony (1664 AD) for his son, Prince Chakrabartendra Malla. The painting has never been publicly displayed and is far from its rightful home.
The first mention of its existence appears in Pradityapal’s book, “Nepal: Old Images, New Insights,” and it was later included in Alexander W. MacDonald and Anne Vergati’s 1979 publication, “Newar Art: Nepalese Art During the Malla Period.” This information suggests it was already in foreign hands by the 1970s, raising the question of how it left Nepal.
The Collège de France is among the most prestigious academic institutions. Such institutions must conduct provenance research on artworks before they are acquired. It allows them to trace the history of an artwork, ensuring that it was obtained ethically and legally. Despite scholars like Pradityapal and Anne Vergati having extensively documented the significance of this artwork, there remains a gap when it comes to understanding the loss of its original context.
This case is not unique, as many similar artworks likely exist. Recently, three paubha paintings were recovered from Subash Kapoor’s collection. The painting in question beautifully captures the ritual of the Tuladaan ceremony, where the prince was weighed against gold, silver, pearls, and precious stones, which were then offered to the Goddess Taleju Bhavani. This piece stands as the earliest known representation of a historical event in Nepali art, serving as a “photographic record” of 17th-century Nepal’s life, architecture, music, and cultural practices.
What next?
Stakeholders, including the Department of Archaeology, Hanumandhoka Museum, and the Ministry of Foreign Affairs, must collaborate to address this issue. It is essential to pool resources for research, add to documentation efforts, and initiate diplomatic pressure for repatriation. Strong evidence can pave the way for legal remedies in courts and international forums.
An appeal to the international media is a priority, including French media outlets, to investigate the presence of this painting at the Collège de France and highlight its provenance.
The recovery of these paintings is vital as they represent Nepal’s invaluable history. We demand their return while expressing gratitude to the Collège de France for its protective stewardship. However, denied access to our heritage is not justifiable. This masterpiece rightfully belongs to Nepal.
An initiative, Tuladan: Evidence of our Legacy, is spearheaded by Rajan Sakya and the Museum of Nepal Art (MoNA), to bring this magnificent paubha back to Nepal. An article on it was published in the Nepal Times on June 15, 2025.
This piece is composed by Saurav Thapa Shrestha of Nepalko Kala project and member of Global Shaper Kathmandu Hub.
