We caught up with the brilliant and insightful Dr. Renuka Gurung a few weeks ago and have shared our conversation below.

Hi Dr. Renuka, thanks for joining us today. Can you open up about a risk you’ve taken – what it was like taking that risk, why you took the risk and how it turned out?

When I initially embarked on my journey into the realm of traditional devotional arts in Nepal, I was unaware of many aspects underlying this genre of practice. My motivation stemmed from a
deep respect and a curiosity to explore divine imagery. As I advanced, I acquired a wealth of
knowledge and developed a stronger desire to delve deeper into the practice. However, as I
delved further, I encountered complexities inherent in this practice, leading to frustration and a
brief contemplation of abandoning my doctoral research.
Nevertheless, my intentions remained pure; I was driven by a selfless commitment to preserving
and promoting the Paubha painting tradition, which was on the brink of extinction when I first
became acquainted with it. Recognizing the urgent need for its preservation for the betterment of
humanity, the community, and future generations, I willingly embraced the associated risks and
challenges. Though the journey was fraught with difficulty and occasional frustration, I
persevered. I refused to waver in my determination, maintaining a steadfast belief in myself and
my objectives.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I am Renuka Gurung (Pradhan), a paubha painter, art educator, researcher and a scholar. Paubha is a traditional devotional painting practised by Newar painters “Chitrakar” of Nepal. Newars are one of the earliest indigenous settlers of the Kathmandu Valley. Paubha painting is a reflection of early Newari Buddhist practice of the Newar Buddhist community of Nepal. It was integral to their cultural practice and was never shared outside the community. So, this painting practice was on the verge of extinction when I first came to know about it.

I got into paubha painting out of deep interest in learning to paint images of Buddhas and bodhisattvas on cloth. As I was always attracted by beautifully painted Thangka paintings that I often saw hung on the walls of the monasteries and as well as in markets of Kathmandu, Nepal.

I paint paubha, a traditional devotional painting of Nepal and also teach about it in The King’s Foundation School of Traditional Arts, London since 2010.

As a women paubha painter who comes from a non-Newar background ( although I am now married to Newar husband), I feel content to be able to bring its true glory back into the community and give recognition in an international creative field. Because, in the past, paubha used to be painted only by the male members of the Newar especially Chitrakar community, not even by the women members of the Newar community.

During my research I came to know that paubha is not just a traditional painting, rather it is a practice having deep spiritual meaning and a medium of meditation and veneration which makes it different from the rest of the forms of traditional arts or painting. Thus, I prefer to call it traditional devotional painting.

I was able to realize this important aspect of paubha through my long arduous research and practice which I spread through my teachings and workshops especially to the students, or interested individuals, professionals etc. globally.

I did my doctoral degree on the subject from The Prince’s Foundation School Of Traditional Arts, London in 2013. During the degree show I was awarded with a prestigious David Ciclitira Prize by His Majesty the King Charles III for my outstanding research and paintings. With this, I was able to create a prominent space or platform to turn the paubha into a national and international platform. This has not only given recognition for the paubha painting tradition of Nepal but also a recognition to past masters as well as the essence underlying paubha painting tradition.

For those interested in the traditional devotional paintings of Nepal, I want them to understand that traditional arts/paintings are not just a portrayal of images of deities but it is a profound process and a medium for self-transformation.

Have you ever had to pivot?

The most effective strategy for expanding the clientele base for my particular practice

revolves around education. This form of art transcends mere aesthetic beauty; it’s about the immersive experience it offers. Therefore, raising awareness about the practice of the paubha painting tradition through education is crucial. This can be achieved through guided workshops. As this will provide participants with the opportunity to uncover the profound richness inherent in this tradition. Engaging in guided workshops allows individuals to tap into the profound treasure trove that paubha painting offers. It is not simply about drawing and painting images of the divine; rather, it serves as a conduit for inner transformation.

Through direct involvement in the process of painting divine images, individuals come to
grasp the essence of true beauty and the deeper significance behind these portrayals. By gaining first-hand insight into this transformative process, individuals develop a profound appreciation for the beauty of paubha paintings encountered in exhibitions, museums, temples, shrines, or monasteries. This understanding fosters a genuine connection with the art form, thereby expanding the clientele base organically.

Can you share a story from your journey that illustrates your resilience?

My journey as a novice painter in traditional devotional painting exposed me to numerous intriguing yet previously unknown facets within the realm of traditional devotional arts. It was an absorbing and simultaneously challenging journey, particularly given my outsider status and non- affiliation with the Chitrakar community, who historically dominated this art form. 

Navigating through the cultural intricacies inherent in this practice proved daunting. Traditionally, paubha painting was a male-dominated tradition of painting, passed down within the patriarchal structure of the Chitrakar caste. This exclusive transmission of knowledge within familial circles excluded women from active participation, relegating them to auxiliary roles in tasks such as canvas preparation and pigment processing.

As an outsider to this cultural framework and a woman, albeit married into the Newar
community, I confronted significant barriers in accessing deeper insights into the paubha painting tradition. Despite encountering women learning at my master’s studio, accessing comprehensive learning remained a formidable challenge. I had to exert additional effort and perseverance to deepen my understanding of paubha painting, compounded by the scarcity of early physical examples for study. The journey was both fascinating and demanding.

 Each intricate pattern and traditional practice revealed layers of complexity, fuelling my desire to learn more. My resilience and unwavering commitment to understanding and preserving this tradition ultimately led to significant success. Upon embarking on doctoral research, I had already committed to dedicating my life to the preservation and promotion of Nepal’s precious heritage, the paubha painting tradition. 

My pursuit was characterised by selflessness, driven by a desire to serve the greater good rather than personal gain. Prioritising the community’s needs and the future generation’s  welfare, I laboured tirelessly, guided by dedication, devotion, and discipline.

In retrospect, I can affirm that success in life hinges on dedication, devotion, and discipline.

These values have been the cornerstone of my journey, guiding me towards fulfilling my mission of preserving and promoting Nepal’s cherished paubha painting tradition.

Contact Info:

• Website: www.paubha.com
• Other: [email protected]

Image Credits
some of the images of my paintings @RG