naagraj nepal

उपत्यकाका प्रमुख तीर्थ
तथा नागराजाहरू

क्र.सं. नागराजाको नाम तीर्थको नाम तीर्थस्थल रहेको ठाउँ
१ तक्षक नाग पुण्य तीर्थ गोकर्ण
२ सोक्षिकी नाग शान्त तीर्थ गुह्येश्वरी
३ शङ्खपाल नाग शङ्खर तीर्थ शङ्खमूल
४ स्वरूप नाग राज तीर्थ कालोपुल / सानेपा
५ कुलिक नाग मनोरथ तीर्थ टोखादुवा
६ अपलाल नाग निर्मल तीर्थ भद्रमती (भचाखुसी)
७ नन्दउपनन्द नाग लखु / विधान तीर्थ कङ्केश्वरी / कङ्ग अजिमा
८ बासुकी नाग ज्ञान तीर्थ कह्रँ खुसी (बुङ्गमती)
९ वरुण नाग चिन्तामणि तीर्थ टेकु दोभान
१० पद्मधवल नाग प्रमोद तीर्थ दानगा
११ महापद्मधवल नाग सुलक्षण तीर्थ भाजँ गाँ (कीर्तिपुर)
१२ कान्ति नाग जय तीर्थ नख्खु

अजिमा by guru rajendra

पौराणिक धार्मिक मान्यता कथं श्री सतीदेवीया अङ्ग पतन जूगु थाय् हे शक्तिपीठ खः धैगु मान्यता जुया वयाच्वंगु खनेदु । अथेहे देवगणया मिसा स्वरुप (स्त्रीरुप)या शक्तिस्वरुपा मान्य जुया वयाच्वंगु दु ।क्वसिमा क्वे मसानघाट सतिकं अष्टमात्रिकाया बास दुगु वा अष्टमात्रिकाया बास जुयाच्वंगु थाय् हे शक्तिपीठ खः धइगु पौराणिक व धार्मिक मान्यता कायम जुया वयाच्वंगु थन झीसं खनाच्वनागु दु ।

प्राचिन नेपाः उत्पति जुइधुंकाः नेपालमण्डरया येँ दक्षिण-मंजुपतन , यंगाल कोलिग्राम बस्ती व उत्तर-यंगू बस्ती नांया थीथी बस्ती दुगु । थ्व निगु बस्ती छगू खड्रगाकायार भूमि(जमिन) जुयाच्वंगु । थ्व खड्गाकार भूमिया स्वखेरं खुसि -बिष्णुमति खुसि , बागमति खुसि , इक्षुमति(टुकुचा) खुसि व रुद्रमति( धोब्याखुसी) खुसी व छखे भिर व सिंगु गुँ दयाच्वन । सामरिक दृष्टिकोणं थ्व नगर पलिस्था यायेत तस्कं हे पायक व पायछि जुगु खनाः कलिगत संवत 3827 पाखे लिच्छिविकालीन राजा गुणकामदेवं थ्व निगु कोलिग्राम बस्तीयात समायोजित यानाः बिष्णुमति ,बागमति , इक्षुमति (टुकुचा) व रुद्रमति(धोब्याखुसी)खुसीया सिथय् कान्तिपुरनगर पलिस्था याःगु व थ्व नगरया प्यखेरं गड्ग आकारय् अष्टमात्रिका व अजिमायुक्त शक्तिपीठ(दुग्) नगर सुरक्षा घेरा पलिस्था याःगु खँ प्राचिन नेपाल उत्पतिया इतिसय् च्वयातःगु खने दु ।नेपाः उत्पतिकाले थन मातृसतात्मक राज्यप्रणाली जुगुलिं न्हापा न्हापा तान्त्रिक आधेरे मातृशक्ति पूजा यायेगु परम्परा दुगु खःसा नं आः वयाः तान्त्रिकरुपं पुजा यायेगु चलन म्हो जुया वं सा नं शक्तिस्वरुप अजिमायुक्त शक्तिपीठत पूजायानाः हनेगु ज्या थन झीसं याना वयाच्वंगु हे दु । शक्तिपीठय् हिन्दु व बौध्द धर्मालम्बीतयसं तसकं श्रध्दाभक्ति तया हना वयाच्वंगु दु । थ्व झी नेपाःमि समाजया धार्मिक समन्वय , सहिष्णुता व सहअस्तित्वया म्हसीका खः ।
येँ कान्तिपुर नगर सुरक्षा घेराय्(दुर्गय्) लाःपिं अष्टमात्रिका शक्तिगणय् लाःपिं अजिमायुक्त शक्तिपीठ खः : - 1. लुमरी(लुमढी)अजिमा(भद्रकाली) भद्रकाली सहिदगेत 2. कङ्ग अजिमा ( चामुन्दा,चन्देश्वरी.कंकेश्वरी) कंकेश्वर 3. म्हयपि अजिमा (ज्ञानेश्वरी) म्हैपि 4. मैतिअजिमा(पञ्चकुमारी ,मैतिदेवी) मैति 5. बसला अजिमा (बसलादेवी) ग्वँल ,पशुपति 6. लुतिअजिमा (इन्द्रायणी) ढल्को 7. टकती(तखती)अजिमा (निलबाराही) टंकेश्वर कालीमाटी व 8. ङ्यतमरुअजिमा (श्वेतकाली , नरदेवी) नरदेवी ।

रक्त कालि

tokha naya

नेवार by guru rajendra maharjan patan

नेवार भन्ने शब्दले नेपालको एउटा मूलबासी भाषिक समुदायलाई जनाउंदछ। नेवारहरूको मूलथलो काठमाडौं उपत्यका हो। [१] नेवार कुनै जात वा जाति वा जनजाति वा नश्ल वा धर्म विषेश होईन । नेवार एउटा भाषिक समुदाय हो, नेपाल-वासी (अहिलेको काठमाडौं उपत्यका) को साझा संस्कृति हो। नेवार भित्र कयौँ मूल-जातिहरू छन - (आदिबासी, किरांत, कन्याकुब्ज, बंगाली, राजस्थानी, आसामी, तिबत्ती, मैथिली, आदि)। नेवार भित्र सनातन धर्म अन्तर्गतका धेरै सम्प्रदाय हरु छन - (शैव, शाक्त, तान्त्र, वैदिक, वज्रयान, महायान, नाथ, वैश्नव, आदि)। नेवार भित्र ४ जात-वर्ण (ब्राह्मण, क्षत्रीय, वैश्य, शुद्र) र यस भित्र थुप्रै उप-जातहरू रहेका छन (ज्यापू, श्रेष्ठ, क्षत्रीय, गुभाजू, उराय, सायमी, ब्राह्मण, नाय, गथु, भा, द्यला, आदि)। यसैगरी नेवार भित्र मूलत: ३ नस्ल छन - आर्य, द्रविड, मंगोल । नेवार समुदाय साँस्कृतिक रूपले निकै सम्पन्न जाति हो ।

थर वर्गीकरण

नेवार समुदायमा पेशाका आधारमा जात र थरहरु छुट्याईएका छन् ।

- वैश्य-ब्यापार तथा व्यवसायलाई सधैंभरी आफ्नो पेशा मान्दै आएका लाई तुलाधर, बनिया, आदि ।

- वैश्य-ब्यापार तथा तामाको काम गर्नेलाई ताम्राकार,

- वैश्य-ब्यापार तथा काँस धातुको काम गर्नेलाई कंसाकार,

- इट्टा, झिंगटी, टायल पोल्नेलाई अवाले, अवा,

- माटाका साधन भाडाकुडाँहरू बनाउनेलाई कुमाले, प्रजापति,

- मिठाईजन्य पदार्थ बनाउनेलाई मधिकर्मी, राजकर्णिकार,

- फूलबारीमा काम गर्नेलाई माली, मालाकार,

- प्रायः खेतिपातीको काम गर्नेलाई ज्यापु, महर्जन, डंगोल, सुवाल, तण्डुकार, बलामी, आदि,

- तोरीको तेल पेल्ने अर्थात् तेलहनका व्यवसाय गर्नेलाई सायमी वा मानन्धर,

- फलामजन्य कार्य गर्नेलाई नकर्मी र कौले,

- कपाल अथवा केश काट्नेलाई नापित,

- चित्र लेख्ने र कोठा रंगाउनेलाई पुँ वा चित्रकार,

- लुगामा रङ्ग लगाउनेलाई छिपा वा रंजितकार,

- पालकी बोक्ने लाई दली, पतवार,

- बाजा बजाउने र लुगा सिउने अछुत मानिने वर्गलाई कपाली, कुस्ले, जोगी,

- मासुका कारोबार गर्नेलाई खड्गी,शाही, कसाईं,

- छाला संबन्धी काम गर्ने अछुत मानिएको वर्ग लाई कुलु,

- सर-सफाई गर्ने अछुत मानिएको वर्गलाई सुवर्णकार, पोडे, च्यामे, द्योला, हालाहुलु,

- बौद्द पुरोहित वर्ग लाई गुभाजु, बज्राचार्य,

- बौध मन्दिर पुजारी र सुन-चाँदिका गहना बनाउने काम गर्नेलाई बन्देजु, वरेजु वा शाक्य,

- हिन्दू वैदिक ब्राह्मण वर्ग लाई राजोपाध्याय, द्य ब्राह्मण,द्योउभाजु,

- हिन्दू तान्त्रिक पूजारी लाई कर्माचार्य, आचाजु,

- हिन्दू मन्दिर पुजारी लाई तिर्हुतबाजे,

- ज्योतिशी गर्ने लाई जोशी, दैवज्ञ,

- हिन्दू क्षत्रीय वर्ग र सरकारी/प्रशासनिक र जमिनदारी व्यवसाय गर्नेलाई मल्ल, प्रधान, मास्के, अमात्य, राजभण्डारी, कायस्थ, वैद्य, श्रेष्ठ, आदि

गुरु पूर्णिमा by guru rajendra maharjan patan

गुरु पूर्णिमालाई अषाढ पुर्णिामा /व्यास जयन्ती/कबीर जयंती भनिन्छ । पूर्वीय दर्शन अर्थात् हाम्रो सनातन हिन्दू धर्ममा गुरूको महत्त्व अनौठो र अनुपम छ।

शब्द परिचय

'ग'को अर्थ हो- अन्धकार एवं 'रु'को अर्थ हो- प्रकाश। 'गिरति अज्ञानं इति गुरूः' अर्थात् अज्ञानलाई हटाएर ज्ञान प्रदान गर्नेलाई गुरू भनिन्छ। यसप्रकार गुरू नै यथार्थ ब्रह्म हो।

पृष्ठभूमि

गुरूपूणिर्मा वेद व्यास जयन्तीको रूपमा मनाइन्छ। वेद व्यासले वेद-वेदान्त, अठार पुराण, उपनिषद्हरू लेखी हिन्दू संस्कृतिलाई ठूलो गुन लगाएका हुन्। यी हिन्दू ग्रन्थ नै हाम्रा मार्गदर्शक हुन्।

वर्तमान सन्दर्भ

अचेल 'गुरू' शब्द बस ड्राइभरलाई बोलाउने सम्बोधनको रूपमा गरिन्छ। अध्यापन गर्ने गुरूलाई शिक्षक, टिचर, लेक्चर, प्रोफेसरको रूपमा सम्बोधन गरिन्छ। सोक्रेटस, प्लेटो, अरस्तु सबै योग्य शिक्षक थिए। प|mाबेलले शिक्षार्थीलाई बिरुवा, शिक्षकलाई माली, विद्यालयलाई बगैंचाका रूपमा उपमा दिएका छन्। रूसो एक प्रकृतिवादी शिक्षाशास्त्री थिए। उनले बालक स्वतन्त्र जन्मिन्छ, उसलाई स्वतन्त्र रूपमा सिक्न दिनुपर्छ भने। शिक्षकले पथप्रदर्शकको रूपमा कार्य गर्नुपर्छ। विकसित र धनी राष्ट्र कहलिएका अमेरिका र आस्ट्रेलियाले मन माफिक धन खर्च गरेर पनि मन माफिक शैक्षिक सुधार गर्न सकेनन्। यो कुरा प्रसिद्ध बेलायती साप्ताहिक 'दी इकोनोमिस्टमा' अक्टोबर १८, २००७मा शिक्षासम्बन्धी एउटा विचारोत्तेजक लेखमा प्रकाशित भएको थियो। यसैको आधारमा एउटा अर्को अध्ययन आर्थिक सहयोग र विकास संगठनले विकास गरेको मापन प्रणालीअनुसार क्यानाडा, फिनल्याण्ड, जापान, कोरिया र सिङ्गापुरले श्रेष्ठता हासिल गरेको पाइयो। उक्त परामर्शदाता संस्थाले तीन महत्त्वपूर्ण बुँदा केलाएर प्रस्तुत गर्‍यो। पहिलो- योग्यतम शिक्षकहरूको व्यवस्था गर्नु, दोस्रो- योग्यतममध्ये पनि योग्यतम शिक्षकहरूको छनोट गरी बहाली गर्नु, तेस्रो- विद्यार्थीहरू जहाँनेर पछि पर्छन् तत्काल उनीहरूलाई शैक्षिक सहयोग उपलब्ध गराउनु। यी तीन बुँदालाई व्यावहारिक रूपमा कार्यान्वयन गर्ने हो भने शिक्षामा कम लगानीमा पनि ठूलो सुधार निश्चित रूपमा पाइनेछ। बेलायत, अमेरिका र अस्टे्रलियाले शिक्षामा ठूलो लगानी गरे पनि इच्छाअनुसार सुधार हासिल गर्न सकेका छैनन् तर दक्षिण कोरिया, सिङ्गापुर र हङकङ आदि देशमा उत्कृष्ट स्नातक र स्नातकोत्तरलाई मात्र शिक्षकमा बहाली गरिएकाले गुणस्तरीय शिक्षा उपलब्ध छ।। भौतिक साधन र शैक्षिक सामग्रीको प्रचुरता मात्रले शिक्षण सिकाइमा उल्लेखनीय परिर्वतन ल्याउन सकिँदैन जबसम्म ती साधनहरूको समुचित प्रयोग गर्ने व्यक्तिमा सक्षमता हुँदैन। यसै सन्दर्भमा छिमेकी राष्ट्र भारतका पूर्वराष्ट्रपति सर्वपल्ली राधाकृष्णन्ले भनेका छन्, 'देशको उत्तम मन र मस्तिष्क भएका व्यक्तिहरूलाई मात्र शिक्षक बनाउनुपर्छ।' त्यस्तै पूर्वराष्ट्रपति एपीजे अब्दुल कलामका शब्दमा, 'शिक्षकहरू राष्ट्रका मेरुदण्ड हुन्।' अर्थात् योग्य र श्रेष्ठ शिक्षकहरूद्वारा नै विकसित राष्ट्रको निर्माण हुन सक्छ। सय वर्षपूर्व अमेरिकामा शिक्षक सङ्घ र समुदायले शिक्षकहरूले पालन गर्नुपर्ने आचारसंहिता पारित गरेका थिए। जसको उद्देश्य शिक्षकहरूमा व्यक्तिगत, सामाजिक र पेसागत गुण तपसील बमोजिम हुनुपर्ने भनी उल्लेख गरिएको थियो। व्यक्तिगत गुण ः राम्रो स्वास्थ्य, आकर्षक व्यक्तित्व, मधुर स्वर, रुचि र उत्साह, धैर्य र सहनशीलता, प्रेम र सहानुभूति, आत्मविश्वास, नैतिकता र चरित्रवान आदि। सामाजिक गुण ः पक्षपातरहित, स्पष्ट वक्ता, मानवीय सम्बन्ध कायम गर्ने, सेवाभाव- क्रियाशील, विनोदपि्रय, नेतत्त्व गर्ने क्षमता र समुदायको ज्ञान आदि। सबभन्दा प्रमुख पेसागत गुण हो। विषयवस्तुको उच्च ज्ञान, शिक्षण कौशल, बालमनोविज्ञानको ज्ञान, शिक्षण पद्धति, विधि र प्रविधिको ज्ञान, उत्तरदायित्व बोध, जिज्ञासु र अध्ययनशील, खोज आदि। सारांशमा हाम्रा स्थापित मूल्य मान्यता र आदर्शलाई शतप्रतिशत रूपमा पश्चिमले स्वीकार गरिसकेका हुन्। हाम्रो शास्त्रमा दुई ठूला गुरूको चर्चा गरिएको पाइन्छ- एउटा देव गुरू बृहष्पति अर्को असुर गुरू शुक्राचार्य। शिक्षक देशका निर्माता हुन् भने शिक्षक विनाशकर्ता पनि बन्न सक्छन्। तसर्थ आज गुरूपूणिमाका दिन हामीले कस्तो गुरूको पूजा गर्नुपर्ने र कस्तो गुरूलाई चोर भनेर तिरस्कार गर्ने हो सोच्नुपर्छ। गुरूलाई ब्रह्मा भन्नुको अर्थ हो- बालबालिकाको सर्वाङ्गीण विकासमा सिर्जनात्मक शक्तिको विकास गर्नु तथा विष्णुजस्तै हेरचाह, रेखदेख, पालनपोषण गर्नु तथा महेश्वरजस्तै अज्ञान, कुमार्ग, कुविचारको नाश गर्नु। कुशल भान्छेको अभावमा सामानको प्रचरताले सुस्वादु परिकार सम्भव नभएजस्तै असल, योग्य शिक्षकको अभावमा असल शिक्षा सम्भव छैन।

नाय्खि by guru rajendra maharjan tangal patan

नाय्खि उपत्यकाको ज्यादै पुरानो तालबाजा हो । देख्दा यो ढोलकीजस्तै हुन्छ । यो बाजालाई गजोले ढोकर बजाइन्छ । नाय्खिका दुवैपट्टी छालाले मोरेको हुन्छ । विभिन्न चाडपर्व तथा सांस्कृतिक कार्यक्रमहरूमा यो बाजा बजाइन्छ । शवयात्रामा पनि नाय्खि बजाउन गरिन्छ ।

गजो ढ्याङ्ग्रो बजाउने लौरो हो । यो कुकुर डाइनोको काठद्वारा बनाइएको हुन्छ । यो बक्राकार हुन्छ । यसलाई धामी-झाँक्रिले मात्र बजाउँछन् । बेला, सारङ्गी आदि तारका बाजाहरू रेटेर बजाइने धनु जस्तो आकारको साधनलाई गजो भनिन्छ । त्यस्तै ट्याम्को, दमाहा, नगरा जस्ता छालाले मोरेका बाजा बजाइने छोटो-छोटो डन्डी पनि गजो भनिन्छ । हनुमान नाच्ने नचुवाहरूले परस्परमा जुधाउन लिने लौरोलाई गजो भन्ने चलन छ । कहींकहीं गज मात्र भनिएको पनि पाइन्छ ।

guru rajendra

samannn

saman huray

samann

krish

tokha rohit

samann in tokhaa

tokhaa

sabal tokha

sohan and me

bhaktpur my frn

ety my group

aroj thokaa

tokhaaa

nataishori

newaaa

newa

holi 2073

nasaa dayo

sas pujaas

sanjay and me

sas puja 3

2073 sas puja

rajan and me

nau baja 8

Musical Forms Played in Nau Baja :
The various forms of musical compositions played in different Jatras and time are very similar with the climate and theme of the those Jatras. For example in Jatras like Pasa Charye and Bisket Nau Baja is played in Ghatu rhythm, and the Holi rhythm is played during Falgun Month. As these all the rhythm and forms of musical composition of Nau Baja is different in all seasons and Jatras/ Festivals of Newar Community. Some of the formations are as follows:
·         In Pasa Charye and Bisket Nau Baja is played Ghatu rhythm in the following formation:
‘…….. Thathi Jagu Ras Rang Tol Tawa Ram Han………’
·         At the time of cultivation of Newars in the Kathmandu Valley Sinajya Rhythm is used in following formation:
‘ Gopal Na Pane Mata Thani Sinajya Bane Nhya…..’
·         In the Spring season Basanta music is played with the feel of colors and beauty in the Chalti and Pratal rhythm :
‘ Shyam Sundar Basanta Balas Radha Wo Mhytal Banaa Vo..’
To play Nau Baja in fully it generally takes about 1hrs to 1 and half hrs however it can also be played in less time without repeating the instruments. At the beginning of playing Dha Lhayeu (offering to god) and at the end Aarati (lighting) is compulsory. This also shows the religious importance of Nau Baja and its space in Newari Culture.

nau baja7

Musical Composition and combination of Nau Baja :  
As mentioned earlier though Nau Baja is a combination of Nine different Tha Bajas it also uses other sub bajas (Dhatu Baja) to give unique melody and composition. This doesn’t mean that those sub bajas are played through out the time of playing Nau Baja they are used with specific Tha baja in specific notes to balance composition as :
·         While playing Dha or Kot – along with Pona Sichha and Bhuchha is also played.
·         While playing Dhacha – Muhali and Sichha is played.
·         While playing Dhime – Muhali, Sichha and Pona at the end is played.
·         While playing Nya Khing – Muhali, Pona and Sichha is played.
·         While playing Pachima, Dholak and Nagara – Muhali and Sichha is played.
·         While Playing KoKhhing – Byachha and Sichha is played.
Whereas Ta is played compulsorily and Khwolimali is also played as per the requirements.

1.2.2 Major  Notes of Nau Baja :
SN
Instruments
Notes
1
Dha
Taa Taa Taa Dhe Taa
Taa Dhe Na Dhe
2
Kot
Taa Kha Ti Taa Khati
Taa Dhen Na Dhen
3
Dhancha
Taka Dhu Na Kha Tha
Taa Ka Dhuna Khati Taa
4
Dhime
Dha Drukh Taka Dha
Drukh Taka Dha Dha
5
Nya Khing
Dan Pa Dan Pa Daa
Pa Da Na Pa Daa
6
Dhalak
Dha Drukh Tha – 3 Ta Drukh Taa Ka
7
Pachima
Ta Ti Dha Taa Ti Dha Dha
8
Kokhhing
Ta Kha Ta Ti
Ta Kha Ta Ti
9
Nagara
Taa Dhe Naa, Dhena Dhena
Taa Dhena Dhena Dhena

nau baja 6

TiniMuni
It is a percussion instrument consisting of a steel rod bent in the shape rod a triangle. It is played by striking with another steel rod. It is played in Dhalcha Bhajans.
Gan
Gan or a bell plays a vital role in ceremonial worships such as Shradh, Janko, Ihi and so on. There are various types of bells in practice: Big, Small, Wind bell, Bajra Ghanta, for instance.
iii)Chordophones
Piwancha
Piwancha is two or three stringed instrument. It is especially played by jyapu (Newar farmer). Unfortunately, it has been extinct.
iv)Aerophones
Muhali
Muhali is a conical bore shawm, which is played only by Jugi (Kusle) caste.
Jugis are given Khanki (land) for playing Muhali in various occasions. There is a tradition to play Muhali everyday in Phalchas, i.e. roofed rest places, which tradition is also known as Siwa Yayegu. Muhali accompanies Dhah, Dapha Khin, Paschima, Nagara and others. Muhali solo is played in Digu Puja.
Bansuri (Flute)
Bansuri is a woodwind instrument which accompanies mainly Paschima, Dapha Khin or Koncha Khin. Basuri are of three kinds: Ghor, Majhawala and Teep, producing low, middle and high tones.
Baya
Baya resembles Bansuri but they are different in construction and playing techniques. Baya accompanies mainly Koncha Khin. Koncha Khin and Baya are played in marriage procession.
Ponga
Also known as Payantah, Ponga is a long wind instrument made of brass. Pongas are made by Tamoh or Tamrakar (Newar Coppersmith). It accompanies Kwatah Khin and it is also played in Bhailah Pyakhan (Bhairab Dance).
Kaha
Kaha resembles Ponga. It is also known as Indra Baja and it is believed to be invented at the time of Manju Shree. It is played with Naya Khin In many festivals nd also playd in funeral processions. There is a typical caste, called Kabuja, who play Kaha.
Nekoo
Nekoo or horn instrument is the oldest form of musical instruments in the globe. It is played during Gunla month. There are various types of Nekoo, Chatti Nekoo, Thika Nekoo, for instance.
Sankha
Sankha or konch is an ancient instrument. Playing of Sankha indicates starting of any new work. Sankha is played in 'MahGhah Wonegu' in dec-jan month. It is also played in different worships.

nau baja damaru5

KantanDabDab
Also known as Damaru, it is a small two headed drum with straps. It is the instrument played by lord Shiva. KantanDabDab is especially played during Mohani Festival.
Magah Khin
This two headed drum with tuning paste at both ends belongs to magar community, however it has become an important part in Newar folk music. It is said that there are fifty four talas of Magah Khin. It is commonly known as Madal.

Daha
Daha or a tambourine is a percussion instrument played in Bansuri Bajan or Khin Bajan. It is also used whilst singing songs and in Bhajans.
Dhangro
Though it is not a Newar instrument it has become an integral part in many rituals. Dhyangro is basically played by Jhankris (Witch Doctors) or Kirats.
ii)Idiophones
Tah
The word 'Tah' comes from ' Tala ' which is derived from 'Tandava' and 'Lasya'. Tah controls Tandava and Lasya of Music. It controls whole rythm of music. Tah is considered as the principle musical instruments among all Newar musical instruments. Tah, apair os thicker cymbal, is made of Asta Dhatu (an alloy of eight holy metals). It accompanies Dhah, Dapha Khin, Paschima, Koncha Khin, Naya Khin (when played as Gunla Bajab) and others.
Baboocha
It is thinner than Tah; however, it is bigger in size. It is also made of Asta Dhatu. It accompanies Dapha Khin, Pachima, Koncha Khin, Dholak and others.
Chhusyah
Also known as Sichhya, Chhusyah resembles Baboocha but is bigger in size. It accompanies Naya Khin, Nagara and others.
TainNain
TainNain is a gong; it is played by striking with a stick. It accompanies Dhimay.

nau baja nayoo khee4

Nayakhin
It is another musical instrument used in many rituals. This instruments is mainly played by the Khadgis, however, this instrument is also played by other castes. It is also called as 'NayaKhin' or 'Dyah Khin'. Since it is also played in funeral processions it is also known as 'Seeh Bajan' (funeral drum). Long long ago, there was a tradition to play fanfare on NayaKhin to proclaim the news.

DapaKhin
DapaKhin has various names: Yakah Khin, Joh khin, Lala Khin, Deshi Khin, for instance. It is double headed drum with tuning paste in both hides. Dapa Khin is mainly played in Dapa Bhajans (traditional hymns). If a single Khin is played it is called Yakah Khin and if two Khins are played, they are called as 'Joh Khin'. DapaKhin is accompanied with Tah, Baboo and Bansuri (flute) or Muhali (Shwam).

Koncha Khin
Koncha Khin is single headed drum resembling Tabla. It is also termed as 'Khicha Khwah Khin' as it is said that dogs start to cry when Koncha Khin is played.
Koncha Khin is mainly played in marriage processions and accompanied with baboo, Tah and Baya or Muhali.

Pastah Khin
Also known as Kwatah Khin, Pasta Khin is a combination of Dapha Khin and NayaKhin. An ancient stone image of people playing Pastah Khin signifies its use since ancient time.
Pastah Khin is an important instrument in Bajrayan sect of Buddhism. Pastah Khin is accompanied with Ponga and Tah.
Nagara
Nagara is a kettle drum played with two sticks. This instrument has been described in purans as Dundubhi, Dundhu, Dundhub, Bheri, Adamber etc. It is often played in pair, known as Joh Nagara. Nagara is also played in Panchai Baja as Damaha. It is too played in Mahakali Dance.It is accompanied with Chhusyah and Muhali.
Dholak
Dholak resembles Dhah in structure and its playing techniques are similar to that of Paschima. Dholak is played in Dhalcha Bhajans and also accompanies Bansuri.

nau baja3

It is believed that there are about 200 (two hundred) types of original musical instruments in Nepal, and 108(one hundred eight types) of musical instruments have been found till now. A great number of Newar musical instruments are included init. These instruments can be classified into four classes according to Sangeet Shastra.
i)        Membranophones - Dhimay, Dhah, Paschima, NayaKhin etc.

ii)       Idiophones - Bhusyah, Chhusyah, TainNain etc.

iii)     Chordophones-Piwancha

iv)     Aerophones - Muhali, Nekoo, Bansuri etc.

Mostly used musical instruments in Newar societies are membranophones, which are generally accompanied with idiophones and aerophones.
i) Membranophones
Dhimay
Dhimay is the most common musical instruments amongst the Newars. It is considered as the oldest musical instruments amongst the membranophones. Even though there is no evidence that Mahadeva invented this instruments (as legend says) but there is evidence to support that it dates back to Kirat period. It resembles the Chyabrung of Kirat Rais and Dhola of Tharus. Dhimay is played in almost al ceremonial marches by the Jyapus. They are fund lost in dancing with deep rumble of Dhimay in festivals.

Dhah
Gunla (a month according to Nepal Era) is taken as Buddhist holy month. As Dhah is played during Gunla it is also termed as 'Gunla Bajan'.It looks similar to Dhimay but is Slightly smaller than Dhimay. Dhah is constructed from cylindrical hollowed tree trunk slightly smaller than that of Dhimay. Tuning paste is stuck at the inner side of Mankah. Tuning paste is made of castor seeds, mustard oils etc

Paschima
Myth says, Paschima was invented by lord Krishna. This instrument is also known as Mridanga. It is a double headed drum with tuning paste in on hide (Nasah) and dough made of wheat flour is plastered in the other hide (Mankah) before playing.Paschima is accompanied with Baboocha (thinner cymbals), Tah (thicker cymbal), Muhali (shwam) or Bansuri (flute).

nau bajaa 2

a)    Pachima :
Pachima is known as Khing in Newari language. The appearance of Pachima is similar to the shape of Khhen (egg), so it is named as Khing. The average size of Pachima is 24 inches long, 12 inches wide at the middle and at the end of one side it is 8 inches while other side is 9.5 inches. Both the ends of the instrument is covered with the skin of animals in which Khau (a black spot) to give melodious sound is filled partly. The larger side of the instrument is named as Manka and smaller one as Nas.

b)    Dhime :
It is a very special musical instrument played in Newari culture. The presence of Dhime in any events of place determines the presence of Newari culture there. Though there are Dhime of different sizes they are of same shape and appearance. It is made of hollow wooden frame of metal whose both ends are shield with skins. One side is played by necked hand and the other one is with a stick. The side which is played with nacked hand is very thinly coated with masala.

c)  Nya Khing :
       It is one of the ning Tha Bajas of Nau Baja which is similar to the small size Dha. The side which is shield with skin is not coated with any kind of masalas in this instrument. It is played in special period of every festivals and Jatras. The newars of Kathmandu plays this instrument while taking dead body of any person to the Ghat.
d) Kot :
Kot is one of the major typical musical instrument of Badhya cast of Newars which is a combination of three Tha Bajas. Kot is played along with Pona and has a special importance. Specially it is played on Shrawan Gulamas, Chiva puja and other major pujas in the Buddish monasterys. Though it is one of the major musical instrument of Buddhis it is also given a special place in Nau Baja which shows the presence of multi religious aspects in Newari culture.

e) Pona :
      It is a kind of musical instrument played by blowing the air. It is also a unique musical instrument of Newari traditional music which is only used by Newari communities. About 1 meter long this instrument is played in Dafa Bhajan, Gula Baja, Kot etc. It is played specially at the time of starting some good deeds or programs.  Besids Newars other class of people in Nepal also plays a similar musical instrument as Pona but their melody, musical composion and way of blowing the air is very different than this.

nau bajaaa

Nau Baja - The Traditional Newari Musical Instruments.
Newari Traditional Music
The traditional Newar music have been arranged into a particular schedule. One of the dominant forms of traditional Newar music is 'Dapha'. Dapha music is a classical newar music that probably originated during late 'Lichhavi Period' and flourished in the 'Malla period'. Basically, the songs of Dapha music are devotional songs based on classical ragas. Dapha music is played by bands known as 'Dapha Khalah' that may be associated with a traditional groups called 'guthi'. According to the ragas certain songs are played at certain season or time of day. The songs generally narrate or depict the mood of the particular season. Besides the seasonal and scheduled ragas, various ragas are played during specific events, such as Deepak raga (played when a monarch passes away).

Seasons, their festivals and music accompanying them are as follows:

Season
Festival
Song
Comments
Grishma (Summer)
Sithinakha to Gathāmuga Chare
Sinjyā
Played during plantation
Barshā (Monsoon)
Gathāmuga Chare to Yanlā Punhi
Tukājyā,Silu mye
Sad songs,while moving to Gosainkunda
Sharad (Autumn)
Dashian (Mohanee)
Malshree
Incorporated into mainstream Nepalese music as the music of Dashain
Hemant (Winter)

Shishir
Fagu purnima/Holi
Holi mye
Played during Fagu purnima
Basanta
Shree panchami to Buddha Jayanti
Basanta
Played to Head of state of Nepal in Nasalchowk on Vasant Panchami

1.2 Nau Baja:

Nau Baja stands for Dha, Kot, Pachima, Dhancha, Dhime, Dholak, Kokhing, Nyakhing and Nagara in total nine combined musical instruments (skin made related) played in the special occasions and fesvitals is one of the unique and important traditional music of Newari community of Bhaktapur. It is a living legend of Newari culture. Though Nau Baja is a combination of nine major musical instruments as mentioned above other helping musical instruments like Muhali, Ponga, Bayecha, Sichha, Bhuchhya, and Ta are used to add melody in the music. This is why Nau Baja can be categorized into three parts according the musical instruments used.
·  Tha Baja : Nine major instruments; Dhhan, Kot, Pachhima, Dhhancha, Dhime, Dholak, Kokhhincha, Nayakhhincha and Nagara.

·         Dhatu Baja: Supporting instruments; Dhuchha, Sichha, Khwolimalicha and Ta.

·         Fwu Baja: Instruments played by the blow of air; Ponga, Muhali and Bayecha.

kangaaajema

kangaaajema

brajaryogine

nasaa dao