Background
The Handicraft Federation of Nepal has been affiliated with the World Art Council for over twenty years. Through this affiliation, Nepal has had the opportunity to participate in international programs that bring together art cities from across the globe. Notably, my introduction was featured in the World Art Council’s publication, and I had the privilege of attending the council’s executive committee event in Dongyang City, China, as a member.
During my 23-year tenure with the Handicraft Federation, former president Mr. Pushkar Man Shakya actively worked with the World Art Council’s working committee. In 2014, Dongyang was declared the City of Woodworking in China. Soon after, during a program in Malaysia, Mr. Shakya proposed that Lalitpur could be declared a City of Art. Building on this initiative, continuous efforts since 2014 finally bore fruit in 2018 when, during the tenure of then-president Mr. Dharmaraj Shakya, a field visit was conducted to assess Lalitpur’s historical art and craftsmanship. This was in recognition of the city’s rich heritage, the vitality of its skilled artisans, and its potential for art development. Consequently, Lalitpur Metropolitan City was officially declared a World City of Art by the World Art Council on Wednesday, Kartik 28, 2075 (November 14, 2018) during its 35th World Congress, a proud moment largely credited to the Federation’s tireless efforts.
What is the Title of a World City of Art?
The World Art Council, established in 1964 under UNESCO’s auspices, aims to promote, preserve, and develop traditional craftsmanship while encouraging economic development. Being named a World City of Art reflects the city’s sustained commitment to preserving and promoting its traditional arts and crafts, as well as the ongoing dedication of local artists. So far, 65 cities have received this recognition, which serves not only as international validation of artistic identity but also promotes cultural tourism, trade, investment, and the development of the global art market.
This designation encourages the transmission of traditional knowledge to new generations through training, international cooperation, and cultural exchange. Member cities can host conferences, fairs, and exhibitions that foster collaboration among artists and help adapt traditional craftsmanship to global market trends.
Basis for Declaring a City of Art
To be recognized as a World City of Art, a city must be well-known for its artistic and cultural traditions and have an active artisan community. Other key criteria include the presence of private art schools, training centers, universities, artist workshops, showrooms, and the capacity to host council meetings and art events.
Nepal submitted its application in 2014, led by the Handicraft Federation in collaboration with Lalitpur Metropolitan City, the Nepal Heritage Council, and the Lalitpur Chamber of Commerce and Industry. With significant support from these institutions and international partners including financial aid of 1 crore from the EU, a comprehensive inspection and event were organized to facilitate the evaluation.
A high-level delegation comprising Dr. Gada from the World Art Council, Usha Kishna from India, and Malaysian handicraft expert King Fuziyabaz visited Nepal to inspect key areas of Lalitpur. They visited traditional handicraft training centers offering instruction in Paubha art, clay sculpture, pattern weaving, and digital design. They also toured the College of Fine Arts under Kathmandu University, observing classrooms and interacting with students and instructors.
To evaluate industrial contributions to handicrafts, they examined local production and showrooms for metal sculptures, woodwork, stone carving, Thankas, carpets, and singing bowls. Art workshops in Okubahal, Jombahl, Naqbahil, Nagbahal, and other neighborhoods were visited to assess craftsmanship in metal, stone, silver, and filigree. The delegation also toured important cultural and historical sites such as the Great Buddha Temple in Okubahal, Patan Palace, Hiranya Varna Mahavihar, and the Kumbheshwar and Banglamukhi temples. Community members and ward representatives hosted cultural programs and luncheons to showcase Lalitpur’s vibrant cultural life.
During the 37th World Art Council (Asia-Pacific) General Assembly held from August 30 to September 1, 2018 (Bhadra 14–16, 2075), Nepal proudly hosted a three-day conference featuring academic paper presentations, interactive artist programs, and international art exhibitions. The sessions were held at the Hotel Annapurna and along Durbar Marg. As part of the broader event, the Council also conducted workshops and site visits to local institutions, including the International Art Council Nepal and the International Artists’ Centre. Distinguished delegates visited cultural landmarks such as Jyapu Museum, brick kilns, and other heritage sites to gain insight into the traditional craftsmanship of the region.
Taking advantage of this international exposure, a significant initiative was organized by the Lalitpur Chamber of Commerce and Industry to highlight the city’s cultural tourism potential. The event featured a grand welcome ceremony that began at Patan Gate and proceeded toward Patan Durbar Square. The entire city center was transformed into a cultural showcase, filled with performances of traditional music and dance. Along the way, visitors encountered thematic exhibitions and displays curated to represent the rich heritage of Patan. The program also served to exhibit the longstanding customs, rituals, and art forms practiced by local communities, and reflected the significant role played by the Chamber in promoting these traditions at an international platform.
The conference concluded with a special ceremony to bid farewell to all international delegates. On this occasion, a formal certificate of declaration was handed over to the city of Lalitpur, officially recognizing it as the 35th World City of Art. This declaration, issued by the World Art Council, was a monumental acknowledgment of the city’s deep-rooted artistic legacy and its thriving culture of creativity. The announcement sparked celebration across Lalitpur, as it symbolized not only a recognition of its history but also a promise of global attention and developmental opportunities for the future.
The 35th World Congress and Official Declaration
The declaration issued on Kartik 25, 2075 officially redefined Lalitpur not merely as a tourist destination but as a globally recognized city of artistic excellence. This recognition presented an invaluable opportunity to highlight Lalitpur’s vibrant handicraft tradition on the world stage. The designation has since inspired various cultural institutions and local stakeholders to implement new programs, including the honoring of veteran artisans, the branding of locally produced goods, standardization and enhancement of packaging systems, and the initiation of educational programs on art and craft for all age groups. These programs hold tremendous potential to generate both local economic benefits and establish a more substantial international presence for Lalitpur’s artisan community.
To capitalize on this momentum, it is essential to create a supportive ecosystem. This includes information dissemination about the city’s identity as a World Art City, developing branding strategies for locally made products, launching documentation and archiving projects, and encouraging cultural tourism. Events such as exhibitions, art workshops, and knowledge-sharing seminars can build an enabling environment that strengthens both the creative sector and the city’s economic foundation. With well-coordinated efforts, these initiatives can transform Lalitpur into a beacon of artisanal excellence and creative innovation.
Despite these prospects, some challenges remain. For instance, while the Lalitpur Metropolitan City and several organizations have shown keen interest, their engagement must be more consistent. A notable example is the limited follow-up by the Lalitpur Chamber of Commerce in maintaining its liaison with the World Art Council. Moreover, the foundational work initiated by the Handicraft Federation requires active governmental support to ensure its sustainability and continued relevance. These concerns highlight the need for coordinated leadership and strategic investment in infrastructure and community engagement.
Nevertheless, the opportunity to link Lalitpur’s heritage with global platforms remains vibrant. The city’s temples, traditional architecture, and artisan guilds serve as living testaments to centuries of creativity and craftsmanship. With committed support and visionary planning, Lalitpur has the capacity to become a global model for how traditional arts can be preserved, promoted, and integrated into modern development strategies. Early-stage discussions suggest that the Lalitpur Metropolitan City, in collaboration with relevant stakeholders, is prepared to take on a leadership role in this regard. If these steps are successfully implemented, Lalitpur’s position as a global hub for handicrafts and traditional knowledge will be solidified for generations to come.
Conclusion
Although the Art City announcement for Lalitpur may seem like a recent development, its artistic roots stretch far into the past. The late cultural scholar Satya Mohan Joshi once remarked that even during the Lichchhavi period, the city was known as “Manju Patan,” named after Manjushree, a figure of wisdom and learning. This ancient name is a testament to the deep artistic and cultural legacy embedded in the city’s history. Therefore, the World Art Council’s declaration of Lalitpur as Nepal’s National Art City is not just a present-day honor but a formal acknowledgment of this longstanding tradition of creativity and cultural excellence.
It is well-established that art and culture are essential reflections of any society. The presence of tangible cultural heritage such as sculptures, architecture, and religious artworks along with intangible aspects like traditions, festivals, and craftsmanship, all contribute to the identity of a place. However, in today’s world, particularly in the aftermath of the COVID-19 pandemic and ongoing global economic challenges, there is an urgent need to revitalize and revalue our cultural assets. These difficult times have underscored the importance of investing in art, not only for preservation but also as a means of driving economic and social development.
Recognizing this, the World Art Council emphasized international cooperation and sustainable development rooted in cultural traditions as essential goals. The Council’s Diamond Jubilee theme for 2024 “Art, Creativity, and Passion” calls upon all member cities to document and report on their artistic initiatives. In this context, Lalitpur’s membership status has come under scrutiny. Despite being designated a National Art City in 2021, the city has struggled to meet reporting requirements. More than 30 cities have been added to the World Art Council’s list since Lalitpur’s inclusion, but due to the absence of timely updates and progress reports from Nepal, Lalitpur now finds itself on the Council’s red list, a designation for cities at risk of losing their recognition.
The lack of institutional follow-through is a contributing factor. Although the Lalitpur Metropolitan City allocates a yearly budget of NPR 10 million (1 crore) for arts and cultural programs and has established spaces like “Koseli Ghar” as handicraft showrooms, there has been minimal international outreach or publicity. Statues and artworks have been installed in municipal areas, but without global promotion, these efforts remain largely unrecognized.
To address these challenges, the municipality had initially formed a committee to coordinate the Art City mission, but the committee has not functioned effectively. Moreover, the Vishwakala Parishad (World Art Council’s local affiliate) was tasked with submitting a progress report four years ago, which was never completed. This administrative negligence has contributed to Lalitpur’s declining status in the international art community. In fact, during an earlier international art fair in which Nepal participated, Lalitpur’s representation was deemed inadequate, and it was noted that only one-eighth of the potential artisan participation had been achieved compared to the previous edition.
Lalitpur has also missed several key opportunities. Representatives from the World Art Council had expressed interest in conducting archaeological digs and inspections in the city, but these offers were not pursued. If they had been acted upon, the visibility and credibility of Lalitpur’s art scene could have increased dramatically. Furthermore, although meetings and consultations have taken place among stakeholders, including city officials and cultural bodies, no substantial progress has been made toward addressing the reporting backlog or re-establishing Lalitpur’s prominence in the Council.
Nevertheless, Lalitpur remains a powerhouse in Nepal’s handicraft industry. The city alone is responsible for producing over 80% of the country’s exportable handcrafted goods. From traditional paper and felt products to meticulously detailed metal and wood sculptures, the city’s artisans continue to demonstrate exceptional skill and creativity. Agricultural tools, religious icons, and decorative items made in Lalitpur are distributed both nationally and globally. Among the major handicraft-producing regions in Nepal, Lalitpur consistently ranks at the top. It is also home to many of the nation’s leading artisan cooperatives and craft businesses.
Despite these strengths, a lack of strategic communication and global promotion has left much of this excellence hidden from the international community. Many potential buyers, tourists, and researchers remain unaware of Lalitpur’s rich offerings. Meanwhile, historical documentation shows that even in the past, Lalitpur was recognized for its contribution to Buddhist and Hindu art, a reputation that has only grown stronger over time. Today, continuing this legacy requires more than just local celebrations, it demands consistent reporting, global outreach, and policy-level commitment.
In conclusion, the designation of Lalitpur as a World City of Art is not merely symbolic, it comes with responsibilities. The path forward involves coordinated efforts from the municipal government, local artists, and national stakeholders. Nepal must act swiftly to reclaim its rightful place in the global artistic community by showcasing Lalitpur’s unparalleled craftsmanship, engaging actively with international partners, and reinforcing its cultural identity through sustained action and global advocacy.
