The Changu Narayana temple lies 20 km away to the east of Kathmandu, on the top of a hillock, and is surrounded by an evergreen lusty forest all around it with a typical traditional Nepalese settlement on its close suburb. The 1541m high hillock, upon which the temple rests, had also been used as a forest-hill-fort in the past. The place is also known by the names such as DOLA SIKHARA, GARUD NARAYANA, CHAMPAKA NARAYAN and DOLA PARVAT. Being situated on a hilltop, from here, one can also have a very pleasant view of the Kathmandu valley and its beautiful surroundings.


Entrance of Changu Narayan Temple
   
  HISTORICAL BACKGROUND
   
 
The authentic history of this place, based on the reliable evidences, is yet to be ascribed and ascertained. So we are not in a position to say anything definitely about the person responsible to erect this magnificent temple and in the same way, we also cannot say anything exactly about the period on which it could have been built. But even then the historians have tried to fix a tentative date to it by deducing some tangible and intangible evidences available at our disposals.

Pillar Inscription og Manadeva-I,
Dated 464 A.D
   
 
For example, the references provided by the chronicles of the country, the prevailing traditions and myths, are some sources by which the historians have drawn some valuable informations, which have been immensely helpful to make some inferences to determine its historicity. Among them, the oldest chronicle of the country, “THE GOPAL RAJ VAMSAVALI”, which is believed to be compiled during 14th century AD, has credited a king named Hari Dutta Verma as its consecrator who built this temple along with three other temples at the four cardinal directions of the Kathmandu valley, dedicated to the Hindu God Narayan. The other Vaisnavait temples, he had built were the temples of SESA NARAYANA, BISHANKHU NARAYANA and ICHANGU NARAYANA respectively. A huge stone pillar erected on the north-western corner of the Changu Narayana temple, actually a commemorative, installed by the great king Mana Deva in 464 AD, intending to immortalize the great victories made by him during his life time. The lower parts of this pillar, which is partially buried under ground, have very beautifully composed verses dealing with the references of his great victories and been inscribed in popular Lichhavi script. This is also taken as to be the most authentic historical evidence of the country. Besides, it also has details of the charities, he had made to the Brahmins at that occasion after performing a grand yagyic ceremony. On it, he also had given the names of his ancestors along with the name of his ancestors along with the names of his parents. But unfortunately, he did not mention anything about the person responsible to erect this temple. All these indicates that the temple must have been built somewhere before the time of the Mana Deva. Except these, the temple complex with its surrounding abounds with other evidences in the form of sculptures and some other inscriptions of the times representing the kings followed by Mana Deva and others. Such evidences are found here so profusely that this place also can be taken as an open air Museum of Arts, Architecture culture and history. Apart from the pillar inscription of Mana Deva, the stone slab inscription of Niripechha, Siva Deva-Amsuvarma, Abhaya Malla, Jaya Rudra Malla, Jayasthiti Malla and others which have helped our historians to write the authentic history of those times. The kings from the shah dynasty also did not lag behind in this respect. Even the Ranas left their presence here with their deeds.
   
  ART, ARCHITECTURE, CULTURE AND RELIGION
   
 
The three storied and two roofed temple of Changu Narayana is the finest example of the Nepalese temple architectural design built in the “popular Nepalese style” on a one tired brick-stone platform. Its top roof is made out of gilded copper sheets while the lower one is having a traditional tiled roof. The over hanging roofs of it have been supported by very beautifully carved wooden struts which seem to be more older than the other wooden components used in it. The temple and its complex abound other contemporary art objects done in stone, bricks, metal, terracotta, wood and others and have made it as an open-air museum of Nepalese arts and architecture.In its complex, apart from the main shrine of Changu Narayan, there are other similar architectural edifices that can also be taken as a fine specimen of Nepalese architectural designs evolved in different periods of time in the past.

Garuda with Namaskar Poslure
   
For example, the temple of Goddess Chhinnamasta, Kileswor Mahadeva, Laxmi Narayan, Natyeswora, Yatu Maju, Kanti Bhairava and several sattalas (public rest houses) are some which were built in different historical times by different persons. Barring a few examples, most of the aforesaid edifices were constructed either by the royalties from different dynasties that reigned Nepal in different historical epochs or by some prominent personages in the past. Such architectural works, though not of similar quality and reputation, are also found in the adjoining traditional settlement on its close vicinity.
   
 
Along with these religious and public architectural edifices, there are also other secular architectural works like residential buildings, patis, waterspouts and the ponds. These always have been a source of attraction for both the pilgrims and the tourists coming here everyday. Beside these architectural works, the temple complex is also filled with beautiful and exquisite art works executed in stone and represent different historical ages. Among them, the sculpture of the seated GARUDA in anjali mudra, now placed beside a broken base of a stone pillar, is considered to be the oldest.

Garudasan Narayana
   
 
It is believed that the remaining part of the pillar, which is now found being erected on the northern corner of the main shrine, was shifted here from its original place when it was broken.
   
The sculpture of Garuda was originally mounted on that pillar which also contains the inscription engraved by king Mana Deva in 464 AD using the Lichhavi script. Apart from this, the stone sculptures of GARUDA NARAYANA, VISHWORUPA, TRIVIKRAM, SHREEDHARA and NARASINGHA are the other available finest specimens of sculptural arts executed in different times of the Lichhavi period.The Lichhavi period had been recognized as the golden age in the history of Nepal which excels other historic periods in producing excellent pieces of art works done in all available mediums.

Vishworupa Vishnu
   
 
Most of the art historians of the world have praised these art works and taken them as the finest examples of the Nepalese artistic geniuses. Besides, the temple complex also abounds similar art works with highest artistic values created by the Nepalese artisans in different successive historic periods such as Malla, Shah and Ranas.
   
 
It is also said that the secret vault of the temple, which is not accessible to all, has excellent pieces of art works done in stone, metal and terracotta along with other riches. Along with these precious art works, the temple possesses other valuable objects such as the dated inscriptions done either in stone or metal which have immense historical values.

A decorated stone water
conduit (Jala Droni)
   
 
For examples the dated stone slab inscription of the time of Amsu Verma, the stone pillar inscription of Mana Deva, the stone inscription of an individual named Niripechha and the inscriptions of several Mall kings from Kathmandu and Bhaktapur are some examples which have been proved very helpful in reconstructing the history of those times.
   
 
The temple of Changu Narayan, ever since it was built, went through the ravages of time and withstood every challenge it received occasionally caused by the human vandalism as well as by the nature. We have no authentic evidences at our disposals at present to say anything precisely about its former shape and design. However, the scholars have tried their best to make some valuable inferences about this also.

Metal Statue of a Malla Royal Couple
   
 
According to them, it has been an age-long tradition of ours that whenever we rebuilt our ruined edifices, we never changed their original plan and design. On this ground, they have suggested that the temple of Changu Narayana might be having its present shape and design since the very first day it was built. Since then, it underwent through several restorations and repair works carried out by different individuals and royalties as well, of which we have authentic records.
   
 
The earliest restoration work of the temple was done, as it has been recorded in a copper plate inscription discovered here, in 1507 AD after a devastating earth quake which caused it severe damages by a noble lady Devaki Devi, grand daughter of King Raya Mall of Bhaktapur. The same inscription says that the damage was so severe and massive that it could be completed only in 1523 AD, just after 13 years.

Changu Narayan Temple West Face
 
Prior to that date, as found mentioned on the base of the gold icon, now being consecrated on the temple’s sanctum sanctuary, king Amsu Verma in 609 AD, repaired the damages appeared on it and reinstalled it on its original place. The replica made out of stone of the main deity of the shrine’s sanctum sanctuary, has been installed now on the temple’s northwest corner, though quite big in size and shape. One of the available chronicle of the country carries the information, that Bishwa Malla, the king of Bhaktapur, in medieval times, had also renovated this temple. Then it was again devastated by fire in 1547 AD. The renovation work that underwent at that time continued till 1560 AD. Likewise, in 1585, queen Ganga Devi from Kathmandu again renovated it.
   
 
The ancient chronicle also has records of a major restoration work undertaken by King Bhupalendra Malla and his queen Hriddhi Laxmi of Kathmandu in 1702 AD when the temple was again caught on fire. After completion of the restoration work, it is said that the king had installed gold gilded statues of him and his queen just opposite to the temple’s main entrance on the western side, that exist there even today.

Struts Facing West
   
 
The bases of the statues are inscribed and dated also. Similarly in 1709 King Bhaskar Malla and his queen Bhuvan Laxmi of Kathmandu covered the upper roof of the temple with gilded copper sheets. At that time he also renovated the close by temple of the kileswor Mahadeva and made huge donations to the temple. In 1847, the temple was again renovated. It is said that the great earth-quake of 1934 could not cause any harm to the temple as recalled by the locals. After that, in recent times it was restored and repaired partially in 1960-61, 1986-89 and finally in 2002.
   
 
The Changu Narayana temple has been a religious centre since the very early days of the country’s history. This place has also been a pilgrimage site for the multitude Hindus residing all over the world. This is a very holy and a sacred site for pilgrimages, especially for the followers of the Vaisnavait sect of the Hinduism.This has equally been a sacred religious site for followers of the Buddhism as well from the very beginning.

Facade of the Chhinnamasta Temple
   
 
The Buddhists take this temple as of their God Lokeswora, the HARI HARI HARI VAHANA LOKESWORA. This unique tradition found prevalent only in Nepal, has also made it distinct. This is the rare temple found in Nepal where both Hindus and Buddhists alike offer their reverences. This must be taken as an example of a unique tradition of religious tolerance and harmony that is rare elsewhere.
   
 
In the Lichhavi period, the Changu Narayana temple was too ranked equal to the famous Pasupati Nath temple and had been recognised as a place as sacred as the former one. For some renowned Lichhavi kings like Mana Deva and Amsu Verma, this temple served more than a place of mere veneration. King Mana Dev had selected this place as an appropriate venue for erecting his victory pillar commemorative. This indicates the intense affection, he had towards this place. At that moment, he performed some religious rites and offered huge donations to the temple and the Brahmins as well

Ganesh Temple
   
 

This tradition was also followed by the kings who succeeded him. Even today, this has been continuing. Moreover, the temple itself has a great deal of evidences locked into its secret vault which helped a lot to the historians to reconstruct the authentic history of the country. They are found in the form of documents and inspirations as well.

The temple also has been helping us to keep our age long traditions and rituals alive in many ways. For example its day to day worships along with some special rituals performed in different occasions have been continuing since the very remote days of our history. Apart from its regular religious and ritualistic practices, it has also been observeing some special rituals in some special occasions continiously since the very beginning of our history. Among such, the one which falls on the eleventh day of the waxing day Moon of June, known as Asadh Sukla Ekadasi, Another such is the occasion of the Krisna Janmaastami, which falls on the eighth day of the waning Moon of August. Another is the Haribodhani Ekadasi, which fall on October-November. These are some of the important events observed here every year in which a great number of devotees pour here from far and wide places take active participation on them by offering worship to the Lord. This tradition has been continuing since very long. Twice in every year, the main idol of the temple is taken to the Hanuman Dhoka Royal Palace of Kathmandu in August-September and December and January respectively in order to follow an age long tradition.

Recognizing its age long historic and cultural values, the world Heritage Committee of UNESCO has inscribed it into its world heritage list and declared it as a world heritage site in 1979 making it a common property of the entire mankind living in this earth. Now it is the responsibility of the people of the world to protect and preserve this precious property of mankind against any kind of vandalism.