SALES STATUS OF THANGKA ART IN KATHMANDU
BY
Sulochana Shrestha
Exam Roll No.: 18113\16
T.U. Registration No.: 7-2-388-52-2016
A Summer Project Report Submitted to
Faculty of Management, Tribhuvan University
In partial fulfillment of the requirements for the degree of
Bachelors of Business Administration
At the
Kantipur College of Management and Information Technology
Tribhuvan University
Mid-baneshwor, Kathmandu
March, 202
Student Declaration
This is to certify that I have completed the Summer Project entitled “ Sales status of Thangka art
in Kathmandu ” under the guidance of Ms. Shubanu Joshi in the partial fulfillment of the
requirements for the degree of Bachelor of Business Administration at Faculty of Management,
Tribhuvan University. This is my original work and I have not submitted it earlier elsewhere.
March 2021
………….………………
Sulochana Shrestha
i
Certificate from the Supervisor
This is to certify that the summer project work entitled “Sales status of Thangka art in
Kathmandu” is an academic work done by Sulochana Shrestha Roll No. 18113/16 submitted in
the partial fulfillment of the requirement for the degree of Bachelors of Business Administration
at the faculty of management, Tribhuvan University under my guidance and supervision. To the
best of my knowledge the information presented by her in the summer project has not been
submitted earlier.
………………………………
Signature of the Supervisor
Name: Shubhanu Joshi
Designation: Supervisor
Date: 4th March 2021
ii
Acknowledgement
I would like to express my heartfelt gratitude to all those who have helped me prepare this report
on the project.
Firstly, I would like to thank the Tribhuvan University for providing us with such project work
to expand our theoretical knowledge into real practical life. And also want to thank my college,
Kantipur College of Management and Information Technology (KCMIT) to comply with me in
delivering the visit letters and other survey criteria. I am also thankful to Mrs. Lalita Chand
Principal of Kantipur College of Management and Information Technology for her direct and
indirect support, which counts in my analysis, during my work.
I would like to express my sincere thanks to Ms. Subhanu Joshi, our course instructor of
Summer Project for giving us an opportunity to do this individual project work and guiding us
through out. Her suggestions were very useful and have helped me for a successful completion
of this report.
I would like to express my gratitude to all those respondents who co-operated with me and
answered to all of the questions in the questionnaires. I would also like to thank my friends for
helping me when necessary.
iii
Executive Summary
Lucky Thanka is your one-stop shop for Nepalese art and crafts, providing you with authentic
and genuine products all over the world. We provide a variety of different handmade crafts and
Thangka paintings from Nepal.
With over 25 years of experience, Lucky Thanka has built a reputation as a fair-trade business
that cares about the artists. Working with over 200 artists, we’ve made it our mission to ensure
they are treated fairly and give them the pay and quality of life they deserve. We know that our
artists work hard to create their masterpieces, which is exactly why we make sure they know
how much their art matters by taking a fair trade route with our business. Working with
Nepalese artists for over 25 years has led Narayan to developing close relationships with
monasteries, communities, and artists. In fact, Narayan is actually good friends with well-known
art school founder Romio Bahadur Shrestha, who is a modern master of the Indo-Nepali-Tibetan
Buddhist traditions of enlightenment art. In addition to showing love and appreciation to the
artisans, Narayan is also president of the Asha Foundation, which is a non-profit organization
dedicated to helping disadvantaged Nepalese children improve their quality of life. With a heart
to help children in need, Narayan has had Lucky Thanka donating a percentage of its profits to
funding the program. The funding goes towards education and betterment of their social,
economic, and environmental development projects.
At Lucky Thanka, they have the same passion that our artisans have for sharing their art across
the world. Dedicated and hardworking, we believe that art is meant to be seen, appreciated, and
valued, just like the artists who create them. This project focuses on the increment of the sales of
thangka art in Kathmandu which will further help for the economic increment of the individual
as well as the country and at the same time preserve the historical art and culture of our nation.
This also intends to make people aware about the deficit in sales of Nepalese art and culture.
iv
Table of Contents
Student Declaration.......................................................................................................................... i
Certificate from the Supervisor.......................................................................................................ii
Acknowledgement ........................................................................................................................ iii
Executive Summary ....................................................................................................................... iv
List of Tables .................................................................................................................................. 3
Table of Figures .............................................................................................................................. 4
Chapter 1 ......................................................................................................................................... 1
Introduction ..................................................................................................................................... 1
1.1.
Purpose of the Study. ....................................................................................................... 2
1.2.
Problem of Statement ....................................................................................................... 2
1.3.
Significance of the study. ................................................................................................. 3
1.4.
Research Methodology..................................................................................................... 3
1.4.1.
Sources of Research .................................................................................................. 3
1.4.1.1.
Primary Sources .................................................................................................... 3
1.4.1.2.
Secondary Sources: ............................................................................................... 4
1.5.
Limitations ....................................................................................................................... 4
1.6.
Literature Review ............................................................................................................. 4
Review 1: ................................................................................................................................. 4
Review 2: ................................................................................................................................. 4
Review 3 .................................................................................................................................. 5
Review 4: ................................................................................................................................. 6
1.6.1
Theoretical Framework ............................................................................................. 6
Chapter 2 ......................................................................................................................................... 8
Data Analysis and Findings ............................................................................................................ 8
2.1.1. Thangka business doing in Kathmandu ......................................................................... 8
2.1.2. People involved in thangka business ............................................................................. 9
2.1.3. Average Annual Income .............................................................................................. 10
2.1.4. Countries where these thankas is exported .................................................................. 12
2.1.5. Promotional Activities by Businessman ...................................................................... 13
Chapter 3: ...................................................................................................................................... 15
Summary and Conclusion ............................................................................................................. 15
3.1. Summary ............................................................................................................................ 15
3.2. Conclusions ........................................................................................................................ 15
3.3. Action implication .............................................................................................................. 15
References ..................................................................................................................................... 17
ANNEX......................................................................................................................................... 18
Name of the Shop: ........................................................................................................................ 18
List of Tables
Table 1: Business involved in Thangka art …………………………………………8
Table 2: Age group involved in Thangka art …………………………………….....9
Table 3: Earnings in Thangka art…………………………………………………...11
Table 4: Export of Thangka art……………………………………………………..12
Table 5: Promotion of Thangka art…………………………………………………13
Table of Figures
Figure 1: Thangka in Kathmandu ................................................................................................... 8
Figure 2: People Involved inThangka ........................................................................................... 10
Figure 3: Annual Income in Thangka ........................................................................................... 11
Figure 4: Export of Thangka ......................................................................................................... 12
Figure 5: Promotional Activities................................................................................................... 13
Chapter 1
Introduction
This report provides comprehensive information about the sales of Thangka art in Kathmandu.
Thangka is a Tibetan Buddhist painting on cotton, or silk appliqué, usually depicting a Buddhist
deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on
display, mounted on a textile backing somewhat in the style of Chinese scroll paintings with a
further silk cover on the front. Because of their delicate nature, they have to be kept in dry places
where moisture will not affect the quality of the silk. Most thangkas were intended for personal
meditation or instruction of monastic students. They often have elaborate compositions
including many very small figures. A central deity is often surrounded by other identified figures
in a symmetrical composition. Thangkas serve as important teaching tools depicting the life of
the Buddha, various influential lamas and other deities and bodhisattvas.
History of thangka Paintings in Nepal began in 11th century A.D. when Buddhists and Hindus
began to make illustration of the deities and natural scenes. Historically, Tibetan and Chinese
influence in Nepalese paintings is quite evident in Paubhas (Thangkas). Paubhas are of two
types, the Palas which are illustrative paintings of the deities and the Mandala, which is mystic
diagrams paintings of complex test, prescribed patterns of circles and square each having
specific significance. The style of painting probably came from Nepal. Apprentices Thangka
painters studied under experienced Lamas or their works were consecrated. Thangka art is doing
wonderful business in Nepal. The art pieces are sold domestically as well as internationally.
Through this research study we find out the ratio of sales of thangka art is domestically as well
as internationally.
An original thangka is painted using the coloring of gemstones and is finished with gold. It is
believed that the minerals used to create the painting also give them life. Each painting takes
months to complete and the eyes are painted on the last since they are believed to be the way
into the soul. After the completion of the painting a ritual takes place where temple priests
perform a day long ceremony while changing different mantras relating to the god being
depicted.
With each god comes a different set of rules. For instance, a god who is vegetarian shouldn’t be
given an offering of meat. The artist who paints the god may not consume meat, can’t smoke and
lay with wife until the artwork is completed. Those are very traditional rules which are only
1
followed by those who want the painting for extremely religious purposes and want to upkeep
the traditions at their purest form.
This case study of Tibetan thangkas in the Kathmandu Valley stresses the historical and cultural
background essential for understanding the specific modes of commercialization of sacred art.
The specific circumstances under which the tourist thangka market developed led to the
existence of an “intermediate audience” located between the “internal” and “external audiences”
typical of most tourist markets. This “intermediate audience,” while introducing a slight shift of
emphasis in the purpose of thangkas, promotes an adherence to tradition which has had an effect
even on the tourist outlets. The producers of thangkas for the tourist market in the Kathmandu
Valley are predominantly non-Tibetans who stage the authenticity of their paintings.
Pubha was developed by the Newars of Kathmandu Valley in the 7th century. Nepali princess
Bhrikuti is said to have taken some of the images with her when she introduced Buddhism to
Tibet 1,300 years ago. Over centuries, Tibetans developed their own stylistic code known as
thangka.
1.1.
Purpose of the Study.
The general purpose of this research is to show the decline in the sales status of Thangka and
what is to be done to uplift that status.
The specific purposes of this study are:
•
To understand out how well is the Thangka business doing in Nepal.
•
To find out the number of people interested to learn thangka art in kathmandu
•
To examine the annual income of thangka art.
•
To find out the range of price of thangka art piece.
•
To find out the countries where this art is exported.
•
To identify the condition of thangka business before and after earthquake in Nepal.
1.2.
Problem of Statement
Thangka paintings were doing very well in Nepal few years back. These art pieces are mostly
available in heavy tourist visiting cities. The main place for Thangka art in Nepal is Kathmandu
valley. We can find numerous Thangka shops in Lalitpur and Bhaktapur districts of Kathmandu
valley.
The earthquake that hit the country hard in April 25th, 2015 has brought the fluctuation in the
sales of Thangka. The business was not doing well during the year as various shops were
destroyed. The tremor among the international buyers increased. The business of Thangka is
directly related to the inflow of the tourist in the country. After the disastrous earthquake the
number of tourist visiting Nepal was decreased hugely. It affected the Thangka business
2
substantially. In order to purchase Thangka paintings, the person has to come and see the art
piece himself/herself which was not possible during that period of time.
1.3.
Significance of the study.
This report was prepared to fulfill the partial requirement as prescribed by BBA course of
Tribhuwan University. The main objective of this report is to develop student’s skill in object
oriented business management and capability of understanding and solving business related
problems. Beside these, this report has some specific significance as well like analyzing and
understanding the core framework of thagka art in Kathmandu and understand how theoretical
knowledge are practically implied.
1.4.
Research Methodology
1.4.1. Sources of Research
Data information is foundation for summer project and report writing. So data and information
have to be collected systematically from various sources. All the required data for preparing this
report are taken through:
1.4.1.1.
Primary Sources
Primary sources are original sources from which the researcher directly collects data that have
not been previously collected. Primary data are first and information collected through various
methods such as interview, observation, questionnaire etc.
i.
Interview
From the personal interview with the owner of Lucky Thangka Mr. Narayan
Shrestha.
ii.
Questionnaire
Questionaire is prepared in consideration with the management expert and the sample
questions are:
1. What kind of tourists has an interest in Thangka?
2. How desirable is Thangka to tourists?
3. What value does Thangka possess to buyer?
iii.
Field visit
For preparing this report we visited Lucky Thangka which is located at Boudha
Kathmandu to collect the data and information about the thangka art in Kathmandu.
3
1.4.1.2.
Secondary Sources:
The secondary sources involved in this research are:
i.
Internet.
ii.
Books.
iii.
Magazines articles.
1.5.
Limitations
The main focus of this study is financial analysis of the sales of thangka art in Kathmandu.
Following are the limitation of the study:
•
Since the study use primary and secondary data in order to prepare report, the data
collection might be influenced by the social crisis and personal influence of the data
collector.
•
Due to the time factor the optimum number of samples cannot be taken.
•
Many of the respondents have not answered the questions provided in the questionnaire.
•
Certain information are based on approximation.
1.6.
Literature Review
Review 1:
Thangkas (Tibetan painted banners) are religious objects still in use in their original Himalayan
context; they are also encountered in Western collections where they are considered as
ethnographic objects or works of art. Conservation of thangkas goes far beyond technical
considerations and encompasses issues such as treatment of sacred objects in another culture,
trans-disciplinary conservation and ethics in the conservation of living cultural heritage. This
article reviews the publications on thangkas focused either on techniques and materials or on
conservation treatment options. Treatment approaches have varied since the 1970s when
thangkas were first mentioned in the conservation literature. These are discussed in the context
of the conservation of living heritage and its role in the presentation and perception of diverse
cultural identities.
Review 2:
World's largest thangka painting on display in Kathmandu Posted on October 10, 2012
A “Thangka,” also known as “Tangka”, “Thanka” or “Tanka” is a silk painting with
embroidery, usually depicting a Buddhist deity, scene, or mandala of some sort. The thankga is
not a flat creation like an oil painting or acrylic painting but consists of a picture panel which is
4
painted or embroidered over which a textile is mounted and then over which is laid a cover,
usually silk. Generally, thangkas last a very long time and retain much of their luster, but
because of their delicate nature, they have to be kept in dry places where moisture won’t affect
the quality of the silk. It is sometimes called a scroll-painting.
These thangkas served as important teaching tools depicting the life of the Buddha, various
influential lamas and other deities and bodhisattvas. One subject is The Wheel of Life, which is
a visual representation of the Abhidharma teachings (Art of Enlightenment). Recently in
Kathmandu an exhibition of 70 m x 50 m thangka was organized by the Nepal Council for
Preservation of Buddhist Religion (NCPBR) in association with Mandala 21st Century, Japan. It
has been created by the joint effort of Surya Bahadur Thakali, Chairman of NCPBR and
YasutadaKatagiri, President of Mandala 21st Century, a Japanese citizen. “The dream of
creating the largest ever thangka was conceived in 1994 and with the effort of more than 10,000
volunteers from over 16 countries in a span of eight years, this masterpiece was put together. We
feel proud of completing this big campaign and sharing the philosophies of the Buddha among
all the people in the world.” Surya Bahadur Thakali explained about the Thangka.
The thangka depicts Buddha’s life story summarized in the 12 deeds that he performed from his
birth to his life’s end. It weighs 1,900 kg and was completed by joining 81 pieces, each piece 20
feet in length and 18 feet in breadth with help of zippers.
At the exhibition, the thangka looked like a huge pool — you couldn’t really see clearly from
one end of it to the other and only when you climbed to the top of the stadium that the thangka
could be seen in its full form which was breathtaking in its exquisite detail, which is the main
characteristic of a thangka.
Review 3
Posted by: Ann Shaftel (Conservator of Thangkas) Tsondru Thangka Conservation
The conservation treatment of a thangka is a complex process that reflects the complexity of the
original composite object. All of the issues raised above must be evaluated in deciding on the
appropriate treatment for a specific thangka. In summary, thangkas are complicated composite
objects which are designed to communicate iconographic ideas in a beautiful and practical form.
A thangka in your laboratory or collection may be the production of many painters and tailors
with differing intents, and differing skills and training. The textile mounting may have a
completely different style, date and region of origin from those of the painting. Pure, single
artistic intent is lost through a combination of iconographic specifications, regional and doctrinal
differences in style, changes in form subsequent to the original creation and many years of harsh
treatment.
5
Review 4:
Posted by: Suresh Gupta on: 2015
A “Thangka,” also known as “Tangka“, “Thanka” or “Tanka” is a painted or embroidered
Buddhist banner which was hung in a monastery or a family altar and occasionally carried by
monks in ceremonial processions. In Tibetan the word thang means flat, and thus the Thangka is
a kind of painting done on flat surface but which can be rolled up when not required for display,
sometimes called a scroll-painting. The most common shape of a Thangka is the upright
rectangular form.
Types
of
Thangkas
Newari and Tibetan thangka painted in 3rd century B.C in Nepal are very popular more in
Tibetan religion.
1. Painted in colors — the most common type
2. Appliqué
3. Black Background — meaning gold line on a black background
4. Blockprints — paper or cloth outlined renderings, by woodcut/woodblock printing
5. Embroidery
6. Gold Background — an auspicious treatment, used judiciously for peaceful, long-life deities
and fully enlightened buddhas
6. Red Background — literally gold line, but referring to gold line on a vermillion
1.6.1
Theoretical Framework
There are various challenges and problems in the business of Thangka. The figure drawn below
is a schematic representation of different variables that could affect the sales of Thangka.
Fig 1: Schematic Diagram of the Theoretical Frame work
Theoretical Framework
Economic Factor
Thangka Art
Natural
disaster
Customer Awareness
Dependent Variable
Independent Variable
6
From the above figure it is clear that Thangka businessmen make their business from exporting
the paintings to different countries. The major challenge for Thangka businessmen is increasing
the inflow of tourist in the country. The inflow of the tourist could be affected by various factors
such as:
•
Natural disaster: Nepal was hit by a massive earthquake back in 2015 and it majorly affected
the Thangka business. Tourists stopped visiting our country out of fear. As Nepal was
recovering from the enormous loss.
•
Economic factor: Our neighboring country imposed economic blockade shortly after. The
country had been going through a lot. That was the time when inadequate government
policies aided the losses.
•
Customer Awareness: Another factor that affects the sales of the Thangka is lack of
customer awareness. Unlike various products produced in the factory and promoted in
various communication Medias. Thangka paintings lack promotional activities. Lack of
promotional activities results in low level of awareness among customers.
Hence all of these challenges and problems should be analyzed and a proper measure should be
taken by the government and businessmen both to increase the business.
7
Chapter 2
Data Analysis and Findings
2.1 Data Analysis and Findings
The chapter analyzes the different data that has been abstracted from the research. The major
findings are described below:
2.1.1. Thangka business doing in Kathmandu
This finding helps to know about:
What majority of people are involved in thangka business and how?
It is shown in the following table:
Table: 1
Business
Sales
Family
80%
Self
20%
The provided data is shown using the pie chart:
Figure 1:
Sales
20
Family
Self
80
Figure 1: Thangka in Kathmandu
8
The above presented figure shows the percentage of the entrepreneurs who took Thangka as
their family business and those who started the business by themselves. Out of total respondents,
80% of the respondents joined Thangka as their family business where as 20% of the
respondents started the business by themselves. Hence we can conclude that majority of the
people who are involved in this business have been doing this business for generations.
According to one of our respondents, it is difficult for the new bees to gain the market share as
for the majority of people in this sector have been doing this business for generations. It is
difficult to gain the customer.
2.1.2. People involved in thangka business
How many people are involved in thangka business?
It is shown in the following table:
Table: 2
Age Group
Involvement
25-30
5%
30-35
30%
35-40
30%
Above 40
35%
The provided data is shown in following pie chart:
9
Figure 2:
Sales
25-30
30-35
35-40
Above 40
5%
35%
30%
30%
Figure 2: People Involved inThangka
The above presented figure shows majority of the Thangka business is done by the people
belonging to the age group above 40. According to my finding, people belonging to the age
group of 30-35 and 35-40 cover 30%. Similarly, 5% of the entrepreneurs in this industry are
from 25-30 years of age. This shoes that the number of young Thangka businessmen is very
minimum comparatively.
2.1.3. Average Annual Income
What is the average earning of the people involved in thangka art?
The data is presented in the following table:
10
Table: 3
Earning
Percentage
10K-50K
5%
50K-100K
45%
100K-1000K
25%
1000K-2000K
15%
ABOVE 2000K
10%
The provided data is shown in the following pie chart:
Figure 3:
Sales
10K-50K
50K-100K
100k-1000K
10%
1000K-2000K
Above 2000K
5%
15%
45%
25%
Figure 3: Annual Income in Thangka
The above diagram shows us the annual income from the Thangka business annually. Annual
income from 50000-1 lakh is 45%. The majority of buyers are from the foreign countries. Local
11
customers rarely purchase Thangka so it is quite difficult to uplift income status of Thangka
businessmen.
2.1.4. Countries where these thankas is exported
The data is shown in the following table:
Table: 4
Countries
Export (%)
America
4%
Europe
6%
China
90%
The above provided table is shown in following bar-diagram:
Figure 4:
100.00%
90.00%
80.00%
70.00%
60.00%
America
50.00%
Europe
China
40.00%
30.00%
20.00%
10.00%
0.00%
Countries
Figure 4: Export of Thangka
12
The presented bar diagram shows the percentage of these art piece exported in different
countries. According to the provided information, majority of the Thangka is exported to China.
90% of the art pieces are exported to our neighboring country China. A decade back Thangkas
were export to America and European countries in a massive amount but that percentage of
export has decreased heavily in recent years. The percentage of export of Thangkas in recent
years in European countries is 6% whereas the percentage of export in America is 4%.
2.1.5. Promotional Activities by Businessman
It is shown in the following table:
Table: 5
Promotional Activities
Percentage
Networks
90%
Direct selling
1%
Websites
30%
Trade fairs/Exhibitions
80%
Brochures
10%
Social Media
20%
The table is described in the following chart:
Figure 5:
Promotion Activities
90%
80%
30%
1%
10%
20%
Figure 5: Promotional Activities
13
We can see from the figure that most of the respondents promote their products through
networking, i.e. by increasing their networks through contacts, family, friends, relatives, dealers,
brokers, etc.
2.2. Major Findings and discussions
The demographic and other information related to the Thangka art shows the recent condition of
Thangka business in Nepal.
•
Data have shown that people have been doing this business for many years. 35% of people
have been doing the Thangka business for 15-20 years. Similarly only 5% of people have
this business in past few years which shows us that Thangka have been losing its popularity
in recent years.
•
Tibetans do not sale thangka on large scale as the selling of religious artifact such as thangka
and idol is frowned upon in the Tibetan community.
•
Thangka painting’s lining and measurement costume, implementations and ornaments are
mostly based on Indian style. The drawings of figures are based on Nepalese style and the
background sceneries are based on Chinese style. So that thangka painting is a unique and
distinctive art.
•
Thangka painting requires extended concentrations, attention to detail and knowledge of
Buddhism philosophy and most be carried out in a peaceful environment.
•
Early Nepalese thangka are simple in design and composition. The main deity a large, figure,
occupies the central position while surrounding by smaller figures of lesser divinities.
•
Thangka serves as important teaching tools depicting the life of the Buddha, various
influential lamas and other deities and bodhisattvas. The prime subject of thangka is “The
Wheel of Life”, which is a visual representation of art of enlightment.
14
Chapter 3:
Summary and Conclusion
3.1. Summary
The purpose of this report was to find out the sales status of Thangka in Nepal. Research for this
report included a review of literature on related websites and booklets. Interview was done to a
selected sample from a specific population of Patan and Bouddha. Questionnaire technique was
followed to collect data for the study.
The major findings indicate that the popularity of Thangka painting has decreased in a ridiculous
manner. The Thangka business was flouring ten years back in our country. Many foreigners
would come to our country and buy various types of paintings. They used to buy a bulk of
painting back then and it was a source of income for many people.
While looking at the current market, the volume sales of Thangka painting have decreased in an
unbelievable manner. The decrease in the inflow of the tourist in our country has have affected
the sales Thangka in a very negative way. There are many contributing factors for the downfall
of a business. Political instability, earth quake and economic blockade have aided in the
downfall of the sales of the Thangka.
3.2. Conclusions
The main results of the study are summarized as follows:
•
The number of people who started their business is comparatively lower than the person
who joined their family business.
•
The higher number of age-group involved in this business is above 40.
•
The higher number of time period invested in Thangka business is 15-20 years.
•
The average annual number of buyers is 25-35 people.
•
The average annual income earned by a Thangka Rs. 50, 000- 1 Lakh.
•
Thangka paintings are heavily exported in China. Thangka businessmen have been using
network to promote their product.
3.3. Action implication
This project is not only limited to identify the sales status of thangka art but also it is helpful for
getting the knowledge of the contribution of the thangka art in the economic development the
country as well. The research conducted will be further used in various field like spreading
15
knowledge about thangka art to people, making people aware about losing the identity of
Nepalese art and craft and to promote Nepalese art and craft among Nepalese people and in
world wide. Some of the implication of the project are as follows:
•
It may help future researcher to know about the status of overall thangka sales in
Kathmandu. They can add more to it and get basic knowledge from this research.
•
The research develops a new concept in the research fields. People can use this in the sense
of uplifting the status of status of thagka art.
•
The engagement with research enables people to see a problem they did not see before or see
a problem in a new way. Therefore, this research helps to see new problem in broad way and
it will be helpful in future to take action in order to eradicate this problem.
•
Government are not totally aware of the situation that are going in the community especially
this type of small issues. The related research are done in limited number therefore these
type of research help the government, firms, businessmen and individuals to know what are
lacking in the society, its present condition and remedies.
16
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and
Architectue:
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https://buddhistthangkacentre.com/
increased thangka market. (n.d.). Retrieved 12 26, 2019, from Kathmandu Post:
https://kathmandupost.com/money/2014/03/18/increased-tourist-arrivals-boost-thangkamarket
Lucky
thangka.
(n.d.).
Retrieved
01
05,
2020,
from
Thangka:
https://luckythanka.com/collections/thangka
NepalAustralia.
(n.d.).
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17
ANNEX
Name of the Shop:
Location:
1. Is this your family business?
a. Yes
b. No
2. If not, how did you come to know about this art?
3. How long have you been in this business?
4. How well is the Thangka business doing well in Kathmandu?
5. How was the condition of business of Thangka in Nepal before 10 years?
6. What is the number of people interested to learn this art? (annually)
7. Who are the major customers?
a. Local customer’s
b. International customers
8. What is the number of buyers? (annually)
9. How much is the price range?
10. How many art pieces are sold? (annually)
11. What is the percentage of export of these art pieces?
12. What is the average annual income from this business?
13. In which countries are these art pieces exported?
14. What are the problem areas in this business?
15. What do you do to keep the art pieces safe and preserved throughout every season?
18
16. What can be done to increase the popularity of this business?
17. What have you done so far to increase the awareness of this art?
19