TRIBHUVAN UNIVERSITY
INSTITUTE OF ENGINEERING
PURWANCHAL CAMPUS
DEPARTMENT OF ARCHITECTURE
DHARAN, SUNSARI
TOPIC: REPORT ON DATTATREAYA
(EDUCATIONAL FIELD VISIT)
SUBMITTED BY: SUBMITTED TO:
Ram Singh Tamang (PUR081BAR025) ASST. PROF. SUNITA SHRESTHA
Sahil Poudel (PUR081BAR031)
Sandip Shrestha (PUR081BAR032)
Sese Hang Limbu (PUR081BAR035)
Sesehang Subba (PUR081BAR036)
Sekhar Koirala (PUR081BAR037)
Subarna Ghimire (PUR081BAR042)
Sawan Acharya (PUR081BAR045)
ACKNOWLEDGEMENT
We want to express our special thanks of gratitude to our teacher, ASST.PROF. Sunita Shrestha and
Department Head of Architecture Department A.R. Milan Bhattarai, who gave us the golden opportunity to
visit different places of Kathmandu, Bhaktapur, and Lalitpur, which helped us a lot in doing a lot of research,
and we came to know about so many new things including the topic of this report “DATTATREAYA”.
We are also grateful to all our group members whose individual contributions were invaluable.
Table of Contents
1. INTRODUCTION ..........................................................................................
1.1. BACKGROUND .........................................................................................
1.2. OBJECTIVES .............................................................................................
2. SITE CONTEXT ............................................................................................
2.1. GEOGRAPHIC LOCATION ......................................................................
2.2. ACCESSIBILITY ........................................................................................
2.3. ENVIRONMENTAL AND LANDSCAPE CONTEXT ............................
3. HISTORICAL BACKGROUND ..................................................................
3.1. ORIGIN AND MYTHS ...............................................................................
3.2. CHRONOLOGY OF DEVELOPMENT ....................................................
3.3. EROTIC CARVINGS..................................................................................
3.4. CHANGES AFTER EARTHQUAKE AND MODERN TIME
3.5. THE STATUES IF JAIMAL AND PRATAP
3.6. THE STORY BEHIND THE STONE PILLERS
3.7. THE TEMPLE IS MADE OUT OF SINGLE TREE
4. ARCHITECTURE FEATURES ...................................................................
4.1. SITE PLAN AND LAYOUT ......................................................................
4.2. MATERIALS AND CONSTRUCTION TECHNIQUES
4.3. DESIGN INTENT AND HERITAGE DATA ............................................
5. CONSERVATION, TOURISM, AND MANAGEMENT ..........................
6. RESTORATION WORKS (POST 2015 EARTHQUAKE) .....................
7. CHALLENGES ..............................................................................................
8. CONCLUSION ...............................................................................................
1. INTRODUCTION:
1.1 BACKGROUND
Dattatreya Temple, located in the ancient city of Bhaktapur, Nepal, is a revered
historical and religious monument dedicated to the Hindu deity Lord Dattatreya
— a composite form of Brahma, Vishnu, and Shiva. Originally built in the 15th
century during the reign of King Yaksha Malla, the temple stands as a striking
representation of Nepalese woodcraft and religious architecture. Crafted entirely
from the wood of a single tree, it is not only a spiritual center but also a
testament to the artistic and architectural excellence of the Malla period. The
temple is surrounded by richly carved windows and statues, reflecting the
cultural richness and spiritual devotion of the era..
1.2. OBJECTIVES OF THE VISIT (REPORT):
• To study the architectural, historical, and religious significance of
the Dattatreya Temple.
• To observe the craftsmanship, especially traditional woodwork and
iconography from the Malla period.
• To understand the role of the temple in cultural heritage
conservation and community life.
• To explore surrounding structures and monuments within
Dattatreya Square and their architectural relationship with the
temple.
2. SITE CONTEXT:
2.1. GEOGRAPHIC LOCATION:
Dattatreya Temple is located in Dattatreya Square, within the historic city of Bhaktapur, in
Province 1 (Bagmati Province). It lies northeast of the Bhaktapur Durbar Square and is part
of the larger heritage zone of Bhaktapur. Surrounded by traditional Newar houses, stone
sculptures, and other historic temples, it forms a vital part of the city's cultural and urban
landscape. The temple stands as a prominent landmark in the heart of Bhaktapur’s medieval
city fabric..
2.2. ACCESSIBILITY:
Dattatreya Temple is easily accessible through the main roads leading to
Bhaktapur, especially via the Arniko Highway. Public transport services such as
buses and microbuses regularly operate from Kathmandu, Lalitpur, and other
nearby areas. From Bhaktapur Durbar Square, the temple is just a short walk
through traditional alleys. Although vehicles cannot reach directly to the temple
square, nearby parking areas make it convenient for visitors arriving by private
vehicles..
2.3. ENVIRONMENTAL AND LANDSCAPE CONTEXT:
The temple is located within the dense traditional urban fabric of Bhaktapur,
surrounded by historic buildings, narrow lanes, and local markets. The environment
reflects a blend of cultural heritage and daily local life. The landscape around the temple
consists of a paved stone courtyard, open space for religious gatherings, and nearby statues
and rest houses. The setting preserves the historic charm while supporting community
interaction and tourism activities.
3. HISTORICAL BACKGROUND
3.1. ORIGIN AND MYTHS:
The Dattatreya Temple, located in Bhaktapur, Kathmandu Valley, is one of
Nepal's oldest and most revered temples. It was originally built in the 15th century during the reign of King
Yaksha Malla, a prominent Malla king. This temple is the only known shrine in Nepal dedicated to Lord
Dattatreya, a deity considered a combined incarnation of the Hindu trinity: Brahma (creator), Vishnu
(preserver), and Shiva (destroyer).
According to Hindu mythology, Lord Dattatreya is the unified form of the Trimurti—Brahma, Vishnu,
and Shiva—born to the sage Atri and his wife Anusuya. The name "Dattatreya" comes from Sanskrit:
• "Datta" means "given" (as a gift),
• "Atreya" refers to his father, Atri.
The myth says that the three gods were so pleased with Anusuya's devotion and purity that they granted her
a boon by incarnating together as her son—Dattatreya.
Another local legend claims that the idol of Dattatreya housed in the temple was carved from the trunk of a
single sacred tree, making it spiritually significant. The image represents the deity with three heads
symbolizing the Trimurti and is worshipped as a symbol of divine wisdom and spiritual unity.
The Malla kings, who strongly patronized religion and culture, are believed to have commissioned the
construction of the temple out of deep devotion to Lord Dattatreya and to promote moral and spiritual
teachings among the people.
3.2. CHRONOLOGY OF DEVELOPMENT:
Time Period Event / Development
Original construction of the Dattatreya Temple by King Yaksha Malla, a powerful
~15th Century
ruler of Bhaktapur during the Malla period. It was built using traditional Newari
(around 1427 AD)
architecture with influences from both Hindu and Buddhist art.
Enhancements and additions were made to the temple complex by later Malla rulers,
Mid–Late Malla
especially King Vishwa Malla, including additional statues, wood carvings, and
Period
decorative elements.
Temple area became a major center for religious festivals, especially dedicated to
17th–18th
Dattatreya, and the surrounding Dattatreya Square grew in religious and cultural
Century
importance.
20th Century Minor repairs and conservation were undertaken by local heritage bodies. The temple
(Pre-2015) remained an active religious site and tourist attraction.
The Gorkha earthquake (magnitude 7.8) caused structural damage to the temple,
2015 (April)
particularly to the upper sections and supporting woodwork.
Post-earthquake restoration carried out by the Department of Archaeology, in
2016–2020 collaboration with local artisans, using traditional techniques and materials to retain
historical authenticity.
The temple is fully restored, and remains a major heritage site, active place of
Present (2020s) worship, and part of the UNESCO World Heritage Site (Bhaktapur Durbar Area).
Cultural and religious festivals continue to be observed regularly.
3.3. THE EROTIC CARVINGS
Well, this temple is not only counted as important because of its religious status but also because of the
reflections of the ancient arts and architecture. Anyhow, that is knocked up in erotic ways. The first floor of
the temple is filled with these kinds of carvings just like in the Pasupatinath temple of Bhaktapur Durbar .
3.4. CHANGES AFTER EARTHQUAKE AND MODERN TIMES:
• The temple suffered partial structural damage, especially to the roof and wooden
supports.
• Cracks appeared in walls and carvings; some wood elements were dislodged.
• It was temporarily closed for safety and restoration.
• Traditional methods and materials were used during restoration to preserve
originality.
• Roof structure and carvings were repaired or replaced by skilled Newar artisans.
• Cultural and religious activities resumed after restoration.
• Now the temple is fully restored and safe for public access.
3.5. THE STATUES OF JAIMAL AND PRATAP
You can also see the statues of Jaimal and Pratap (Pattu) in front of the main entrance of this temple
guarding as in the Nyatapola temple. They might represent the Rao Jaimal of Rathore, ruler of Badnor, and
Patta of Kelwa, 16 years old defenders of the Chittor since they are always mentioned together for their
bravery.
3.6.THE STORY BEHIND THE STONE PILLERS
In front of the Dattatraya temple, one can observe a tall pillar upon which an idol of
Garuda (vehicle of Lord Vishnu) is bidding Namaste toward the temple. Visitors who are
quite unfamiliar with the Hindu religion might wonder what’s so special about this statue.
Well, it is quite rare to discern this tall pillar of an idol of Garuda in entire Nepal. Also, the
facial structure of the statue seems quite unique as it was first considered to have been
placed with a motive to set the statue of monk Dev Narayana Giri.
3.7. THE TEMPLE IS MADE OUT OF SINGLE TREE
There is a popular anecdote about the Dattatraya temple that says the whole temple f
Dattatraya was built with the timbers of a single tree-like as in the darn of
Kasthamandapa.
4. ARCHITECTURAL FEATURES:
4.1SITE PLAN AND LAYOUT
Dattatreya Temple is centrally located in Dattatreya Square, forming the
main focal point of the area. The temple is built on a raised stone
platform with a rectangular base, oriented towards the east. Surrounding
the temple are important elements like Bhimsen Temple, the famed
Peacock Window, and traditional rest houses (Patis and Sattals). The
open courtyard layout allows for easy circulation and gathering of
devotees. The temple square is framed by traditional Newari houses and
narrow brick-paved alleys, maintaining the medieval character of the site.
4.2 MATERIALS AND CONSTRUCTION TECHNIQUES:
4.2.1 MATERIALS
1.Timber (Wood)
• Used extensively in pillars, beams, struts, doors, and intricate carvings.
• Mostly Sal wood (Shorea robusta), known for strength and durability.
• The main idol is believed to be carved from a single tree trunk.
2.Brick and Mud Mortar
• Traditional handmade bricks used for walls and base structure.
• Mud-lime mortar used for binding bricks, typical in Newar architecture.
3.Stone
• Used in foundations, steps, and statues surrounding the temple.
• Also used for decorative elements like lions, Garuda, and tantric figures.
4.Terracotta Tiles
• Used on the sloping pagoda roofs, often laid in decorative patterns.
5. Metal (Bronze & Copper)
• For bells, idols, tridents, and finials (gajur).
• Used in small ritual objects and temple decorations.
4.2.2 CONSTRUCTION TECHNIQUES
1. Newar Pagoda Architecture
• Multi-tiered pagoda structure with gradually tapering roofs.
• Each roof layer is supported by timber brackets and struts with carved figures.
2. Timber Joinery (Without Nails)
• Wooden elements joined using interlocking joints (like mortise and tenon).
• No metal nails—ensures flexibility during earthquakes.
3. Brick Masonry with Mud Mortar
• Handmade bricks laid with mud-lime mortar, allowing breathability and flexibility.
• Thick walls help with thermal insulation and seismic resistance.
4. Carved Wooden Struts (Tundals)
• Slanted wooden struts connect the roofs to the main structure.
• Often decorated with Tantric deities or mythical figures for structural and symbolic support.
5. Stone Base Foundation
• Built on a raised stone plinth to protect from moisture and provide stability.
• Foundation stones are tightly fitted without cement.
6. Layered Roof Construction
• Roofs made with wooden rafters and terracotta tiles.
• Overhanging eaves protect walls from rain.
7. Central Pillar System
• The temple's core is supported by a central wooden pillar (Yasti) distributing roof load evenly.
4.3. DESIGN INTENT AND HERITAGE DATA:
• The temple was originally built with religious intent, dedicated to Lord Dattatreya — a
unique fusion of the Hindu trinity: Brahma, Vishnu, and Shiva.
• Its design reflects Malla-era craftsmanship, with a focus on intricate woodwork,
symbolic iconography, and spiritual alignment.
• Heritage data suggests the temple has undergone multiple restorations, maintaining its
original style while preserving key elements like carved wooden struts and stone
sculptures.
• The surrounding square and nearby monuments highlight the intent to create a sacred
civic space for both religious rituals and community gatherings.
5. CONSERVATION, TOURISM, AND MANAGEMENT:
5.1 CONSERVATION:
• The Dattatreya Temple has seen several conservation efforts, particularly after the
2015 earthquake, though some parts still require restoration.
• Local artisans and heritage experts have been involved to ensure that traditional
materials and techniques are preserved during repairs.
• The temple’s iconic woodwork, including intricately carved struts and windows, has
undergone careful restoration supported by cultural preservation agencies.
• However, lack of consistent funding and structural maintenance poses long-term risks
to some peripheral structures around the temple square.
5.2 TOURISM:
• Dattatreya Temple is a key attraction in Bhaktapur, drawing thousands of local and
international visitors, especially during festivals and guided heritage walks.
• It serves not only as a religious site but also as a cultural and photographic hotspot,
enhancing the tourism value of Bhaktapur.
• Entry to the square is regulated under the Bhaktapur Durbar Square ticket system,
contributing to the municipality’s heritage fund.
• While tourism brings economic benefits, crowding and uncontrolled foot traffic have
raised concerns regarding wear and tear on fragile wooden element
5.3 MANAGEMENT:
• Dattatreya Temple falls under the jurisdiction of the Department of Archaeology
(DoA) and the Bhaktapur Municipality, with collaborative input from local
community groups and traditional caretakers (Guthis).
• Management responsibilities are shared between the local government and heritage
preservation bodies, ensuring both religious functions and heritage protection.
• Regular cleaning, minor maintenance, and cultural event coordination are handled by
the local Guthi system, preserving traditional involvement.
• Challenges include limited funding, coordination gaps between stakeholders, and
rising pressure from tourism-related commercialization in the heritage zone.
SUMMARY TABLE- DATTATREYA
FOUCUS
AREA Highlight
Conservation Intricate woodwork and stone carvings have been carefully
restored using traditional methods, though several peripheral
structures around the square still await repair.
Tourism A popular destination within Bhaktapur’s heritage circuit,
the temple enjoys steady visitor flow, contributing to local
tourism revenue via entry fees and guided tours.
Governance Managed jointly by the Department of Archaeology,
Bhaktapur Municipality, and traditional Guthis;
responsibilities range from religious upkeep to conservation,
though coordination and funding challenges remain.
