CONCLUSION

From what analysis I have been able to do, an overall physical and meta-physical structure to the images at the Sundari-chok has not made itself aparrent. Stronger identification of the elements would be necessary for that level of analysis. Historically, it is also difficult to place the images found in the fountain. Many seem to date from the same period, but some vary strikingly in style (for example, Plates 10, 17, 22, and 30). It is possible that many donors made contributions to this site, although all of the images seem to have appeared at the same time, when the fountain was built.

The Licchavi period (mid first millenium Christian era) is said to be the point when Nepali stone carving reached its zenith with carvings still visible at Changu-narayani the temple devoted to Visnu in the east of the Kathmandu Valley. The Sundari-chok was built during the rule of the Malla kings, and the statues can not be much older. Many of them, I think, are nearly as spectacular as the more recognized masterpieces of sculpture. Perhaps the concentration of sixty-eight highly detailed pieces within the twelve foot radius alone is a bit of a sensory overload.

The imagery found within Hinduism and Buddhism as practiced in Nepal is so rich, dense, and interlinked that it is difficult ever to feel that one has seen all there is to see. Just simple elements alone, the various mudras of the icons, or the items they hold for example, can occopy volumes of notes and text. Placing a singularity on any image is well nigh impossible. Incorporating elements of physical context and historical chronology add a further element to the puzzle. The quest is richly rewarding, however, for quite often the path of best result is not necessarily even close to the path of intent.