As life in Nepal faces ongoing threats from natural disasters and climatic changes, Nepalese Seasons poignantly illustrates how the country’s dependence on monsoon rain continues to play an important role in its agriculture, spirituality, social culture, and art.

CuratorsCurators

An adult man with a gray beard and mustache wearing black glasses, a black vest, and a blue button down shirt

Gautama Vajracharya is a scholar of South Asian languages, art, and culture. He taught the history of Indian art at the University of Wisconsin-Madison for 23 years. In addition to teaching, Vajracharya has made contributions to Nepalese and Indian art and iconography throughout his long career.

His latest publication is “Ancient Cow Calendar: Discerning the Aspects of Vedic and Pre-Vedic Bovine Rites in Modern Day Festivities of India and Nepal,” Electronic Journal of Vedic Studies, vol. 30, no 1 (2025). He authored Nepalese Seasons: Rain and Ritual (2016) for the Rubin, detailing the interrelationships among local deities, seasonal festivals, rituals, and the annual monsoon as part of the 2017 exhibition Nepalese Seasons: Rain and Ritual, which he also curated. His other publications include Frog Hymns and Rain Babies: Monsoon Culture and the Art of Ancient South Asia (2013), Himalayas: An Aesthetic Adventure (2003, co-author), Watson Collection of Indian Miniatures at the Elvehjem Museum of Art: A Detailed Study of Selected Works (2002), and Hanumandhoka Rajdarbar (1974, in Nepali).

Headshot of Elena Pakhoutova

Elena Pakhoutova is senior curator, Himalayan art, at the Rubin Museum of Himalayan Art and holds a PhD in Asian art history from the University of Virginia. She has curated several exhibitions at the Rubin, including Death Is Not the End (2023), The Power of Intention: Reinventing the (Prayer) Wheel (2019), and The Second Buddha: Master of Time (2018). More →

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This exhibition is made possible in part by the E. Rhodes and Leona B. Carpenter Foundation and the Ellen Bayard Weedon Foundation. Additional support is provided by the National Endowment for the Arts, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and contributors to the 2016 Exhibitions Fund. The accompanying publication is supported in part by John and Fausta Eskenazi.

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