As an anthropologist and historian I specialized on the Newar of Nepal (a Tibeto-Burman ethnical group located in the Katmandu valley) and on Northern India (Rajasthan). Since 1975, I have focused my research on religious anthropology, more especially the cults and iconography of gods in Hinduism and Buddhism, and the various ways society and religion are intertwined in the organization of temples and lineages associations.

Newar civilization is basically urban, this is why I selected Bhaktapur as my fieldwork location, since the city forms a relevant single space whose unity is provided by the religious organization of Hindu and Buddhist temples, even more so during great festivals and rituals. Trying to enlarge my perspective to the anthropology of art, I am currently demonstrating the function of images in rituals, more especially the mandala.

Through a study of kingship at the Malla period, I had the opportunity to study the process of integration of Buddhist groups in a Hindu kingdom. Since 1989, I have been doing fieldwork in Western Rajasthan, on Rajput clans and genealogies, and more generally on the articulation of Hindu kingship with the divine realm.

——Anne Vergati

The study, beautifully illustrated, focuses on the masks of gods, goddesses and demons worn by the Newars of Kath-mandu Valley. It deals with contexts in which the dancers wear the masks and with legends concerning the dances.

The presence of masks as both ritual and art objects is attested among the traditions of mankind’s oldest civilisations. Cutting across cultural and geographical barriers, they have exhibited a remarkable range and diversity of meanings throughout history. The present study focuses on the masks worn in the Kathmandu Valley by the main ethnic group, the Newars. A specific aspect of the Newars is that, despite the political dominance of Hinduism, Buddhism is still alive. The masks represent gods, goddesses and demons, but never the dead or the ancestors. The author argues that the reason for the absence of figurations of the dead or ancestors is to be explained by the funerary rituals. There are no memorial monuments or other objects which perpetuate the memory of the deceased: It is through rituals performed after their death that the memory is preserved. The distinction is made between statue-masks and the masks worn during ritual dances. The author focuses on the contexts in which the masks are worn by professional dancers and draws attention to the legends which explain the origin of the dances and their ritual role. Detailed descriptions are given of the dances performed during different festivals in the localities of the Kathmandu Valley. The masks then worn are destroyed and re-made ritually each year by painters. Anne Vergati explains the relation between the dancer as a social person with a social identity and the mask which represents a god or a goddess. The mask is not supposed to hide the face of the dancer but to transform his identity in such a way as to make of him a deity. Supported by numerous illustrations in colour, the book will appeal to historians and connoisseurs of art as well as to scholars of the cultures of the Himalayan regions.