Stonework has developed in Nepal as one of its earliest forms of art from roughly shaped, obscure sculptures into today's intricate products, although the tools have remained the same. A wide variety of stone sculptures can be seen around the three historical cities of Kathmandu, Bhaktapur and Patan. Examples dating from the Malla period of the thirteenth to eighteenth centuries reveal waterspouts and Buddhist and Hindu deities along with others forms of the art. Several years ago the art of stonework was threatened due to a drop in traditional styles among locals and because of the difficulties it presents for exportation. Although the foreign market for stonework remains low, castes such as the Shakyas who have practiced the art for generations are taking advantage of renewed local interests.

The Patan municipality has engaged the people of its Sundhara and Bhinsebaal areas for the restoration of stonework that has stabilized a practice that was formerly on the decline. The development of restoration work for temples, monasteries, resting places, statues and waterspouts has generated a boom among the stonework community and the younger generations of Tamangs and Newars are finding work in the field within the municipality. Artisans such as the Shakyas and the Lhokamis who have worked in the field for centuries are now enjoying a healthy local market but can remember how just a short time ago business was not so good. Some artisans are concerned that their children will not continue in the field unless the market remains stable.

HAN has not been able to establish labor-training programs to teach people the skills needed for stonework to increase production due to financial restrictions. The government does not provide training for stoneworkers as it is not a marketable product. This leaves those who wish to learn the trade or build upon their skills entirely dependent on themselves and those around them who have greater experience in the field. Stonework produces a mix of representations from Hindu, Buddhist, animistic and tantric beliefs. Different stones are used to yield different levels of detail and each requires different techniques to be applied. High quality sandstone is soft and used for work that requires great detail. Granite is the preferred stone because it is also soft but does not erode as fast as sandstone when exposed to the elements. Marble is only worked with when an order requires it as there is little aesthetic interest in marble and a small market for that particular stone. Artisans have been having trouble acquiring the preferred stones for their work as His Majesty's Government has taken steps towards shutting down the granite mines at Gwaldo and Dakchinkali. The environmental impact in these areas from the mines has been severe and conservation issues along with hazards such as landslides have prompted their closure. Some artisans still lack faith in stonework despite the positive changes and are upset with government measures and the way they are treated. Those who have had enough of struggles in their lives are either going into other fields of art while others are abandoning the arts altogether.

The government does not give much support this type of craft due to its problematic characteristics for exportation, so it has little interest in helping stoneworkers produce more cheaply and quickly. Stone is a heavy cargo and only a small amount can be shipped to foreign countries at a time. According to Handicraft Association of Nepal statistics, between the middle of July 2001 to the middle of May 2002 only $US 29,636 worth of stone was exported. The entirety of stonework is produced by small workshops, usually family owned, with but a few workers on at any time. The production of stone art is a time consuming process as artisans continue to use simple tools and methods that have been used for centuries.

In light of the low international market, artisans are heavily dependent on the local market for work. If the recent interest among local people and communities that has developed to support the survival of the art diminishes then many people, particularly unskilled laborers, will be out of jobs. For now, the future of stonework looks positive as business continues to grow given some insurance that the practice will continue for years to come.