[4] Like the ones of Kathmandu and Patan, Bhaktapur Durbar Square contains various temples, palaces and courtyards all of which were built in the traditional Nepalese architecture.

[6] This part contains the Lyākū Dhvākhā gate, the ruins of Basantapūra and Chaukota palace and a replica of the Char Dham of India.

[12] The name of this palace, Nhēkanjhya Lyākū (Nepal Bhasa: 𑐴𑑂𑐣𑐾𑐎𑐒𑐗𑑂𑐫 𑐮𑑂𑐫𑐵𑐎𑐸‎) is derived from a lattice window (jhya) which had a glass pane (nhēkan) placed in it.

[16] The window, which has been lost today was placed by Bhupatindra Malla with the intention of exhibiting a glass pane which he had received as a gift from a Mughal emperor.

[29] The Luṁ dhvākā (Nepal Bhasa: 𑐮𑐸𑑃 𑐢𑑂𑐰𑐵𑐏𑐵‎; Sanskrit: 𑐳𑑂𑐰𑐬𑑂𑐞𑐡𑑂𑐰𑐵𑐬‎; meaning "golden gate") which serves as an entrance to the inner courtyards of the former royal palace was constructed between 1751 and 1754 by Subhākara, Karuṇākara and Ratikara.

The image of the goddess enshrined is placed above a representation of Shiva as the god of music, hence the prefix Nritya is added in the name.

The temple is especially noted for its guardian statues, which includes a man and a woman holding a child and a chained dog, a pair of camels, horses, rhinoceroses and mythical beasts.

Unlike the Siddhi Lakshmi temple, it was not restored after the earthquake and instead a one storey building has been constructed in order to shelter the image of the deity.

[35] A gold plated bronze statue of Bhupatindra Malla, who ruled Bhaktapur from 1696 to 1722 is placed in stone column at the center of the square.

[46] The former private chamber of the palace contains a 2.1 m long mural of a multi-armed, multi-faced male figure embracing his female consort.

[48] In the 19th century, the palace was used as for administrative purposes including a post office[47] and as such the frescoes in the second floor were greatly damaged and covered in soot, ink and glue stains making them unrecognisable.

[48] Although the renovation was not perfect as the top floor windows in the western and eastern façade still lack the floral tympanum it once had and the wooden struts supporting them were once decorated with the images of various deities but now are plain wood.

[48] Chyasilin Mandapa, translating to "octagonal pavilion" from Newar, was a two storey structure that existed south of the palace of fifty five windows.

[49] In local folklore, it is attributed to Bhupatindra Malla who is believed to have commissioned the building to protect his residence, the palace of fifty five windows from the harmful "energy" radiated by the lingam housed in the nearby Yaskhasvara temple which pointed north towards his residence; its unusual eight cornered roof believed to drive away the harmful "radiation".

[50][51] Chyaslin Mandap was not a religious building; it was used by the monarchs of Bhaktapur to meet with ambassadors and other officials, by the court to watch the festival procession that pass through the square.

[49] The pavilion was also used for literary purposes as a large stone inscription beside the pavillion contains a poem about the six seasons composed by Jitamitra Malla and his court.

[52] Contrary to the wishes of the locals of Bhaktapur, the then governor of the city decided against restoring the pavilion; its ruins, including carved pillars, struts and windows were sent to be used in Kathmandu.

[49][53] The architects and engineers from Bhaktapur Development Project claimed that Chyasilin Mandap was an ambitious structure and had they not used modern steel beams during its restoration in 1987, it would not have survived the 2015 earthquake.

[55] The priests of the Taleju temple located in one of the courtyards of the palace, to this day, ring the bell once everyday during the puja of the goddess.

[55] The Taleju bell is hung atop a stone pedestal which forms a rectangular platform which is frequently used by people as a stage to watch festive processions passing through the square.

[62] The building was originally commissioned by King Jagat Prakasha Malla of Bhaktapur in the17th century but was damaged in the earthquake of 1681.

[62] His grandson, Bhupatindra Malla had it repaired in May 1702 when he also inaugurated the sculptures of Ugracaṇdī and Ugrabhairava, the destructive forms of Devi and Shiva placed near the entrance of the palace.

[12] In 1769, after the defeat of Malla rulers of Bhaktapur by the Gorkhalis, the buildings within the former palace square were left in a state of disrepair.

[62] The palace after being partially destroyed in the earthquake of 1833 was demolished by Dhir Shumsher Rana who established a kitchen garden in its area.

[62] The palace was also called "nakhachhe tavagola kwatha" (meaning "a large fort meant for festivals"), during the Malla dynasty.

It is said that Dhurba Shusmer Rana, the magistrate for Bhaktapur in the late 19th century used the wooden tympanum of its entrance gate, which was commissioned by Bhupatindra Malla during its restoration, and its windows as firewood.

[63] The extinct Narayana temple built as a small two storey pagoda was commissioned by Ganga Rani and was located on the immediate south of the western corner of the Nhēkanjhya Lyākū palace where the National Art Gallery is housed today.

Translating to "upper palace" from Newar, Thantu Layaku occupied an extensive area containing numerous buildings, courtyards and gardens.

[68] An inscription set up by the 17th century monarch of the city, Jitamitra Malla, is currently the only surviving physical description of the palace complex.

The inscription goes: "The wise king[sic] Jitamitra Malla in order to please his family goddess, during the ministership of Bhagirāma built this Thanthu Layaku.