[🇧🇩] Bangladesh History & Heritage

[Saif]

Neglected heritage: A historic gate in ruins

You may have visited Ahsan Manzil — or at least know of it — but did you ever encounter this dilapidated gateway?

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Neglected heritage: A historic gate in ruins

Illustration: Ashif Ahmed Rudro; Photo: Shadab Shahrokh Hai

When we think of Puran Dhaka's Islampur, the first thing that often comes to mind is the numerous clothes shops this bustling area is home to. But amidst the busy streets swarmed with customers and sellers, there is a piece of heritage which mostly goes unnoticed.

We are talking about an old gate in ruins, referred to as Nawab Bari's gate and believed to be the original entrance to the famous and iconic Ahsan Manzil!

You may have visited Ahsan Manzil — or at least know of it — but did you ever encounter this dilapidated gateway?

It is shrouded in wires, banners, signboards, and modern buildings — downgrading the beauty and importance of this structure. So much so, that it is extremely challenging to even get a good photo of it!

Hopefully, the next time you visit Islampur, you will stop by for a moment to appreciate this underrated heritage. And if we are hoping for things, with any luck the authorities will take initiatives to preserve and protect this old gate!
​

 

[Saif]

Diversification of Shital Pati: Tangail craftsmen preserve ancestral profession

Shital Pati, woven from the fibres of a specific type of cane (pati bet), is prized for its smooth texture and natural cooling properties, offering comfort during Bengal's sweltering summers

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Diversification of Shital Pati: Tangail craftsmen preserve ancestral profession

 

[Saif]

Crown jewels of Bengal

Scattered across Bangladesh are countless archaeological treasures that reveal its prosperous past. While time has erased some, many remain hidden beneath the earth, awaiting discovery. Among the surviving remnants are ancient fortresses, temples, mosques, monasteries and so on -- testaments to...

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Crown jewels of Bengal​

 

[Saif]

Madhur Canteen: The story of an eatery and Bangladesh

If one says Madhur Canteen and Bangladesh’s history is inextricably interlinked, will it be an exaggeration?

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Madhur Canteen: The story of an eatery and Bangladesh
Dhaka University Madhur Canteen

If one says Madhur Canteen and Bangladesh's history is inextricably interlinked, will it be an exaggeration?

The eatery has etched its place in Bangladesh's national politics due to its association with various political movements that originated from Dhaka University.

Since 1921, the year Dhaka University was founded, and particularly from 1948 onwards, many national movements had their origins in Madhur Canteen, as noted in Dhaka: Smriti Bismritir Nagari by Professor Muntassir Mamoon.

The canteen, named after Madhusudan Dey, lovingly called Modhu da, played a key role in shaping Bangladesh's history. Over the decades, the canteen has witnessed countless historic events.

It was the starting point for significant events such as the Language Movements of 1948 and 1952, the 1949 protests by fourth-class university employees, the student revolt against the university's "black laws" (kala kanoon), and the 1969 mass uprising. During these times, it served as a hub for student leaders and activists, the architects of these historic movements.

The canteen's significance was underscored during Operation Searchlight on March 25, 1971, when it became one of the first targets of the Pakistani military.

After the Liberation War, the canteen played a vital role as the "melting pot" of all ideologies. It is in this canteen that student leaders, who later became national ones, of different ideologies met and greeted each other, paving a common ground for political harmony.

This harmony later came in handy during the anti-dictatorship movement against late president HM Ershad.

The canteen's role in all protests and movements since the restoration of democracy in the 90s -- from anti-government protests to Gonojagaran Mancha -- remained as important as ever.

In 2013, the first protest rally against a court verdict that sentenced war criminal Abdul Quader Mollah to life imprisonment (instead of the capital punishment) came out of this canteen, according to Gonojagaran Mancha activists.

Indeed, the cafeteria has been a popular starting point for processions.

Madhusudan Dey legacy

In the July mass uprising against the Sheikh Hasina-led regime, several press conferences were held at Madhur Canteen.

However, it is not just a political venue. It is a cultural melting pot too. Renowned writers, cultural icons, political leaders, and social activists have frequented it.

Eminent scholar Professor Ahmed Sharif, known for his free-thought movement, described it as the birthplace of national ideas and aspirations.

"For nearly half a century, all forms of youthful thought, consciousness, resolve, and struggle in our national life have emerged -- and continue to emerge -- here at Madhur Canteen.

"Initiatives, enterprises, and movements have taken shape . Everything began here. For this reason, Madhur Canteen deserves recognition … as a centre for the nation's political, cultural, and literary thoughts, ideas, and aspirations. It is sure to hold a significant, permanent place in our national history as the birthplace of many movements," he was quoted in the book Dhaka: Smriti Bismritir Nagari.

The book also included several recollections of Madhur Canteen by other notable individuals.

The famous poet Buddhadeb Basu, a student of DU when the canteen was run by Aditya Chandra Dey, the father of Madhusudan Dey, also reminisced about the canteen.

"At one end of the university compound was a tin-roofed building. Inside, beside worn-out tables, there were long, bar stools. This is where we would quench our hunger and thirst, as there wasn't another tea shop in the entire area. Aditya's menu was very limited; on most days, he couldn't offer anything with the tea except for the sweets he made by hand. But that didn't matter to us.

"We would call out one order after another to Aditya. 'Put it on the tab' was all we used to hear," the book quoted him.

"I left Dhaka without fully paying off my debt to Aditya," Basu's reminiscence reads.

Beyond politics, Madhur Canteen has been a vibrant centre for cultural activities. Students gathered here to share ideas, organise social events, practise songs and poetry, and enjoy lively addas (informal gatherings).

Sometimes people like Zainul Abedin, Kamrul Hasan, Abdul Ahad, Nazir Ahmed, Fateh Lohani, Sikandar Abu Zafar, Shamsuddin Abul Kalam, and Syed Waliullah would visit the Madhur Canteen. Muneer Chowdhury, Shahidullah Kaiser, and Akhlakur Rahman would occasionally pop up there too. Up until 1949, Sheikh Mujibur Rahman and Tajuddin Ahmad also frequented the canteen.

Eating on credit became a tradition at Madhur Canteen. Students would accumulate debts, but Madhusudan Dey, affectionately known as Madhuda, never pressured them for payment, said students and people who knew him.

Many repaid their debts after establishing themselves in life, and Madhuda even supported needy students financially.

Mujahudul Islam Selim, a former student of Dhaka University and former president of the Communist Party of Bangladesh, said that Madhur Canteen is more than just a canteen; it has become an institution.

"It exemplified the coexistence of student bodies, regardless of their political ideologies," he said, adding that the significance of Madhur Canteen in his political career has been immense.

Selim, who was also the vice-president of the Dhaka University Central Students' Union (DUCSU) from 1972-73, said, "If we want to discuss the history of Dhaka University and Bangladesh, we must examine the role of Madhur Canteen."

Reminiscing about Madhusudan Dey, the veteran leader said he had last met Madhusudan on March 25, 1971.

"The following day, Madhuda was killed by the Pakistani military. I could never have imagined that …. We didn't speak much on that day, but sometimes, when I close my eyes, I can still hear Madhuda saying, 'Selim Shaheb kemon achen [How are you doing Mr Selim]'," he recalled.

Raisul Zilani, a current student at DU, said that the Canteen is one of the best places for adda as it feels special considering its rich history.

Arun Kumar Dey, Madhusudan's son, took over the responsibility of running the canteen after the Liberation War.

Recalling the massacre of his family, Arun said his father and other family members were killed in front of him.

"I was in the fifth grade then. In 1972, I took charge of the canteen," Arun said.

On March 26, 1971, the Pakistani military stormed Madhusudan's house in the early hours and killed his wife, son, and daughter-in-law. Madhusudan was injured, arrested, and taken to the Jagannath Hall playground, where he was executed along with many students.

Recalling the days after the Liberation War, Arun shared, "Many people came to me to settle their dues. While paying, they would say, 'I had some dues to Modhuda, but I couldn't pay them at the time.'"

Some even came from abroad to clear their dues, he said.

"I can still recall my father discussing political issues with student leaders. My father had a wonderful relationship with them, and I have continued to maintain that connection with the current students," he said.

In 1995, Toufiq Hosen Khan, a student of fine arts, created a sculpture of Madhusudan Dey, which still stands in front of Madhur Canteen today.

The renowned poet Shamsur Rahman also wrote a long poem titled 'Madhusmriti,' which is engraved near Madhusudan's sculpture.​

 

[Saif]

History of Madhur Canteen

The canteen was founded in 1921 by Aditya Chandra Dey, Madhuda’s father, who received permission from the university authorities to open a food business on the university grounds when Dhaka University was established.

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History of Madhur Canteen

The canteen was founded in 1921 by Aditya Chandra Dey, Madhuda's father, who received permission from the university authorities to open a food business on the university grounds when Dhaka University was established.

At that time, the present-day Medical College was part of the Dhaka University campus. When the police barracks near Palashi were vacated, Aditya purchased two thatched houses from the British police for Tk 20-30.

One house was used as a shop, while the other served as his residence.

In 1934-35, when Madhuda was around 14-15 years old, he began helping his father in the canteen.

The canteen later moved to its current location after the arts faculty was shifted to its present location near the Nilkhet area.

Photo: wikipedia

The canteen's location used to serve as the Durbar Hall of the Dhaka Nawabs. In addition to being used for formal and informal meetings, the hall was a skating rink and ballroom for the Nawabs' enjoyment.

Construction of the building began in 1873 and continued over several years. In 1906, a conference sponsored by Nawab Bahadur Sir Khwaja Salimullah of Dhaka was held in the building, which led to the formation of the All-India Muslim League.

After the death of Madhusudan, his son Arun Kumar Dey took over the responsibility of running the canteen.​

 

[Saif]

Third Eye depicts myth, folk culture

Thirty six renowned and young artists depict myth, folk culture and nature with presentational styles in a group art exhibition titled Third Eye.

www.newagebd.net

Third Eye depicts myth, folk culture
Cultural Correspondent 29 December, 2024, 01:26

Thirty six renowned and young artists depict myth, folk culture and nature with presentational styles in a group art exhibition titled Third Eye.

The exhibition is underway at Drik Gallery in the capital.

Curated by artist Manashi Banik, the four-day exhibition is featuring 108 artworks, comprising paintings, prints, ceramics, sculptures and installation.

The exhibition is displaying artworks of artists including Sultanul Islam, Tarun Ghosh, Anisuzzaman, Abu Kalam Shamsuddin, Shyamal Chandra Sarker, Sourav Chowdhury, Biplab Biprodas, Sumon Chandra Das, Arif Ahmed, Hasura Akther Rumky, Salma Zakia Bristy, Mahfuza Beauty, Sushanta Anupam, Sanjib Saha and Manabendra Ghosh.

Sultanul Islam’s acrylic on canvas titled Woman and Bird portrays the visual presentation of a famous folk song by Mujib Pardeshi titled Holudiya Pakkhi, while a woman recalls a yellow bird.

Sculptor Shyamal Chandra Sarker’s artwork titled Struggle depicts a wolf hunting while the life-size sculpture is made by assembling old parts.

Muhammad Mehdi Hasan’s installation artwork titled Deity comprises painting with objects of worship which shows how myth, ritual, art-crafts and objects related to daily life.

Shama Shaiom’s mixed media on paper titled Goblet depicts a flower in a glass with a classic colour theme.

Anik Barua’s portrait of SM Sultan titled The Greatness of the Soul, charcoal on canvas, depicts legendary painter SM Sultan with his two cats.

‘Third Eye began its journey with an art camp in October. This is the first group exhibition by the platform which aimed to portray artists’ thoughts during the nationwide July uprising and massacre,’ Manashi Banik said, adding that artists also portray their thoughts about the myth, folk, ritual and the universe.

The exhibition was inaugurated on Friday, and will end on Monday.​

 

[Saif]

Lost treasure: A Dhaka cannon in the Buriganga!

The story goes way back, when this piece of artillery was located in a “char” named Moghlani Char

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Lost treasure: A Dhaka cannon in the Buriganga!
Dhaka cannon in Buriganga river

Illustration: Ashif Ahmed Rudro; Photo: Pexels and Sarah Lee/Unsplash. The visual is representational only

There is more to the Buriganga than meets the eye. Case in point: an old, iconic cannon known as Kaley Jamjam or Kalu Jamjam, lies somewhere in the bottom of the river!

The story goes way back, when this piece of artillery was located in a "char" named Moghlani Char. But when the char got dissolved and taken over by the river, the cannon had disappeared with it, hence making Kaley Jamjam a lost treasure.

That was not the end of the cannon. Stating a folklore of the olden times, residents of Old Dhaka used to report that they sometimes heard roars coming from the river, and they attributed it to Kaley Jamjam, the lost and drowned cannon calling out to its partner — another iconic cannon of Dhaka named Bibi Mariam, which is still survives; now located near Dhaka Gate that you can visit and see today!

Source: Glimpses of Old Dhaka by Syed Muhammed Taifoor​

 

[Bilal9]

OWN A PIECE OF HISTORY​

by Shababa Iqbal

The story behind Bangladeshi Watch Maker’s launch

Bangladeshi Watch Maker (BWM) was born out of a desire to challenge the status quo in the world of wristwatches. Founded in 2021 as Bangladesh’s first-ever watch company, it sought to create timepieces that broke away from tired, conventional designs and forged a new path in the industry. Guided by a passion for originality and a commitment to quality, the brand embarked on a journey to produce innovative and meaningful watches that pay homage to Bangladesh’s cultural heritage.

Despite the common perception that Bangladeshi products may not meet international standards, Rafi Islam, Founder of BWM, refused to let such concerns hinder his dreams and embarked on a journey to challenge norms.

Growing up in New York City with a deep pride in his motherland’s history and heritage, Rafi was determined to make a positive impact in the world of wristwatches. Together with his brother, Saiful Islam, Co-founder of BWM, he sought to celebrate their cultural identity while creating unique, stylish pieces that would resonate with customers worldwide.

Their first release, the Nazrul watch, was a testament to the fusion of tradition and innovation. Named after National Poet Kazi Nazrul Islam, the watch featured lines from his book Bhangar Gaan on the dial, symbolizing the brand’s commitment to honoring its roots. The limited-edition release of only 100 watches celebrated the 100th anniversary of the publication of Karar Oi Louho Kopat, further solidifying the brand’s dedication to its cultural inspiration.

Its Freedom watch series epitomises this vision. With a bold clasp bearing the Three-Naught-Three rifle insignia – a prominent symbol of Bangladesh’s struggle for independence – the watches capture the spirit of resilience and determination. The intricate dial design draws inspiration from the lanyard of the Bir Shrestha medal, while a sleek GMT watch with a black face dial and bezel serves as a poignant reminder of the lasting impact of war.

BWM has dedicated itself to meticulous research, design, and production processes. The brand’s unwavering commitment to excellence is evident in every detail, from the use of premium sapphire crystals to the enhancement of renowned Japanese movements with superior rubies and rotors. BWM’s ultimate goal is to create timepieces that will not only endure but also become cherished symbols of national pride and identity.

BWM chose a symbolic date for its launch: December 14, Martyred Intellectuals Day. This date holds great significance in Bangladesh’s history, not only as a day of remembrance but also as the anniversary of the passing of Birshreshtha Mohiuddin Jahangir, a hero of the Liberation War. Together with Nazrul and Mohiuddin Jahangir, BWM also honours the memory of Bir Shrestha Ruhul Amin with another watch line. He lost his life on December 10, 1971; only four days before Mohiuddin Jahangir.

By launching BWM and releasing the Freedom watch series during the second week of December, the founders aimed to celebrate the lives and sacrifices of these remarkable individuals while paying tribute to the rich cultural heritage of Bangladesh.

The response to BWM’s unique timepieces has been overwhelming, with watch enthusiasts from all walks of life embracing the brand’s commitment to quality and innovation. History enthusiasts, descendants of freedom fighters, poetry aficionados, and countless others have contributed to making the brand’s launch a resounding success.

Inspired by this outpouring of support, BWM is determined to continue blazing new trails in the world of horology. The brand’s ultimate goal is to elevate Bangladesh’s reputation in the world of fine products where the wearer of these timepieces will be proud of their country’s products as they already are of their history and heritage.

 

[Saif]

Mia Bari Mosque: A forgotten legacy of Mughal architecture

Despite its rich history and intricate craftsmanship, this architectural gem remains relatively unknown, its legacy overshadowed by poor accessibility and a lack of publicity

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Mia Bari Mosque: A forgotten legacy of Mughal architecture

Photo: Titu Das/Star

Nestled in the quiet village of Uttar Karapur in Barishal Sadar upazila, the historic Mia Bari Mosque reflects the lasting influence of Mughal architecture in Bangladesh.

Despite its rich history and intricate craftsmanship, this architectural gem remains relatively unknown, its legacy overshadowed by poor accessibility and a lack of publicity.

Believed to have been built in the late 18th century, the mosque is attributed to Hayat Mahmud, a notable figure who rebelled against British rule.

According to records from the Department of Archaeology, Mahmud was exiled to Prince of Wales Island for 16 years before returning to build this magnificent structure.

The two-story mosque features six entrances on the ground floor and three on the upper level. Its three domes and eight towering minarets are classic representations of Mughal design, adorned with intricate carvings and elaborate ornamentation.

Mia Bari Mosque is a unique religious monument in Bangladesh, offering a rare two-tiered architectural layout.

Photo: Titu Das/Star

Arif Ahmed, custodian of the Barishal Divisional Museum, emphasises its unique architectural significance. The main prayer hall spans 44.3 feet by 13.4 feet, with walls 3.4 feet thick, built using traditional terracotta bricks.

The mosque's facade features a mix of Mughal and local artistic styles. Its mihrab and arches are decorated with geometric patterns, floral designs, and terracotta details, highlighting the craftsmanship of that time.

Recognising its historical importance, the Department of Archaeology listed the mosque in its official gazette in 1990.

According to locals and descendants of the Mia Bari family, the mosque was originally built on 20 decimals of land and has undergone at least seven major renovations, the first during the tenure of Mahmud Zahid.

Today, the mosque remains an active place of worship, accommodating up to 150 worshipers.

Mizanur Rahman Babul, a prominent member of the Mia family and president of the mosque committee, suggests that the empty chambers on the lower floor may have once served as a travellers' inn or a temporary residence for religious preachers. A madrasa now operates within the mosque premises.

Over the years, Mia Bari Mosque has drawn visits from foreign diplomats, including the US ambassador and the Indian high commissioner.

Yet, despite its historical and architectural significance, the mosque remains largely overlooked due to its poor accessibility.

Expressing frustration, Historian Saiful Ahsan Bulbul said the lack of a paved road makes reaching the mosque difficult, limiting the influx of visitors, even though it stands close to Barishal city.

He said the only way to the historical mosque is muddy, making it inaccessible through cars.

He also said due to little to no promotion, very few actually know about this historical mosque.​

 

[Saif]

Mirzapur Shahi Mosque: A testament to Mughal architecture

Local folklore suggests that a person named Sheikh Malek Uddin Akheruzzaman constructed the mosque

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Mirzapur Shahi Mosque: A testament to Mughal architecture

Photo: Quamrul Islam Rubaiyat/STAR

About 17 kilometres southwest from the town of Panchagarh, in a village called Mirzapur nestled cosily into Atwari upazila, an archaelogical relic from the Mughal era still stands. Some historians believe the Mirzapur Shahi Mosque to be 350 years old, and as a testament to the beauty of Mughal architecture, the historic structure remains a regular tourist attraction, drawing in visitors daily.

Built using lime and brick dust, the mosque features three arched entrances, adorned with intricate terracotta designs of floral and Islamic motifs.

The exact date of its construction and the identity of its architect remain the subject of historical debates.

However, experts unanimously agree that this mosque belongs to the Mughal era, as it bears distinct features of Mughal architecture.

Some archaeologists suggest that it was built during the reign of the Mughal ruler Shah Shuja.

A Persian inscription above the central doorway of the mosque provides further insight into its construction.

The inscription mentions two names – Rasul Mohammad Badr Sheikh Khan Baba and Sheikh Malek Uddin Akheruzzaman (or Akhtaruzzaman). Additionally, it bears the year 1206 of the solar calendar. When converted to the Hijri calendar and then to the Gregorian one, this corresponds to 1792 AD.

Based on the language and script of the inscription, some researchers assume that the mosque was completed during the rule of Mughal Emperor Shah Alam.

Local folklore, along with the inscription, suggest that a person named Sheikh Malek Uddin Akheruzzaman constructed the mosque, while the mention of the year 1206 indicates a later renovation.

According to the National Information Portal, the mosque's architectural style closely resembles that of the mosque located within the Dhaka High Court premises, which is believed to have been built around 1679. This has led historians to speculate that the Mirzapur Shahi Mosque was constructed around the same period.

The language and script of the inscription further suggest during the reign of Mughal Emperor Shah Alam, a man named Dost Mohammad oversaw the construction of this mosque.

Measuring 40 feet in length and 25 feet in width, the mosque also features three domes aligned in a single row, with a minaret at each of the four corners. The front has three entrances, with two small minarets flanking the main door and the central dome.

The interior walls are adorned with intricate carvings of flowers, vines, and calligraphy, beautifully decorated in various colours.

Built in the Mughal architectural style, the domes are connected at the top by a gradually narrowing belt. Four additional small minarets have been incorporated into the front and western walls.

In front of the mosque's main structure lies a rectangular paved courtyard with an open top. Outside, there is a beautifully designed arched gateway, showcasing remarkable craftsmanship. Additionally, in the mosque's north-eastern corner, there is an ancient well.

The gateway features a recessed arched entrance, fluted pillars on both sides, sloping eaves, and a moderately sized semi-circular dome.

On the south-eastern side of the mosque is the Imam Bara, also known as the Hoseni Dalan. The Imam Bara, made of bricks, has a circular interior with a single room. Several graves are seen adjacent to the mosque and the Imam Bara.

Mirza Nurul Islam Helal, vice-president of the mosque management committee, said although the archaeology department officially oversees the mosque, its operations are managed by a 21-member committee.

The mosque has around 28 bighas of cultivable land including a pond. The income generated from leasing these lands and pond is used to cover various expenses, including renovation and the salaries of the imam and the muezzin.

Mirza Ahmed Sharif, president of the Mirzapur Shahi Mosque Management Committee, said that in the 1990s, Mirza Gholam Hafiz, a former speaker and a native of Mirzapur, took steps to renovate the mosque under government supervision. During this period, the mosque was handed over to the Department of Archaeology.

However, the department has not provided much oversight of the mosque. Currently, it is managed by the local committee.

When three domes and the inner walls of the mosque were damaged in an earthquake in 2011, masons from Naogaon were brought in the following year to repair it, Sharif said.

The renovation and proper supervision of this historic mosque, which stands as a testament to our heritage, must be handled by the Department of Archaeology going forward, Sharif said.​