[🇧🇩] Bangladesh History & Heritage

[Saif]

Source : https://www.thedailystar.net/opinion/editorial/news/protect-historic-sites-preserve-our-past-3640341

Protect historic sites, preserve our past
Mymensingh's Alexandra Castle should be renovated urgently

VISUAL: STAR

Bangladesh has a rich history and culture, but when it comes to preserving our heritage sites, we do a poor job. The Alexandra Castle in Mymensingh city is a glaring example of our apathy towards preservation work. A report in this daily details how this beautiful 145-year-old structure, built mostly with wood and iron, has fallen into ruins as a result.

Built as a guest house in 1879, the two-storey, tin-shade building once lodged dignitaries including Rabindranath Tagore and Mahatma Gandhi. Since the Partition, it has been used by Teachers' Training College for various purposes. The first floor was used as a teachers' dormitory, which had to be moved later because of the floor's precarious condition. The ground floor has a library, but it is seldom used. That this beautiful architecture, popularly known as "Lohar Kuthi," has been in dire need of renovation for years is evident everywhere, from the plinth on which the building stands to the iron balusters, the louvered shutters on the balcony, the decorative balusters on the roof, and even the two partially broken Greek sculptures on the building premises.

According to the Department of Archaeology (DoA), the kuthi was enlisted as an archaeological site in 2018. It is obvious that the department did not carry out any renovation on the building in the last six years. A top official told our district correspondent that necessary funds for renovation and restoration of all archaeological sites in Dhaka and Mymensingh divisions have been approved, and that the work will start in the next fiscal year, meaning sometime between July 2024 and June 2025.

Such a statement should make us hopeful, but it is difficult to take DoA at its word. The department's past performance in terms of protecting, preserving and restoring heritage sites has been quite disappointing. It has 113 archaeological sites under its protection, but the conditions of many of those remain far from protected, with many facing threats of ruin and illegal occupation. We urge the DoA to push aside its lacklustre attitude and realise its mandate to restore and preserve these historical landmarks, keeping their architectural integrity intact.​

 

[Saif]

Three decades of ineptitude cannot be excused

DoA must preserve 200-year-old twin temples in Mymensingh

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Three decades of ineptitude cannot be excused
DoA must preserve 200-year-old twin temples in Mymensingh

VISUAL: STAR

If the present is hostage to the inefficiencies of our policymakers and bureaucrats, one can easily guess how safe the past – or all that is left of it – must be in their hands. Take, for example, the woeful state of the Shree Anandamoyee Shiva and Kali Mata Mandir – also known as "Dhaksinashar Mandir," or "twin temples" – in Mymensingh's Muktagacha upazila, which are on the verge of collapse due to decades of neglect by the Department of Archaeology (DoA). According to a report by this daily, weeds and bushes have overtaken the once magnificent premises built in the 1820s, while cracks have developed on the structure's roof and walls, making it unsafe for the devotees to perform their rituals inside the temples.

It is inconceivable that a cherished heritage site and a marker of the local community's religious and cultural legacy have been left to rot by the authorities, with the temple's management committee at a loss as to how to address its deteriorating condition since it is now under the jurisdiction of the DoA.

The DoA authorities took over the temple in 1993, citing it as an archaeological site, with the intention of preserving and renovating it. However, three decades later, the authorities apparently are yet to even approve the project for renovation. What can explain such apathy of the DoA, whose primary responsibility it is to ensure the preservation of our dwindling archaeological and heritage sites? If three decades of neglect are any indication, it is that we, as a nation, have failed miserably at recognising the value of our own culture, traditions, and history, as well as at preserving them for posterity's sake. We have given the crucial task of their preservation to an institution whose very foundation, at this point, seems weaker than that of centuries-old monuments.

Whether it's the 300-year-old temples in Jasore, or a 600-year-old shrine in Dinajpur, or the Mughal architecture of Old Dhaka, heritage sites across the country are in ruins or under occupation of influentials, despite the grandiloquent rhetoric from the government about preserving the past. Whatever little we still have left of our past must not be allowed to be ruined permanently. We urge the government, and the DoA high-ups in particular, to fulfil their promises and mandates, and take urgent steps to preserve the twin temples in Mymensingh.​

 

[Saif]

Preserve historic Dinajpur shrine properly

600-year-old structure in Dinajpur yet to be recognised as a heritage site

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Preserve historic Dinajpur shrine properly
600-year-old structure yet to be recognised as a heritage site

VISUAL: STAR

Another day, another painful reminder of the poor state of historic sites in Bangladesh – this time, it is a shrine dating back nearly six centuries. The site, locally known as the Chehel Gazi Pirer Mazar, is located in Dinajpur, about three kilometres off the district city. According to a report by Prothom Alo, it is at the risk of being destroyed and thus forever lost to history because of the lack of renovation efforts. What's worse, it is not even recognised as a heritage site by the Department of Archaeology.

The shrine is believed to contain the remains of 40 Islamic preachers – hence Chehel, which is Persian for forty – who once came to this land. The construction of the surrounding mosque was traced to December 1, 1460, based on a reading of one of the three inscriptions recovered from the mosque in 1847 by the then deputy commissioner of Dinajpur. One of those inscriptions is now at the district museum. Today, the site, decayed through the years and lack of care, remains in a precarious state, with about 80 percent of it estimated to have been damaged.

It's shocking to think that a site of such historical and religious importance would be left to the elements. According to law, any ancient monument or place of historical, ethnological, anthropological, military or scientific value that dates back at least a hundred years should be considered within the ambit of antiquities. But those at the Department of Archaeology are yet to recognise the shrine, let alone extend institutional protection to it, nor do they have, strange as it may seem, any information about it.

What could be the reason for such inaction and negligence? We know the answer. We have seen this happen too many times to discount the latest incident as an isolated one. We have seen how even heritage sites that are officially recognised have been falling into ruins or getting occupied/damaged because of neglect by the state. Only last week, we commented on the recovery of Brajo Niketan, a palatial residence of a British-era zamindar, from the clutches of local influentials in Nawabganj, Dhaka. The week before, we had a report about some 300-year-old temples on the bank of the Bhairab River in Jashore that are at the risk of being ruined because of lack of initiatives by the government. Despite having laws, court directives and separate state bodies in charge of such sites, lack of accountability and mismanagement have frequently come in the way of the all-too-important task of preserving history for posterity.

This is really disturbing. We urge the government to take steps to properly protect and preserve all historic sites in the country, including the 600-year-old shrine in Dinajpur. We need these sites to keep reminding us of our roots. A nation without a consciousness of its past cannot fare well in the future.​

 

[Saif]

We must preserve Old Dhaka’s heritage sites

Indifference of the relevant authorities is unacceptable

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We must preserve Old Dhaka's heritage sites
Indifference of the relevant authorities is unacceptable

VISUAL: STAR

It seems as though we are on a mission to remove all traces of our history in Dhaka as elsewhere in the country. Otherwise, how can we endanger or be so indifferent to the plight of hundreds of heritage sites in Old Dhaka? As per a report by Prothom Alo, parts of the century-old Sankhanidhi House in Wari have been demolished by illegal grabbers despite it being listed as a heritage site by the Department of Archaeology. Similar is the situation of the centuries-old Ruplal House in Farashganj, where 30 families currently live, with a part of it turned into a warehouse for spices. Visiting at least 25 such structures aged over a century, the newspaper found that the designs of most have been changed.

The fact that their status as listed heritage sites made no difference to their plight beggars belief. Also, why is the High Court directive to preserve them being violated so blatantly? Reportedly, in 2009, Rajuk published a gazette declaring four areas including Shakhari Bazar and a total of 93 structures of Old Dhaka as heritage sites/buildings. Any kind of alteration, extension, renovation, removal or destruction of such structures or open spaces, roads or alleys situated in those areas are prohibited. But still, the buildings are being renovated and/or their designs are being changed randomly, which also pose a threat to their inhabitants.

True, there have been some citizen-led initiatives to preserve them, but it could hardly make up for the indifference or inaction of the relevant authorities including the Department of Archaeology, Rajuk, law enforcement agencies, etc. In many cases, we have seen how government institutions themselves have opted to demolish heritage buildings, terming them as risky, rather than conserving them. Neelam Ghar, Jahaj Bari, Boro Katra, or Chhoto Katra are some of the sites that were partly or fully demolished in the recent past.

This is totally unacceptable. If the authorities do not take proper measures to preserve them now, one by one, most of our archaeological sites will be gone. We must not let that happen.​

 

[Saif]

Preserve our heritage sites for posterity

300-year-old temples in Bangladesh at risk of being lost to history

www.thedailystar.net

Preserve our heritage sites for posterity
300-year-old temples in Bangladesh at risk of being lost to history

VISUAL: STAR

It's painful to see one historic site after another falling into ruins or getting destroyed thanks to the apathy of the authorities. The latest victims of this mindless trend are some 300-year-old temples located on the bank of the Bhairab River, about eight kilometres away from Jashore's Abhaynagar upazila headquarters. The place "bears the sign of a marvellous ancient architectural design" featuring 11 Shiva temples surrounding a large, square-shaped courtyard. Their spectacular designs remind one of the rich art and cultural heritage from a bygone era.

In 2001, the government recognised the place as an archaeological site. Yet, the temples are now on the verge of ruin due to a lack of maintenance and renovation by the authorities concerned. Sadly, as per a report by this newspaper, some major parts of the structure have already been damaged. Local historical documents trace the construction of these temples to around 300 years ago when a landlord, Nilakantha Roy, built them on around 60 acres of land. Only three acres of the property presently remain, while the rest have been illegally occupied in the absence of any form of supervision.

Some local worshippers and their families are the only ones to look after these temples now. Every Monday, around 150-200 of them gather there for worshipping. Had the government taken proper initiatives to maintain the site, it could have been turned into an attractive tourist spot, local historians say. This is something that we have witnessed happening time and again: far from preserving our heritage sites for tourists and future generations, these are being forced to fall into decay, or outright demolished by local influentials or the authorities themselves.

We fail to understand this negligence and disinterest about the history of this land. Despite all the rhetoric we hear from the authorities glorifying our past, very little of that is ever turned into action, which is really a travesty. A nation that is unaware or unmindful of its past is deprived of a vital source of learning, and stands little chance of forging a future that it can be proud of. That is why it is so crucial to stop the destruction and decay of our heritage sites, so that our future generations can look upon them and learn from the history they represent.

According to the director of the Department of Archaeology, the organisation currently does not have enough funding to start renovating the site. We fail to understand why that is the case. When so much of taxpayers' money is being wasted left, right and centre, it is unacceptable that the government cannot afford to allocate enough money for the preservation of these heritage sites. Therefore, we call on the government to allocate the necessary funding and manpower to immediately ensure that such historic sites are not lost to history.​

 

[Saif]

The Greeks of Dhaka

A small but graceful-looking memorial that stands at a corner of the TSC field in Dhaka University is a reminder of that Greek presence.

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The Greeks of Dhaka

Illustration: Ashif Ahmed Rudro; Photo: Shadab Shahrokh Hai

Dhaka once boasted several foreign communities. We commonly hear of the Armenians, but did you know that there was once a Greek community as well? A small but graceful-looking memorial that stands at a corner of the TSC field in Dhaka University is a reminder of that Greek presence.

Perween Hasan, in her piece "Old Churches and Cemeteries of Dhaka", published in the book "Dhaka: Past, Present, Future" mentioned that there used to be a Greek cemetery in our city and that the present mausoleum was built in 1915.

The memorial houses several old gravestones. Hasan added that the oldest stone is of Sultana Alexander, who passed away in 1800.

As for the community itself, James Taylor wrote in A Sketch of the Topography & Statistics of Dacca (1840), "Like the Armenians, the Greeks were chiefly engaged in inland trade, and there are a few who still deal extensively in salt at Narayanganj."​

 

[Saif]

A day through the artistic heart of Kushtia

Known as the capital of literature and culture, the Kushtia district is situated northwest and north of the Padma River. The writer, being of Kushtia origin, can confirm that the district is a heaven for everything it offers. A day tour in Kushtia can be an eye-opener about the area's rich cultural

thefinancialexpress.com.bd

A day through the artistic heart of Kushtia
AFRA NAWMI
Published :
Jul 03, 2024 10:05
Updated :
Jul 03, 2024 10:05

Known as the capital of literature and culture, the Kushtia district is situated northwest and north of the Padma River. The writer, being of Kushtia origin, can confirm that the district is a heaven for everything it offers. A day tour in Kushtia can be an eye-opener about the area's rich cultural heritage.

Kushtia's artistic history, intertwined with the legacy of Biswakabi Rabindranath Tagore, has enriched Bangladesh's literature and culture. Kushtia is the birthplace of Bishad Sindhu composers Mir Musharraf Hossain and Baul Samrat Lalan. In the village of Hatash Haripur, lyricist, composer, and poet Azizur Rahman lived and is buried. Prominent poet Dad Ali, writer Mahmuda Khatun Siddika, and the author of the song 'Ei Padma Ei Meghna,' Abu Zafar, were all born in this town. Former Prime Minister Shah Azizur Rahman also hails from Kushtia. The region's literary and cultural heritage has been further enriched by figures such as Kangal Harinath, leader of the Blue Rebellion Pari Sundari, Swadeshi movement leader Bagha Jatin, engineer Kamrul Islam Siddiqui, and music artist Md. Abdul Jabbar and Farida Parveen.

Ismat Jahan Shama, a college professor in Dhaka and a native of Kushtia Sadar, speaks fondly of Kushtia. She says, "Kushtia is my birthplace, and I have explored every corner of it. I even had the privilege of attending the wedding of the renowned folk singer Fareeda Parvin. Kushtia is blessed with abundant natural beauty and has been a hub for business since the Mughal era. Walking down the streets, you will encounter historic British buildings, numerous coconut trees and the simple lifestyle of Kushtia's residents, all of which will captivate visitors."

This is a tiny city with a 1608.80 sq km area, and you can explore the historical sites in one day or two.

Anybody who is a fan of Kabiguru Rabindranath Tagore knows how much Kushtia is associated with his name. There are three famous abodes of Bishwakabi here: Shiladaha Rabindra Kuthibari, Tagore Lodge and Kaccharibari, where each brick holds Rabindranath's presence. Rabindranath's grandfather, Prince Dwarkanath Tagore, got this zamindari in Shilaidah village of Kumarkhali upazila of Kushtia district in 1807. Later, Rabindranath Tagore came here as a zamindar and managed the zamindari for around 12 years.

The beauty of Kushtia, Padma, and Gorai rivers inspired the Nobel laureate to write Sonar Tari, Chitra, Chaitali, and the English translation of Gitanjali. Jagadish Chandra Bose, Dwijendralal Roy, Pramath Chowdhury, and many others came to meet Rabindranath here. This place is enchanting and will take you back to Rabindranath's era. Situated nearer the Kuthibari Kaccharibari was the country house of Tagore, from where he managed his zamindari.

In 1895, Rabindranath Tagore involved himself in a business. He and his two nephews, Surendranath and Balendranath, set up Tagore & Company, a joint venture business in Shilaidaha. Tagore & Company shifted from Shilaidah to Kushtia for business convenience in the same year. The poet constructed a two-story building named Tagore Lodge in Milpara to look after the company. Sitting here, the poet wrote numerous poems, which were subsequently published in compilations named 'Khanika' and 'Katha O Kahini.' At present, this building is open to tourists.

The famous Bishad Shindhu author Mir Musharraf Hossain also resided here in Lahinipara of Kumarkhali Upazila, Kushtia. His residence is known as the Bastuvita of Mir Musharraf Hossain. Today, in the Bastuvita, there is a primary school, a secondary school, a small library, and a museum with the novelist's collection.

Kushtia had close connections with Kolkata even though it was under the Nodia district till the India-Pakistan partition. So, there is a significant Hindu population in this area. There is a renowned temple named Gopinath Jio Temple, built in the early 1900s, which now attracts tourists. The land was donated by Maharaja Pramath Bhushan Devarai of Naldanga of Jessore district with the contribution of local businessmen. In 1905, Maharaja Pramath Bhushan Dev initiated the current Rathkhola Gopinath Jio Temple and Rath Fair in memory of his wife. In 1913, the rich businessman Makhan Roy built a brass chariot of great shape with exquisite craftsmanship, which was the only chariot in the then-whole Indian subcontinent.

Kushtia is, perhaps, best known for Lalon Shah. The spiritual baul saint visited the Cheuriya in Kumarkhali, and later, after his death, a meeting ground and a shrine (Akhra) were built at his burial place as the Mausoleum of Lalon Shah. Fakir Lalon Shah's disciples and countless bauls from home and abroad gather here. A Lalon fair is held twice every year on the occasion of Dol Purnima and Tirodhan Dibosh (death anniversary) of Lalon. Baul philosophy has aroused the curiosity of thinkers not only in the country but also abroad, mainly due to Lalon Sha's poetic contributions.

One should stop by the memorial museum of Kangal Harinath Museum in Kumarkhali Upazila of Kushtia. Kangal Harinath Majumdar was a rebel, poet and editor of Gram Barta Prokashika. The museum's collection contains his manuscripts, poems, writing drafts, newspaper covers, various printing tools, several wooden blocks, and, recently, his printing press. The MN Press (named after Mathuranath) was made in 1867 in London. Mir Musharraf Hussain's Bishad Sindhu was printed from this press. Grambarta newspaper was also published from here.

Most of Kushtia's historical places are in the Kumarkhali Upazila, which is often called the 'cultural township' of Bangladesh. Nahid Shuvo, a native of Mirpur Upazila of Kushtia, shares, "In our school picnics, we visited either the Mausoleum of Lalon Shah or Shilaidaha Rabindra Kuthibari every year but never felt bored. We even took our relatives there when they visited Kushtia."

Visit the Jhowdia Shahi Mosque in Jhowdia village under the Kushtia Sadar police station, which has been preserved by the Department of Archeology since 1980. Shah Sufi Ahmad Ali alias Adari Mia, the zamindar of Jhowdia during the reign of Mughal Emperor Shah Jahan, built it. The place is unknown to many but a wonderful example of Mughal art. The mosque has three domes and four big minarets at its four corners.

As mentioned earlier, Kushtia was famous for business purposes during British rule; Mohini Mills of Kushtia became one of the largest textile mills in Asia. Mohini Mohan Chakraborty, a famous personality of then Kushtia, founded this cloth mill in 1908 as Kushtia Mohini Mills and Company Limited. As the production of this mill was much higher than other contemporary textile mills, it eventually became one of the best textile mills in the country. Mohini mill was recognized as the largest textile mill in Asia when it was operational. Mohini mill sarees and dhoti gained huge popularity in Bengal.

At the beginning of the nineteenth century, theatre and stage dramas gained momentum in the Kushtia region. A permanent theatre, Parimal Theatre, was built. Famous Kolkata actors Pramtesh Barua, Durga Das, Shishir Bhaduri, Angurbala, Indubala, and many others have come here many times. It was here in 1912 that the crowd welcomed the rebel poet Kazi Nazrul Islam.

Kushtia's Jagati Railway Station has been a witness to the history of the railways in Bangladesh. This is the country's first railway station, which was established by the British in 1862 to travel from Shilaidaha to Kushtia. The British considered this area important for trade and commerce at that time. Besides, as Kushtia is quite close to the Calcutta-Ranaghat railway line, it was decided to establish the first rail link in that direction. After the establishment of the Jagati railway station, the area flourished in trade and commerce. The 162-year-old Jagati is a red brick two-story building that is attractive to tourists.

Besides, Alauddin Park, GK colony, Reinweek Badh, and the Islamic University of Kushtia, alongside Gorai Nodi, the houses of Parree Shundori, Bagha Jatin, and Fareeda Parvin are must-see places when visiting Kushtia.

When returning home, you can either take the railway bridge or road transport from Kushtia; both are equally enjoyable. Kushtia has the second largest railway bridge in the country, the famous and historic Hardinge Bridge. It was an architectural wonder built over the Padma River in 1912. Parallel to Hardinge Bridge and situated downstream is the Lalon Shah Bridge, which opened in 2004 and facilitates better connectivity for the northwestern districts. Passing the bridge, you can enjoy the sun setting behind the river, creating a perfect moment to reflect on the journey and the memories created by observing a number of historical monuments of Kushtia.

When visiting Kushtia, you must not forget to have 'Kulfi malai', a special sweet delicacy found best here, and 'Tiler khaja'. These two sweet dishes rule the district and are the reasons why the people of Kushtia are so sweet, say the locals.

Kushtia is a top destination for the art enthusiasts. With a good plan to cover the city, a tour to Kushtia can feel like an artistic and philosophical journey. It's a matter of a day or two only, so what's stopping you?​

 

[Saif]

Musa Khan's grave: A heritage of the Baro Bhuiyan

Musa Khan died of a long illness in April 1623, just around a decade after Dhaka became a Mughal capital.

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Musa Khan's grave: A heritage of the Baro Bhuiyan

Illustration: Ashif Ahmed Rudro; Photo: Shadab Shahrokh Hai

Even if you do not know of the son, you have surely heard of his father, Isa Khan, the heroic zamindar and invincible chieftain in Bengal. He was the leader among the band of rulers who were in rebellion against the Mughal forces that sought to conquer the region.

Indeed, Emperor Akbar could never establish his full authority here during the lifetime of Isa Khan, the head of the rulers collectively known as "Baro Bhuiyan" (meaning 12 zamindars/landholders/local chiefs, although historians believe that the number was probably more than 12).

His successor Musa Khan inherited vast areas of Bengal, as well as the responsibility of carrying forward the rebellion against the Mughals. But as history tells us, Musa Khan and the Baro Bhuiyan clan were eventually defeated, making way for the "new" Mughal era.

Musa Khan died of a long illness in April 1623, just around a decade after Dhaka became a Mughal capital.

His grave is in Dhaka. Tucked away from the public eye, the tomb receives little attention. It is situated on the campus of Dhaka University, beside Musa Khan Mosque -- a three-domed Mughal-era mosque which is also worth visiting, although it was most likely not built by Musa Khan himself.​

 

[Saif]

150-year-old British ship found in Karnaphuli riverbed

A century-old British merchant ship has been discovered at the bottom of the Karnaphuli River during dredging operations for the Chattogram Port Channel. .The 350-foot coal-powered vessel was found on August 15 in the Dangarchar area between Jetty 6 and 7 and has since been salvaged. .

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150-year-old British ship found in Karnaphuli riverbed

Photo: Collected

A century-old British merchant ship has been discovered at the bottom of the Karnaphuli River during dredging operations for the Chattogram Port Channel.

The 350-foot coal-powered vessel was found on August 15 in the Dangarchar area between Jetty 6 and 7 and has since been salvaged.

Artifacts recovered from the ship include silver coins from 1862-82 AD, silver furniture, binoculars, and a substantial stock of coal. The ship is estimated to be around 150 years old.

Officials reported that the vessel was cut into two parts for removal. Initial attempts by two organisations to salvage the ship failed, but Hiramoni Salvage Ltd was later successful.

Capt Faridul Alam, deputy conservator of the Chattogram Port Authority, confirmed the recovery, saying the vessel posed a risk to container ship movement in the Karnaphuli Channel.

Md Abul Kalam, manager of Hiramoni Salvage Ltd, stated, "We salvaged and removed the ship as per our agreement with the port. There are also two more sunken ships in the riverbed that will be removed to enhance the safety and efficiency of the port."

Artifacts recovered from the ship also include furniture, plates, bowls, water pots, spoons, candle holders, flower vases, and various items made from ivory, copper, brass, and silver. The ship is believed to have sunk during the British period while engaged in trade in the Indian subcontinent.

Senior diver Md Zahir explained that the ship was submerged 60 feet deep, leading to significant silt accumulation. Salvage operations involved dredging the silt and using skilled divers to cut the ship into two parts, which were then brought to the riverbank using four salvage barges.

Jihad Hossain, director of Hiramoni Salvage Ltd, said the artifacts recovered have not yet been examined by experts.

Dr Ataur Rahman, deputy director of the Directorate of Archeology and keeper of the Chattogram Ethnological Museum, confirmed the historical significance of the recovered coins.

He pointed out that the coins, predating Queen Victoria's direct rule over India, are of considerable archaeological value.

Dr Rahman added, "According to regulations, archaeological artifacts should be handed over to the Directorate of Archeology. The authorities involved in the salvage operation should have informed us to ensure the artifacts are preserved and no items are lost."​

 

[Saif]

Mughal heritage Boro Katra attacked again

A portion of Old Dhaka’s iconic Mughal monument Boro Katra has recently been demolished. In response, Urban Study Group, an organisation that campaigns for the protection of the architectural heritage of Dhaka, hosted a press conference last Wednesday, where its CEO, Taimur Islam, elaborated on...

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Mughal heritage Boro Katra attacked again

Photo: Prabir Das

A portion of Old Dhaka's iconic Mughal monument Boro Katra has recently been demolished. In response, Urban Study Group, an organisation that campaigns for the protection of the architectural heritage of Dhaka, hosted a press conference last Wednesday, where its CEO, Taimur Islam, elaborated on the damages done and called for the protection of this age-old site.

The demolishment activity took place during -- and arguably by taking advantage of -- the chaotic aftermath of the fall of the Hasina-led government, Taimur claimed.

Boro Katra was built in the 1640s -- a relatively early Mughal structure of our city that is older than Lalbagh Fort! Tradition says that was originally intended to be the palace of subahdar Shah Shuja, son of Emperor Shah Jahan, when the prince was the Mughal ruler of Bengal. But he probably never lived in the edifice; it was used as a caravanserai and many rooms were converted into shops, incomes of which were utilised to maintain the building and help the poor.

"People in Dhaka always seem to take pride in the city's Mughal past, but when it comes to the protection of its heritage, we often see neglect and disregard," Taimur opined, but he also added that certain sectors of society, such as the judiciary, have been supportive in stopping unscrupulous activities in the capital's heritage buildings.

This is not the first time that Boro Katra came under attack. To illustrate, Taimur exemplified that in 2022, an attempt was made to tear down the section which has now been demolished. That attempt was partially successful at that time, but it was halted by creating pressure on the authorities. In fact, there have been multiple endeavours to destroy Boro Katra.

Taimur said if Boro Katra can be preserved, or even better, if it can be returned to its former glory, there is an immense potential for tourism and local commerce.

In a rendered image shown during the press conference, Taimur put forward the beauty of the site and the various shops which could be accommodated there. But if you visit the area now, you may have to stretch your imagination to understand the true value or to gather a proper appreciation. This is because of all the settlements, encroachments, and ownership claims that are prevalent there.

Taimur urged the authorities to put a plan in place, on how to relocate these institutions or establishments on the Boro Katra premises.

"Protecting heritage buildings is an interdisciplinary affair that requires tackling legal issues, understanding conservation technicalities, and appreciating culture and tradition," said the Urban Study Group chief. "We would like to see a clear plan in this regard."

Boro Katra's case is not unique in our city: there are many buildings of heritage value which have been partially destroyed, fully demolished, defaced, or taken over by encroachments over the years.

If the government can step forward to stop further damage on Boro Katra and make it return to its former glory, it will set an example for Puran Dhaka, and the city can relish in this Mughal monument's true splendour, perhaps doing justice to an adulation enshrined in one of its inscriptions:

"What a building! It putteth high Heaven to shame

A copy of Paradise ye might it name."

(History and inscription have been taken from the book "Notes on the Antiquities of Dacca" by Sayid Aulad Hasan)​

 

[Saif]

A Buriganga painting from 1861

One such painting was created in the year 1861, by Frederick William Alexander de Fabeck, a doctor who served as an assistant surgeon in Bengal during the British colonial era. Today (15 September) is his birthday!

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A Buriganga painting from 1861

Illustration: Ashif Ahmed Rudro; Painting: Frederick William Alexander de Fabeck/Wikimedia Commons

Oftentimes, a major city or civilisation is accompanied by a river. For Dhaka, it is the Buriganga. No matter how polluted or dirty, it is hard to imagine our city and its history without it. In the olden times, a few painters picked up the brush to capture it in the canvas.

One such painting was created in the year 1861, by Frederick William Alexander de Fabeck, a doctor who served as an assistant surgeon in Bengal during the British colonial era. Today (15 September) is his birthday!

Fabeck is now long gone, but his creation is in the collections of the Victoria and Albert Museum in the UK. The watercolour looks splendid! It also feels nostalgic, perhaps because of the all-too-familiar boats plying about in the river and the domed buildings (quite possibly mosques) in the background.

There are a number of other artworks on Dhaka by the same artist and doctor. We will feature them in the future episodes of our "Did You Know" series. So stay tuned!​

 

[Saif]

Steps taken to preserve CJ’s residence as protected heritage site

The government has taken steps to preserve the chief justice’s residence at the city’s Hare Road area as a protected heritage site. Under the initiative of chief justice Syed Refaat Ahmed, the Department of Archaeology has began the process to declare the 'Residence of the Honorable Chief...

en.prothomalo.com

Steps taken to preserve CJ’s residence as protected heritage site
BSS
Published: 10 Oct 2024, 22: 42

Residence of the chief justice of Bangladesh’ at 19 Hare Road in the city BSS

The government has taken steps to preserve the chief justice’s residence at the city’s Hare Road area as a protected heritage site.

Under the initiative of chief justice Syed Refaat Ahmed, the Department of Archaeology has began the process to declare the 'Residence of the Honorable Chief Justice of Bangladesh’ at 19 Hare Road in the city as a restricted heritage site, said a Supreme Court press release today, Thursday.

Following the unexpected damages to the chief justice’s residence on 5 August during the student led uprising, the 25th chief justice of Bangladesh Syed Refaat Ahmed took the initiative to preserve the building permanently as a historically important structure.

The press release said if this eye-catching and important structure is preserved keeping the ownership and rights of use in favor of Bangladesh Supreme Court under the Antiquities Act-1968, it will be considered as a national resource that will make the future generations aware about the rich history of this establishment.

Earlier, the decision of preserving the chief justice’s residence, which was built in 1908, as a protected heritage site site was taken at a meeting between chief justice and the officials of the Department of Archeology on 25 September.​

 

[Saif]

Negligence in conserving heritage sites unacceptable

A PROFIT-SEEKING group of landowners and property developers have demolished buildings of archaeological significance in Old Town of Dhaka in breach of a High Court order.

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Negligence in conserving heritage sites unacceptable
24 October, 2024, 00:00

A PROFIT-SEEKING group of landowners and property developers have demolished buildings of archaeological significance in Old Town of Dhaka in breach of a High Court order. The Urban Study Group, a non-profit organisation campaigning for the conservation of heritage sites, on October 22 expressed concern about the continued demolition of heritage sites protected by the law and specific High Court orders. The most significant heritage structure on Dinanath Sen road erected 1898 in the neo-classical architectural style is now demolished. The demolition has been going on for weeks until the group filed a general diary with the Gandaria police on October 22. But the demolition soon resumed as no authorities concerned took steps to protect the site. In 2022, Bara Katra, another heritage structure built in 1644–1646, was partially dismantled. The remaining structure is also illegally occupied with little care for its preservation. In Dhaka, as Rajdhani Unnayan Kartripakkha says, there are 74 heritage sites, but only a handful of them are protected. Many of the privately owned sites are partially or fully demolished by owners.

The allegations that successive governments have been negligent in protecting cultural heritage are, therefore, not wrong. The Antiquities Act 1968 stipulates the government will recognise century-old buildings, monuments and sites with historic, architectural and cultural significance as heritage sites and will preserve them. Bangladesh, a signatory to the World Heritage Convention 1972, is also obliged to conserve the sites. In addition, there are High Court directives that ask the authorities to update the lists and submit periodic reports to the court. The government, more specifically the archaeology department and Rajdhani Unnayan Kartipakkha, has failed to perform its legally defined responsibilities. Heritage conservation experts blame corruption, lack of expertise, owner’s unwillingness and business interests of politically influential quarters for the failure. Dhaka’s detailed area plan does not allow any construction within 250 metres of protected areas, but in reality, many structures are there. The amendment to the National Building Code that has reduced the buffer zone of heritage sites and relaxed the height limits has created scope for real estate development near heritage sites. The archaeology department or the city development authorities has no comprehensive list of heritage sites.

The preservation of cultural and natural heritage sites is not only foundational in shaping the philosophical vision of a nation, it could also be an economically beneficial way of positively impacting the tourism industry. The archaeology department should, therefore, take early steps to protect the heritage structure on Dinanath Sen Road and other similar sites. The government should introduce the transfer of development rights as recommended by conservation experts so that private owners are adequately compensated to co-operate with the restoration initiatives. The government should also strictly enforce laws and regulations.​

 

[Saif]

From Sultanate to Mughal: The Architectural Legacy of Bengal

The Daily Star (TDS): You have extensively researched the architecture of the Sultanate period. Could you share your thoughts on Bengal’s pre-Sultanate architecture?

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From Sultanate to Mughal: The Architectural Legacy of Bengal

Shait Gambuz Mosque, Bagerhat

The Daily Star (TDS): You have extensively researched the architecture of the Sultanate period. Could you share your thoughts on Bengal's pre-Sultanate architecture?

Perween Hasan (PH): The existing ruins from Paharpur and Mainamati speak of a rich architectural heritage from pre-Sultanate times. These viharas for resident Buddhist monks corresponding to present day student dormitories were built around a central monumental temple. Recent excavations have also uncovered new evidence of smaller temples which served the Hindu, Buddhist and Jain population of the area. The National Museum of Bangladesh in Dhaka has stone sculptures and architectural members of stone and wood that give us an idea of what some of these temples looked like. There are also illustrated Buddhist manuscripts in museums around the world that have depictions of temples in various sites in Bengal. Externally there was little difference to mark the denominations of Hindu/Buddhist/or Jain temples, the icon inside being the identifying factor.

Usually temples comprised of a small square chamber which housed the deity and had a roof that was either tiered, or had one or multiple tall towers, or a combination of both. The sanctuary was not very large because the space was meant to accommodate just the deity and the officiating priest. Sometimes there would be a porch in front from where the devotees followed the rites performed by the priest inside. There were also various folk religions which must have had their own places of worship, but whose architectural forms remain unclear. Extant and excavated temples indicate that the primary building material was brick although the manuscript illustrations as well as the architectural members in the National Museum suggest that wood was also used. Stone columns , lintels, as well as blocks to sculpt icons were obtained from Bihar, as there was no stone available in Bengal. Apart from brick or wooden examples, there must have been others--small, informally built temples made of mud, bamboo and thatch that resembled the residential huts of much of the rural population.

The primary difference between temple and mosque is dictated by its function. Whereas in a temple the central chamber housing the deity is designed to accommodate only the officiating priest, a mosque must accommodate people for the five daily prayers--collective performance of which is not mandatory but preferred. A congregation is mandatory for the Friday afternoon prayer which requires the collective participation of all male Muslims. To accommodate the Friday prayer a larger space is required and that is provided by the Jami mosque.

Although there is evidence of Muslim presence in Bengal before the Turkish conquest of 1204, the earliest architectural record dates back to 1221 to an inscription of a khanqah (hostel for pious mem) in Birbhum district of West Bengal. The earliest extant monument is the Mosque at Tribeni in Hughly, West Bengal, India built in 1298. This is a typical large mosque enclosing a rectangular space with a row of arched niches (mihrabs) in the west which indicate the qibla or direction of Mecca. As historically and strategically this is a very important building its plinth, piers and parts of the external surface are faced with stone.

Most village mosques were single chambers made of mud, bamboo and thatch as in temples, perhaps larger in size, but much like the rural homes of the villagers; the only distinctive feature of the mosque being the projection of the mihrab on the west (qibla) side. Such mosques exist even today, although their numbers are diminishing, as there is a preference to build with more permanent material.

Most of the extant brick mosques built during the Independent Sultanate, early 14th till the middle of the 16th century, were small square structures made of brick commissioned by prominent or wealthy individuals. Among their distinguishing features was a dome, arched entrances in front, and a curved cornice which resembled the curved cornices of the bamboo framed eaves of the rural huts. Arches and domes were largely absent from the architectural vocabulary of Bengal before the Turkish conquest. As traveling was not easy and usually involved the navigation of numerous waterways, small mosques sufficed for people living in small village communities. Extra efforts were made to attend the larger Jami mosques on Fridays and religious festivals. Contemporary temples, of which there are no extant examples here but several in Myanmar, were likely also constructed following the basic residential hut form.

TDS: What is the significance of the arches?

PH: Although the arch form was common, arches built in the keystone and voussoir technique, also known as the 'true' arch was a rare architectural technique in India before the arrival of the Turks. In Bengal, the indigenous construction depended on a trabeate system which used posts and lintels or beams to span openings such as doors and windows in walls. The arcuate method popularized by the Turks is technically more advanced and allows the spanning of larger wall openings as well as the construction of vaults and dome. This new technique may account for the survival of some of the mosques from the Sultanate period, although their vaults and domes were the first to fall.

TDS: You mentioned in your book that the presence of a large number of rivers in Bengal had not been a barrier to communication but rather facilitated connectivity. How did geographical features like heavy rainfall and the distinctive climate impact its architecture?

PH: In this riverine terrain the villages are like small islands, specially during monsoons, and travelling by country boat was the only way to travel long distances. A natural mode of communication was in place, but as a mode of transport it was slow, specially when long distances had to be negotiated. So it was more practical to have small mosques to service small rural communities. Perhaps on Fridays and on religious festivals people would make the extra effort to travel to the nearest Jami mosque.

Central Prayer Hall, Adina Mosque, Pandua, Malda District

The distinct architectural style of Bengal was shaped by its unique geographical features. Clay found most abundantly in the delta was formed and fired to make brick, the primary building material. The curved cornice of Sultanate brick buildings was a distinctive feature that was derived from the curvature of the bamboo frames that roofed the indigenous huts made of more temporal material such as bamboo, thatch and mud. Although many mosques were built, the hot, humid climate largely contributed to their deterioration. The thick brick walls had a veneer of dressed brick with lime mortar, while the inside was filled with brickbat masonry and mud mortar. These could not withstand the heavy rainfall and humidity of the region specially during the monsoon season. In some sites underground salinity has resulted in mossy floors and structural deterioration as can be seen in the Shait Gombuj Mosque in Bagerhat. Human actions also contributed to the ruin. For instance, it is believed that the city of Malda in West Bengal, India built during British rule used bricks from the ruins of Gaur, unearthed through excavations. Thus, the combination of climate, human activity, and construction methods led to the limited number of surviving temples and mosques in Bengal.

As I have elaborated in my book, Sultans and Mosques (paperback edition now available, Bloomsbury, I.B. Tauris, 2024), the domes of mosques and other buildings were low, lacking a drum, and minarets were largely absent. While minarets can be seen in structures like the Shait Gombuj Mosque, they were not as tall as those in Delhi, partly because limited communication meant that the call to prayer (azan) could not be heard over long distances. Minarets also symbolised the presence of Muslims in an area; their scarcity in this region also seems to be influenced by geographical factors. Villages, often accessible only by boat are almost invisible from the rivers due to the dense vegetation that surrounds them and seem isolated from each other specially when there are floods. Constructing tall minarets are unnecessary if they are not visible or if the azan cannot be heard from afar.

TDS: What is the historical significance of the mosques commissioned by the kings in this region, and what materials were typically used in their construction?

PH: Mosques built by kings or high ranking officials are usually larger, better built, and use higher quality or more expensive material. They are usually dated and therefore serve as a primary source of history. Their inscriptions and styles are also keys to the taste of the elite and often a clue to the particular identity that the patron chose to highlight. The Adina Mosque (1375) in Pandua, Malda district of West Bengal, India is a good example to illustrate this point. This mosque was constructed in the capital city by Sultan Sikandar Shah, an early independent sultan after he had twice defeated Sultan Firuz Shah Tughlaq of Delhi in battle. In the mosque inscription, Sikander Shah proudly referred to himself as the greatest ruler among the Arabs and Persians, with no mention of Bengal or India, making it clear that he sought to draw legitimacy from the central Islamic lands.

We know that brick was the traditional building material in Bengal. The massive structures at Paharpur and Mainamati were constructed with brick. As the region lacked natural stone, mosques built entirely of stone are rare. The Adina Mosque is the largest mosque in India and uniquely follows the classical Islamic architectural mosque plan of Western Asia. It is notable for its lavish stone facing. This uniqueness and identification with the well known style of West Asia was deliberate and the logic for choosing this style is borne out by the historical events of that time.

It is important to acknowledge that, in the early years, temple destruction was almost a consequential act following the conquest. As prominent religious symbols of a conquered people temples were the primary targets. This practice was not unique to Muslim rulers; destruction of temples of rival kingdoms and carrying away of images of patron gods as trophies was also know in pre-Muslim times in India. In the Adina Mosque, one notices how the external stone veneer has been sourced from Hindu structures. Similarly, many images of deities can be seen around the plinth of the Tribeni Mosque mentioned earlier.

Construction of mosques, specially a jami mosque was a very significant act for a Muslim king after the conquest of a new region. It symbolized a new presence and an authority which was established by reading the khutba (Friday sermon) in the new ruler's name. In many instances the king also served as the imam or prayer leader. Another significant act of a new ruler was the minting of new coinage bearing the king's name. The khutba also served to announce new laws and regulations, making the mosque a central place for public gatherings. Initial mosques were therefore often built using materials from destroyed temples, which not only provided ready material, but also reinforced the idea of the new building as a symbol of conquest.

A distinct feature of mosques in Bengal is the presence of multiple mihrabs, uncommon in other regions. The mihrab or niche indicating the qibla, is perhaps the only indispensable or key element in a mosque. Interestingly the earliest mosques in Islam from the time of the Prophet Muhammad (PBUH) did not have mihrabs. They were introduced into later mosques to indicate the place where the imam stood to lead the prayers. Even today it is often considered a specially sacred place as devotees place candles and incense inside the niche, although theoretically, in the absence of an icon every place in the mosque is of equal merit. The idea of multiple mihrabs in Bengal often placed opposite entrance doorways may have been a carryover from the structural element of niches in temples, where the sacred idol was placed inside a niche and was always opposite a doorway.

Over time, these foreign rulers recognized the importance of compromise and coexistence with the local population. From the fifteenth century onwards, this shift became evident as many non-Muslims were appointed to high-ranking positions in the royal cabinet. As foreign rulers, the sultans could not rely solely on the military force and officials from their native country as their numbers were limited, so collaboration with the local population became essential. Bengal, being geographically isolated and politically independent, faced repeated invasions from Delhi, and this constant threat significantly influenced the region's architecture and political dynamics.

Maintaining independence was vital for the rulers of Bengal, as was the establishment of a distinct identity. Later Sultans actively patronized the Bangla language, leading to the translation of Sanskrit texts like the Ramayana and Mahabharata, as well as the writing of Mangal-Kavyas, the latter being highly integrative texts. Muslim writers who authored Islamic texts such as Rasul Charita and Nabi Vangsha (stories on the life and lineage of the Prophet) presented their works in ways that were deeply influenced by local culture. They narrated stories of the Arab world, including those of Fatema, Hazrat Ali, and the battles of Prophet Muhammad (PBUH), but told them in a setting that was familiar to Bengal, an environment replete with storms, cyclones, and tigers. For example at Hazrat Ali and Fatema's wedding feast people chew betel leaves as is customary in Bengal, and at the news of her husband's death, Fatema removed the vermilion from her forehead and broke her bracelets, traditional mourning practices in Bengal. Syed Sultan, who knew the original stories well, deliberately adapted them for the local audience. He explained that native Muslims were familiar with the Ramayana and Mahabharata but knew little about their own religious stories. To bridge this gap, he wrote these stories in Bangla, hoping that the Almighty would forgive him for his modifications. This mission became his life's work, with Nabi Vangsha being a very significant text of the punthi genre. We might not have known about these texts had it not been for the meticulous editing of the punthi manuscripts by the late Professor Dr. Ahmad Sharif published by the Bangla Academy, Dhaka.

To be continued.....................​

 

[Saif]

TDS: Islamic civilisation is typically seen as city-centric, yet in Bengal, it has been predominantly rural. How has this been possible?

PH: The census of 1872, the first official one conducted under British rule shockingly disclosed that Muslims were more numerous in Bengal compared to other parts of India and that even within Bengal, its eastern part, the more rural one held the majority of the Muslim population. Richard M. Eaton ties this phenomenon to the predominance of agriculture in the eastern region; this in turn being related to the gradual eastward shift of the Ganges River. The creation of a fertile new delta made it more suitable for agriculture, while the western part where the capitals of Gaur and Pandua were located became relatively less productive agriculturally.

Eaton also attributes the large scale conversion to Islam in the east to the influence of pirs or spiritual leaders, described as "charismatic individuals" rather than strictly religious figures who came and settled among the rural agricultural communities. Many of them also spearheaded agricultural efforts, clearing forests or settling of land. For example, Khan Jahan Ali (d. 1459), the famous saint of Bagerhat is described in his tomb inscription as a military officer who defeated local Hindu kings, cleared the jungle, and constructed mosques. Subsequently he became venerated as a pir, pushing his original military identity as indicated by his inscription title of ulugh, to the background. These leaders inspired the local population to pursue agriculture and facilitated their conversion to Islam. Conversion was easier as the rigid caste system of Brahmanism was less prevalent in this region and there were many who followed cults of local deities. These individuals, already engaged in various agricultural activities, had more fluid religious practices and were more receptive to converting to Islam. Conversion too, was more of a 'cultural adaptation' than a radical change to a different and foreign religious order.

TDS: How did the architectural landscape in Bengal change during the Mughal period compared to the Sultanate period?

PH: While the Sultans were fiercely independent and fought every effort of take-over by the powers that ruled from Delhi, they patronized an architecture with a distinct regional identity. Contrarily, the Mughals, themselves an imperial power ruled the provinces from their north Indian capitals of Delhi, Lahore or Agra. Bengal under the Mughals was just another province or subah of the Mughal empire, albeit one that yielded the highest revenue to the imperial coffer. From an independent sultanate, it was reduced to provincial status. The marked difference in architectural styles between the Sultanate and Mughal eras springs from this change in status. The extant monuments of Dhaka, the Mughal provincial capital clearly bears allegiance to the architectural style of the capitals.

During the Mughal period brick continued to be the predominant construction material. This was in contrast to north India, where the the monuments were in a grand scale and the material, stone, red sandstone and marble. As an imperial power governing all of India from their capitals in the north, the Mughals maintained a consistent architectural style across their empire. So Mughal buildings everywhere even from the exterior are easily identifiable because of their plastered surfaces often broken into rectangular panels, high domes and imposing entrances. The lime plaster used in Bengal used to be polished to a shine to resemble the marble surfaces of imperial prototypes. It is significant that while mosques and other official architecture sponsored by the ruling Muslim elite followed the imperial Mughal style, contemporary temples opted for the Sultanate mode of the preceding period. So that the brick temples of this period stand in sharp contrast to Mughal mosques, palaces, gates and caravansaries. The brick and terracotta temples of Bengal have arched entrances, curved cornices and their exteriors are encrusted with terracotta panels depicting tales of the Ramayana and Mahabharata. Some continue to have the chala ceilings of Sultanate times, now covering the entire building instead of a particular part, while others have spires which usually hide a dome below.

TDS: Beyond royal and religious structures, what was the general housing situation for people in Bengal during the Middle Ages?

PH: Bengal was and still is primarily an agricultural society, with most people living in rural areas. Landownership was limited, and urban centres were few. Majority of the people resided in simple huts, and as noted by Niharranjan Ray in his seminal work Bangalir Itihas: Adiparba. the living conditions for the general population in Bengal remains largely unchanged over time. People lived hand-to-mouth, and their houses of clay were often vulnerable to decay from rain and wind. The architectural structures we have cited were exceptions as they were built with care and commissioned by influential individuals. While royal residences have not survived, historical accounts from foreign travellers describe some Nawabs (provincial rulers) residing in tents and wooden houses, which have not endured. In contrast, mosques and temples, constructed as places of veneration and with meticulous care, have lasted longer.

The interview was taken by Priyam Paul​

 

[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.

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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

www.thedailystar.net

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

www.thedailystar.net

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

www.thedailystar.net

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.​

 

[Bilal9]

 

[Bilal9]

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

www.thedailystar.net

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

View attachment 12712
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​

One day - maybe using Magnetic and satellite imaging, I hope they can locate and lift Kaley jamjam back up and dedicate it to the city it graced....

 

[Bilal9]

Interesting history of Ilyas and Hussein Shah dynasties in Bengal which was the largest and most powerful Sultanat in India back in the day.

 

[Bilal9]

More on the history and actors of the various independent Sultanates in Bangla

 

[Bilal9]

Independent Ilyas Shahi Sultanat of Bengal discussed by two Kolkata intellectuals, turn on English CC please.

 

[Saif]

Lakutia Zamindar House in Barishal being restored to its original form

The Department of Archaeology has begun restoration work to return the historic Lakutia Zamindar House in Barishal to its original form. By preserving this nearly ruined, palace-like structure, a vital chapter of history, heritage, and architectural style is being brought back to life.

en.prothomalo.com

Lakutia Zamindar House in Barishal being restored to its original form

M Jashim Uddin Barishal
Updated: 08 Jun 2025, 18: 51

Restoration work has begun to return the historic Lakutia Zamindar House in Babuganj upazila of Barishal to its former glory. Prothom Alo

The Department of Archaeology has begun work to restore the historic Lakutia Zamindar House in Barishal to its original form. By preserving this near ruined, palace-like structure, a vital chapter of history, heritage, and architectural style is being brought back to life.

Officials from the Barishal Divisional Museum said that the restoration work on the zamindar estate, located in Lakutia of Babuganj upazila, began on 4 May. On-site observations revealed that circular brick pillars are being constructed around the two-story building. The old roof has been demolished and will be replaced with a new one using tiles brought from Satkhira.

Arifur Rahman, assistant custodian of the Barishal Divisional Museum, said that in the first phase, work is focused on the foundation, brick masonry, and roof construction, with a budget of Tk 6 million. However, the antique doors, windows, flooring, and ventilation structures are not included in this phase of the project and may be added in later stages.

Lovely Yasmin, regional director of the Department of Archaeology for the Khulna and Barishal regions, said, “We are trying to restore the building to its original form based on old photographs and historical descriptions.”

According to museum authorities, the Lakutia Zamindar House stands 8.20 meters tall, 25.40 meters long, and 9.20 meters wide. The two-story building contains a total of nine rooms. However, environmentalists believe that the aesthetic appeal of the structure is being compromised by the presence of a warehouse and tractor garage belonging to the Bangladesh Agricultural Development Corporation (BADC) on one side of the property. Seeds are also dried in the paved courtyard behind the building, which they say clashes with the historical ambiance of the archaeological site.

Lincoln Bayen, Barishal divisional coordinator of the Bangladesh Environmental Lawyers Association (BELA), said, “The initiative to preserve this house is highly commendable. But the presence of BADC’s warehouse and structures right next to the zamindar house is seriously undermining its beauty and archaeological significance. These should be relocated elsewhere; otherwise, the site's historical value may be diminished.”
Subhash Chandra Das, legal officer for vested properties at the district administration, said the government has already acquired ownership of nearly eight acres of land surrounding the estate, along with a large pond. If properly preserved by the Department of Archaeology, the site could become a major tourist attraction.

Historical background
Historical records indicate that Zamindar Rupchandra Roy was the founder of the Lakutia Zamindar family. During the time of his grandson, Rajchandra Roy, the estate expanded in both influence and territory. He built the main zamindar house on approximately 49.50 acres of land. It was under Rupchandra Roy—known for his benevolence toward tenants—that a road was constructed from Lakutia to Barishal.

Rupchandra's two sons, Rakhalchandra Roy and Parylal Roy, were followers of the Brahmo religion. Parylal Roy was a prominent barrister and social reformer. His two sons—Indralal Roy, a famous aviator, and Pareshlal Roy, a renowned boxer—are remembered in history for their notable achievements.

An old view of the historic Lakutia Zamindar House in Babuganj upazila of Barishal.Photo: From the family album of Alpana Roy

This zamindar family had a familial connection with the great poet Rabindranath Tagore. The poet's elder brother, the renowned painter Dwijendranath Tagore, had two sons—Arunendranath and Dipendranath—who married Sushila and Charubala, granddaughters of Rajchandra Roy.

It was through the philanthropic efforts of this zamindar family that institutions like Rajchandra College and Pushparani Chowdhury Institution (PRC) were established in Barishal. While the college no longer exists, the school remains active. In later years, zamindar Deben Lal Roy Chowdhury moved to India, where he passed away in Kolkata. His daughter, Mandira Roy Chowdhury, married into the Mukherjee family of Kashipur in Barishal.

On 19 October 2018, Alpana Roy—daughter of Pankaj Roy, a descendant of the zamindar family and a solicitor at Australia’s High Court—expressed concern over the condition of the zamindar house in a letter to Mohammad Sufiur Rahman, Bangladesh’s High Commissioner to Australia. In her letter, she strongly urged that the building be preserved as a historical landmark. Based on this appeal, the Department of Archaeology instructed the Barishal Museum to prepare a proposal, which led to the launch of the restoration project.

Speaking to Prothom Alo, Alpana Roy, now living in Australia, said: “I heard about the history of the zamindar house from my father, Pankaj Roy Chowdhury. In addition to the familial link with Rabindranath Tagore, the well-known contemporary author Arundhati Roy is also connected to this family by lineage. Considering the historical importance of the house, I appealed to the government a few years ago for its preservation. I’m truly delighted to see that it is finally being realised.”

Surrounding the zamindar house are three brick-lined ponds, locally known as “Babur Pukur”. For many years, visitors came to see the building, only to leave disappointed due to its lack of preservation. With restoration now underway, there is renewed hope. People now expect that the building will be fully preserved and adequately protected in the future—so that history comes alive and continues to be passed on from generation to generation.

*This report, originally published in Prothom Alo Bangla online, has been prepared in English by Rabiul Islam.​

 

[Saif]

Preserve Old Dhaka’s historic structures

Urban Study Group (USG), a voluntary organisation campaigning for conserving the heritage of Bangladesh, has expressed concern over the destruction of historic structures in Old Dhaka and urged the government to take necessary steps to preserve those.

www.thedailystar.net

Preserve Old Dhaka’s historic structures
Urban Study Group urges govt

Urban Study Group (USG), a voluntary organisation campaigning for conserving the heritage of Bangladesh, has expressed concern over the destruction of historic structures in Old Dhaka and urged the government to take necessary steps to preserve those.

At present, the organisation's work is mostly focused in Old Dhaka.

In a press statement issued yesterday, Taimul Islam, chief executive of UGC, said all listed heritage buildings in Old Dhaka must be properly protected and conserved.

"We are deeply alarmed and distressed by the recent wave of destruction targeting multiple historic and architecturally significant buildings in Old Dhaka. These acts of demolition have occurred in both privately owned and government-managed properties, often in blatant defiance of High Court injunctions or while appeals remain pending before the Supreme Court," he said.

Just before Eid-ul-Azha, the century-old Shankhanidhi House (Radhakrishna Temple) on Tipu Sultan Road partially collapsed, including its iconic hanging balcony, due to the illegal construction of a bathroom, he also said.

"Despite being under the custody of at least four major government agencies tasked with its protection, this historic building has suffered from decades of encroachment, illegal modifications, additions, and destruction — stemming from administrative mismanagement, negligence, failure to perform duty, and, in some cases, deliberate inaction by these very institutions," Taimur added.

Meanwhile, another highly significant heritage structure -- Mangalalaya in Farashganj -- came under attack again. This building is among the structures listed by the USG and is protected by court injunctions, said the statement.

Although past attempts to demolish the building over the last two years were stopped with police intervention, the attacks have resumed. While police involvement has again temporarily halted the destruction, the building's intricate ornamentation has already suffered extensive damage, the statement also read.

USG demanded preserving the entire Farashganj area as a heritage zone.

Taimur also said shortly after Eid, it was revealed that the century-old Narinda Sewerage Pumping Station -- an integral part of Dhaka's first modern sewage system -- had been completely demolished two weeks earlier.

This protected structure, also listed by the USG, was razed by Dhaka Wasa in direct violation of a High Court ruling, he said, adding, "This not only raises grave concern but constitutes a clear instance of illegal action by a state agency."

Moreover, on June 10, it came to light that the Nasiruddin Memorial Building was being illegally demolished to pave the way for constructing a multi-storey structure, despite having an appeal pending with the Supreme Court.

The building used to be the residence of journalist Mohammad Nasiruddin, a pioneer of Muslim awakening in the early 20th century, and his illustrious daughter, women's rights advocate Nurjahan Begum.

A general diary was filed the following day with Gandaria Police Station, which temporarily halted the destruction, Taimur said.

Even though seven years have passed since the landmark High Court ruling in 2018 on heritage conservation, there has been no meaningful implementation owing to bureaucratic tangle, mismanagement, negligence, lack of political will, and particularly the controversial role of the Department of Archaeology, he also said.

As a result, these heritage structures have not yet been fully assessed and officially listed, leaving them vulnerable. Alarmingly, the DoA has even declared the residence of Nurjahan Begum as "not important enough for preservation", Taimur added.

USG demanded all the buildings listed by it be protected under the HC's ruling until a final comprehensive list of Dhaka's heritage structures is published.​