HERITAGE
The Unfinished Mughal Fortress
Lalbagh Kella is perhaps the most quintessential remnant of the Mughal era in Bangladesh. Also known as Lalbagh Fort or Fort Aurangabad, it is a majestic historical site located in the heart of the old town of Dhaka. Built during the 17th century, Lalbagh Fort is a testament to the grandeur of this region’s rich history. Commissioned by Prince Muhammad Azam, the third son of Emperor Aurangzeb, it is also one of the most renowned Mughal structures in the subcontinent. Although Prince Azam initiated its construction, it was left incomplete due primarily to untimely death of his beloved wife, Pari Bibi. Iran Dukht Rahmat Banu, more known as Pari Bibi, was the daughter of Shaista Khan and grandniece of Nur Jahan, the consort of the Mughal Emperor Jahangir. Prince Muhammad Azam’s dream of creating a magnificent fort was left incomplete due to his wife’s untimely death and his own departure to join his father’s military campaign. This poignant episode in the prince’s life is an integral part of the fort’s history. The incomplete status, frozen in time, grips the guests within an aura of wonder about what it might have looked like had it been finished. In 1678, Mughal Prince Muhammad Azam Shah embarked on the construction of Lalbagh Fort along the bank of Buriganga in the southwestern part of Dhaka city. At the time, he held the position of Subedar (Provincial Ruler) of Bengal. However, his tenure in Bengal was only 15 months. His father Emperor Aurangzeb called him to Delhi to suppress the Maratha rebellion. Despite this setback, significant progress had been made, including construction of a mosque and the Darbar Hall. In 1680, Shaista Khan assumed again the role of Subedar of Bengal and took up the mantle of completing the fort. Under his guidance, the construction resumed. However, tragedy struck when Shaista Khan’s daughter, Pari Bibi, passed away prematurely within the fort in 1684. Grief-stricken, Shaista Khan deemed the fort is inauspicious and halted further construction, leaving it forever incomplete and abandoned. Shaista Khan ruled Bengal in Mughal period for a total of 22 years, from 1664 to 1678 and from 1680 to 1688. He was the maternal uncle of Emperor Aurangzeb. During his reign Dhaka prospered greatly and the best period of Mughal rule passed. He built Chota Katara Mosque and Seven Dome Mosque near Lalbag fort. Chittagong victory is one of his notable achievements. He also defeated the British in the Anglo-Mughal war. The architecture of the fort reflects the distinctive style, characterised by its typical grandeur, symmetry, and meticulous attention to ornamented details. Built primarily with brick, it showcases the finesse of Mughal-era craftsmanship. The fort’s main gateway is a three-story structure that embodies the classic Mughal arch. The gateway features ornate floral motifs and Quranic inscriptions, a sublime fusion of Islamic art and architecture. With its symmetrical design and elegant arches, the southern gate of the fort is another splendid example of Mughal architecture. The fort is adorned with massive corner towers, each with a distinctive style. These towers served both decorative and defensive purposes, and they provided an excellent vantage point to appreciate the entire site and its surrounding landscape. Tomb of Pari Bibi: A Testament to Love and Tragedy The tomb of Pari Bibi stands as one of the three primary structures within Lalbagh Fort — a silent witness to love, loss, and architectural beauty. In 1684, tragedy struck when Pari Bibi, the beloved wife of Prince Muhammad Azam and daughter of Subedar Shaista Khan, passed away prematurely. Her final resting place became the under-constructed Lalbagh Fort, where a tomb was erected to honour her memory. As visitors enter through the main gate of Lalbagh Fort, Pari Bibi’s tomb immediately captures their attention. In fact, the iconic image associated with “Lalbagh Fort” is none other than the exquisite tomb of Pari Bibi herself. The tomb boasts a quadrangular design, crafted from pristine white marble adorned with delicately carved screens and intricate floral motifs. Inside, nine rooms reveal a symphony of materials: marble stones, rough stones, and glazed tiles adorned with colourful flowers and leaves. The central chamber houses Pari Bibi’s burial site, surrounded by eight additional rooms. Among them, the southeast room cradles another small tomb — the resting place of Pari Bibi’s daughter, Samsad Begum. The tomb’s roof, fashioned in the corbel style, features four octagonal minarets at the corners and a central octagonal dome. Once gilded, the dome now wears a covering of brass and copper sheets. The interior, too, gleams with white marble stones. This 20.2-square-meter tomb was constructed before 1688 AD, but fate had other plans. After Subedar Shaista Khan’s departure from Dhaka, the fort lost its significance, eventually falling into abandonment. The shift of Bengal’s capital to Murshidabad (West Bengal) further contributed to Lalbagh Fort’s decline. In 1844, following the end of the Mughal Empire, the area was renamed from “Aurangabad” to “Lalbagh” (Red Garden) Lalbagh Fort: A Fusion of History and Architecture The Lalbagh Fort, a captivating blend of heritage and design, encompasses three distinct structures: a mosque, the tomb of Pari Bibi, and the Dewan-e-Aam. Alongside these focal points, two grand arcades and a partially ruined fortified wall contribute to the fort’s allure. Recent archaeological excavations, led by the Bangladesh Directorate of Archaeology, have unveiled additional hidden treasures within the fort’s grounds. Among these discoveries was a sizable dome situated at the southwestern corner of the southern fort wall. To the north of this wall stood various edifices — buildings, stables, and administrative structures. On the western side, a picturesque terraced garden adorned with reservoirs and fountains graced the landscape. Residential quarters occupied the space between the western and eastern sections of the fort, primarily clustered southwest of the mosque. The southern fort wall boasted five towers, each rising two stories high at regular intervals. Meanwhile, the western fort wall featured two towers, with the largest guarding the southern main entrance. Beneath one of these towers lay an underground tunnel that traversed
Read MoreRemains of ARMENIA
As you walk through that particular street of Armanitola where the Armenian Church has been perching for almost two and a half centuries, its white coloured skin subtly piercing you with an invitation to enter inside, a peculiar sillage coming to life from the hundreds of variants of notes from the line of perfume shops beside, mixed with the eerie scents carried by the winds flowing over the Buriganga which is just within a minute of walking distance, will hit your nostrils. Soon, you will start noticing all the examples of unplanned and unappetising architectures of different heights and looks that popped up in the recent decades and still keeps popping up every now and then with no signs of stopping, trying its best to engulf the church with the shadows of its murky glory. The current state of many of the historical structures that had been living in Old Dhaka for centuries, is just like the present attire of Old Dhaka that we gradually forced her to wear – a living testament of what we were, what we could have been and what we are now.
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Mahasthangarh the Cultural Capital of SAARC
At times when we get tired of the city’s dust, chaotic traffic, and hectic jobs; we might want to step outside its orbit and get some fresh air with a touch of greeneries and nature or want to get closer to history and tradition. Bangladesh, despite being densely populated country with compact horizon, still stands proud on the global map with its rich heritage and significant tourist attractions. Mahasthangarh, the earliest urban archaeological sites and the oldest-known city, is one such must-visit tourist spot for both the historians and the travelholic people. Before the birth of Jesus Christ, i.e. about 2500 years BC, the civilized town was established here. Archaeological evidence has been found. It is located in Shibganj upazila of Bogura district, lying on the western bank of Korotoa river, about 13 kilometres north of Bogura city on the Dhaka-Dinajpur highway. Once Mahasthangarh was the capital of Bengal. It was declared the Cultural Capital of SAARC in 2016. An interesting fact about Mahasthangarh is that it is also a flood-free physiographic unit because of the elevation of 15-25 meters above the surrounding lowlands, which makes it an even exquisite historical tourist spot. It is believed to be the main reason for urban development here as it is one of the highest regions in Bangladesh. The land here is 36 meters (118 ft) above the sea level, while Dhaka, the capital of Bangladesh, is only 6 meters (20 ft) above sea level. Another reason for choosing this place is the location and shape of Korotoa river. The river in the 13th century was three times wider than the present Ganga. Mahasthangarh is located in the red soil of Varendra region which is slightly higher than the alluvial region. Areas above 15-20 meters are considered flood-free geological zones. Mahasthangarh the most significant Buddhist archaeological site, was a thriving administrative, religious, and cultural centre from the Mutual Empire era to the Sen Dynasty era. Initially, the location was known as Paundravardhanapura or Pundranagara, both of which are references to the Pundra Kingdom from Indian epic literature, which was claimed to rule over a region of India, now known as Bihar. A broken limestone slab from the 3rd century BC that bears six lines in ‘Brahmi’ script has been found there with the name ‘Pundranagar’ inscribed on it. The walled city has archaeological monuments from different periods. For several centuries this place was the provincial capital of Maurya, Gupta, Paal, Sen rulers and later the capital of Hindu feudal kings. Numerous Hindu kings and kings of other religions ruled from the third century BC to the fifteenth century AD. Hazrat Shah Sultan Mahmud Balkhi (RA) and his disciples came to spread Islam in this area. There is an amazing legend about the preacher Shah Sultan Balkhi. It is said that he crossed the Korotoa river on the back of a huge fish-shaped boat while entering Mahasthangarh i.e.ancient Pundranagar. The famous Chinese traveler Hiuen Tsang visited Pundranagar between 639 and 645 AD. In his travelogue he describes the nature and lifestyle of the time. Being famous for Buddhist education, monks from China and Tibet used to come to Mahasthangarh to study. Then they went out to different countries in South and East Asia. There they spread the teachings of Buddhism. The topography of the place offers a fascinating cubicle-like view. The entire area is surrounded by a fortification wall. The rampart of the city, built with burnt bricks, belongs to six building periods, among which the earliest belonged to the Maurya period. Various mounds and monasteries (bihar) are scattered throughout the vast area outside the fortification wall including Bairagir Bhita, Govinda Bhita, Khodar Pathar (stone of Allah) mound, Mankalir Kunda mound, Jiyut Kunda (Well of Life), Godaibari Dhap, Noropotir Dhap, Gokul Medh (Lokhindorer Bashor Ghar), and Bhasu Bihar. One of the highlights of Mahasthangarh is Govinda Bhita, where remnants of two Buddhist temples can be visited. Opposite Govinda Bhita, near the north side of the citadel, one can find the Mahasthan Archaeological Museum. The museum, though small, has a well-maintained collection of pieces recovered from the site including the statues of Hindu and Buddhist gods and goddesses, terracotta plaques, fragments of ceramics, well-preserved bronze images found in nearby monastery ruins that date back to the pre-Paal period. Gokul Medh Buddhist monastery, located about two kilometers south-west of Mahasthangarh, belongs to the most impressive archaeological sites in this area. Behula Lakhindorer Basor Ghor Behula is the protagonist in the Manasa Mangal genre of Bengali medieval epics. A number of works belonging to this genre were written between the thirteenth and eighteenth centuries. Though the religious purpose of these works is to eulogise the Hindu goddess Manasa, these works are more well known for depicting the love story of Behula and her husband Lakhindar.
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UNESCO World Heritage Site SHAT GAMBUJ MOSQUE Architectural Evidence of History
Bangladesh, the land of beauty, is glorified with various heritage sites which prove rich culture and heritage and blend of beautification in every sphere of the architectural works. The administrative district of Bagerhat under Khulna division of southern Bangladesh is famous for its archaeological richness. The historic mosque city of Bagerhat, the Shat Gambuj Mosque (Sixty Dome Mosque) is the most magnificent and the largest enclosed type mosque built by Khan Jahan Ali in Bengal. It is the largest historical mosque in Bangladesh from the sultanate period (1352–1576). It has been described as one of the most impressive Muslim monuments in the whole of South Asia. It is famous for its sheer size and stunning architecture among many heritage sites. The Shat Gambuj Mosque is located five kilometers from the main town of Bagerhat. It is situated by the eastern bank of the Ghoradighi which has increased the beauty of the Mosque remarkably. The amazing construction work of the mosque started in 1442. It ended in 1459 and is a proven example of glorious history and beauty declared by UNESCO as a world heritage site in 1985. In the mosque, Muslims offer prayers (Namaz) five times a day and Eid prayers also take place here. Every Friday at noon, more than 5,000 people pray Jumma prayers here and visit the Shat Gambuj Mosque and explore the beauty of historical evidence since long-gone centuries. The building of Shat Gambuj Mosque began in the middle of 15th century with establishment of a Muslim colony near the mangrove forest, the Sundarban, another UNESCO heritage site in Bangladesh. The colony was founded by a revered general named Khan Al-Azam Ulugh Khan Jahan. He was also a great and famous Muslim saint and the local ruler of Khalifabad (present Bagerhat). Khan Al-Azam Ulugh Khan Jahan conquered the greater part of southern Bengal and the prosperous area was named Khalifabad in honour of the reigning Sultan Nasiruddin Mahmud Shah (1435-59). Khan Jahan ruled the region with the seat of administration at Haveli-Khalifatabad, identified with present Bagerhat, till his death in 1459. He had built many structures for the well-being of the people in that locality. He made water tanks, mosques, madrashas etc. Shat Gambuj Mosque is his greatest creation. Khan Jahan Ali was widely known as the great architect of historical mosques around the South Asian Subcontinent, who embellished the entire Bagerhat region with more than a dozen mosques under the patronage of the Sultan. The ruins of which are focused around the most imposing and largest multi-domed mosques in Bangladesh. The legacy of Khan Jahan Ali is vividly evident in his architectural works. He preached in this affluent region during the reign of Sultan Nasiruddin Mahmud Shah. Shat Gambuj Mosque is a wonderful proven archeological beauty that is the signature of the 15th century. The planning of the mosque is a living example of the Islamic architecture and the decorations remind us of the blend of Mughal and Turkish architecture. The Mosque is also known as the Sultanate Mosque, which was used for ruling the area and a court at that time. The mosque was not used only for prayers, but also as a madrasha and a parliament assembly hall. Though the Shat Gambuj Mosque refers to a mosque with 60 domes or Roof Gambuj. However, it actually has 77 squat (low) domes, arranged in seven rows of eleven, and two-storied four high domes or tower on four corners, bringing the total to 81 domes. Two of these four high domes or towers were used for Azan or the call for prayers. On the east side of the mosque, there are 11 arched doorways, while the north and south each have seven doors. These arched doorways also providing ventilation and light in the hall. The interior is divided into seven longitudinal aisles and 11 deep bays by 60 slender stone columns, which culminate in numerous arches that support the roof. The vast prayer hall of the Mosque has walls of unusually thick, tapered brick in the Tughlaq architecture style of Delhi and a hut-shaped roofline that anticipates later styles. The inside space of the mosque is 48m x 33m (160 feet x 108 feet = 17,280 sq feet), and the wall of the mosque is almost six feet (1.8m) thick. To enhance the mosque’s attractiveness and give it an exceptional appearance, the entire structure is constructed of red burned mud or bricks. The Turkey style of architecture was followed using tempered brick in the mosque. The detailing of the mosque is prepared with terracotta decoration. So anyone can notice the exquisite detailing around the doors with beautiful design. Inside the mosque, the walls are crafted based on the former Muslim cultural tradition. The atmosphere inside the mosque is cool and comforting for the unusual thickness of the wall. Inside the mosque, among the ten “Mihrabs” the central one was built of stone and a special doorway had been built in “Qibla”. The central mihrab, which corresponds to the central nave, is bigger than its flanking counterparts and shows a rectangular projection on the outer side, carried up to roof level. These mihrabs are also decorated with stonework (grey sandstone) and terracotta and the floor of the mosque is made of brick. Its ornamentation is in the Muslim style of carving in shallow and low relief. The mosque yard is surrounded by an old, ornamented boundary wall. The enclosed compound was originally entered through two gateways – one in the east, now restored and repaired, and the other in the north, no longer extant. The eastern gateway, facing cardinally the central archway of the mosque proper, appears to be a monument by itself. It measures 7.92m by 2.44m and consists of an archway having a span of about 2.44m with a beautiful curvature on top. Now there is a picnic spot beside the mosque area around the historical Ghora Dighi. There is a museum in the mosque area which is situated to keep the historical
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In the Vicinity of Khan Jahan Ali’s Alligators
What does birth inside your psyche when you hear the word mazaar? For many, it might be that gush of inexplicable zany feeling that stems from your experiences related to a mazaar, which is, in other words, a shrine. Common symbolisation of the religious or spiritual sites in the sub-continent especially in Bangladesh, mazaars is indeed an eccentric space. Spaces, which are onerous to describe with words unless you have actually- not only experienced it, but internalised its truest weirdly ethereal essence, putting aside all your biases, particularly religious ones. And each one has its own set of personalities.
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The Voyage of Bajra and Rangeela’s Mosque
Rangeela is the word which denotes vibrant/joyous, often mixed with quirkiness. So is the tale of Bajra Shahi Masjid, apparently unconnected unless it is told. After all, how many 281 years’ old mosques do you know named after a watercraft! Being a silent witness like a vessel through the waves of time, while breathing over four separate centuries, this Chinni-tikri skinned sublime architecture was built in the middle of a village. It has such a riveting history that it is a bit arduous to decide where one should begin while trying to tell its tales. With Rangeela, shall we, to unravel the ‘mystery’? Abu Al-Fatah Nasir Ud-Din Muhammad Shah was another one-of-a-kind emperor in the collection of Mughal Empire emperors. Passing away at the age of 45 this interesting man lived quite a colourful life whilst having an eventful reign. Born as Roshan Akhtar, and eventually becoming The Muhammad Shah, after ascending to the legendary Peacock Throne, this handsome-looking man had multiple wives. One being a dancer peeks a hint about his time where worldly pleasures were always a priority rather than tensely being busy with bloodshed to protect the reign and expand like most other emperors. Whilst on the throne of a once mighty empire that was at the beginning of its eventual end, he was more glued to orchestrating orders that would vastly contribute to the cultural developments of the region. He was greatly influenced by genres of creative practices and his pen-name was Sada Rangeela which loosely translates as ‘always joyful’. How is Rangeela connected to the story of Bajra Imam Hasan Siddiqui, a simple old man, is Bajra’s current Imam and has been there for the past 27 years. Appointed through a legacy of seven generations, his veins are carrying the blood of the first ever Imam, who was appointed at this vibrant space of worship almost three centuries back, by Rangeela himself. You can read an honour board carrying the names of his forefathers in his office room inside the tiled compound of this graceful mosque. And it is not a sort of unspoken rule for the place; after a time it was the love of the locals, who out of admiration asked for the legacy of the first-ever Imam, Shah Sufi Abu Siddiqui to be continued. Sufi, who was a former resident of the holy city Mecca, was the first and longest-serving Imam for 55 years at his beloved Bajra. According to Imam Hasan Siddiqui, popular stories and recorded history, the story of Bajra’s birth may be something like the following one: Adored representatives of Rangeela, the brothers Amanullah and Sanaullah, were ordered to go on inspection of the reigned regions. They were to build a beautiful mosque, in reflection of The Delhi Shahi Mosque (Masjid-e Jehan-Numa), on the location where the siblings along their troops would run out of food and water, during the expedition. Closer to the location of the mosque that we see elegantly embracing its guests today, is where Amanullah’s water vessel was anchored at the banks of Bulbuli. After offering prayers, this is the site where Amanullah decided to construct a mosque. Hence, the name Bajra became popular. The Bengali word defines a particular type of water vessel, a big-sized boat, that was used mostly by the wealthy elites and royals of the time to travel across this riverine delta. The mosque was named after that eventually, and the village where it homes was formerly known as Umrabadh, which got its new and identical name after the mosque. According to another version of the story, Zamindar Amanullah built his house thereafter, during the stoppage of his inspection tour. Later, by the order of Rangeela, built the mosque there. There are many interesting local folklores attached as well. Till his death, Amanullah was the mutawalli of the mosque and after his demise, younger one Sanaullah was given the responsibility. In the early 1900s Bajra zamindars Khan Bahadur Ali Ahmad and Khan Bahadur Mujir Uddin Ahmad extensively repaired and decorated the mosque. Although an extension has been built in recent years to accommodate increasing number of devotees in congregations. It is still one of those few historically significant monuments in the country that were taken care of over the years and in a surprisingly better state. The Bajra mosque is not a common thing to pop up on a non-local’s mind. Apart from travel and history enthusiasts, how many are aware that one of the comeliest mosque complexes of Bangladesh has been quietly standing with all its gracefulness for almost 300 years inside a not much heard about village in Noakhali? After a long while on tracks, under the soothing shades of green, you will be welcomed by the suavely calm waters of a 30 acres huge pond which not only complements the complexion of the space, but is also special as it was dug to use its earth to construct the elevated platform where Bajra stands beside. Although identical to its other Mughal siblings, having alluring arches, delightful domes, magnificent minarets, and a gorgeous gate on the east, what makes Bajra so special is its enthralling complexity of ornamentation with Chinese ceramics or Chinni-tikri all over its pearl white skin. As if all the ravishing floral and other designs on its body, the dark green ceiling you stare at standing under the marbled dome while inside, has been calligraphed with essences embedded of stories and folklores, often attached to age-old architectures that profusely decorates its already mystic domain of aura, which sends pulses of abstruse serenity to its guests. . A 300-year-old breeze caressing your hair as you sit by Bajra’s pond after Asr, and gazing forever at the kisses of golden hour glistening on Bajra’s surface might make you start counting masjids (mosques) in this country. There aren’t many like Bajra. Written by Shahbaz Nahian
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The Tales of Terracotta Temple
A embodiment of the weirdly mysterious vibe that ancient structures often procure, Kantaji is undoubtedly the most colossal example of terracotta architecture in the region. Often, it’s the grandiosity or beauty of religious space and/or the stories attached that give an inexplicable feeling of peace to believers, and even to the visitors when they enter the space. Kantaji is not only a Hindu temple dedicated to Lord Krishna, but this sublime piece of architecture meditating on the banks of Dhepa for three centuries, consisting of almost 15,000 pieces of delicate terracotta on its skin, and has its list of stories and myths attached as well. These, when combined, give the space a mysterious character that it tenderly holds. But even if you do not know much about Kantaji, being present at the site at the right time when the wind charmingly flows, you will understand that the atmosphere has suddenly taken you to a place where you do not know how old the time is. The story of Kantaji’s initiation blooms from a bud consisting of conspiracies. It was 1862, the reign of the last mighty Mughal ruler, Aurangzeb, the youngest son of Shahjahan who built the iconic TajMahal. It was also a time when the zamindari of the Dinajpur region was going through a rough phase. The then zamindar, Prannath Roy, was perched on the throne after the consecutive deaths of his two elder brothers. Unlike many of his contemporaries, Prannath was loved by his people. And within a few years, just like many other royal rivalry stories straight out of a novel, enters King Raghbendro Roy, zamindar of Ghoraghat. There was already a rivalry in existence between both the zamindar families of Dinajpur and Ghoraghat. Raghbendro plotted a conspiracy to take advantage of the situation and sent a letter to Aurangzeb, blatantly lying that Prannath had perched on the throne by killing his two elder brothers, Ramdeb and Joydeb. That he was not only a tyrannical zamindar, but also refused to obey the authority of Delhi’s ruler, Aurangzeb, and was irregular in sending the required tax. The plot worked. A furious Aurangzeb ordered a show cause and Prannath eventually traveled to the palace of the emperor with gifts. A while after they met, coming across the integrity of the kind-hearted Prannath, Aurangzeb realised his mistake and, out of kindness, gave Prannath the title of King and ordered him to carry on his usual zamindari of Dinajpur. The story of Kantaji’s initiation blooms from a bud consisting of conspiracies Here comes the most interesting part. As a devotee to Lord Krishna, when Prannath got out of this danger and received the title of King, as a devotee to Lord Krishna, he decided to do something out of love for his religion. While on his journey back to Delhi, he decided to visit Brindaban for a while and set up a Krishna temple in Dinajpur once he returned. During his stay in Brindaban, he was blown away by a beautiful Krishna statue, and he wanted to bring it back home for the temple he wanted to build. But, as said, he had a dream where Lord Krishna himself appeared and asked him not to take this particular statue as the feelings of the local devotees would be hurt. Instead, Krishna was said to have told Prannath to be patient because he was about to receive a Krishna statue identical to the one he desired during bath the next day, and that Krishna would travel with him on that statue. Soon after the divine dream, the next day, as Prannath was having his bath, he found an identical Krishna statue, beaming with its entire godly aura. This is what Prannath brought back Dinajpur to install in Kantaji. But that mysterious Krishna statue is not there anymore. It is believed that after the massive earthquake of 1897, when the temple was badly damaged and lost its original nine spires, for which it was also called “Navaratna”, the statue was stolen from the disastrous site. There is also a myth that Aurangzeb himself ordered Prannath to set up a Krishna temple, whereas Aurangzeb was a Muslim. And speaking of that, the architects Prannath commissioned for Kantaji were all Muslims. You can still find the brick mosque they built for themselves a few minutes distance from Kantaji. Another interesting fact is that just outside Kantaji’s premise; you will find an abandoned temple-like structure. That was the temporary temple that Prannath originally built, but he eventually wanted a grander one, hence he began the construction of Kantaji in 1704. Sadly, Prannath could not live long enough to witness the completion of this terracotta masterpiece. Every inch of the walls is embedded with a highly sophisticated opera of art, composed in a rhythm. Beautiful floral designs, amazing stories depicted from Ramayana-Mahabharata, and many extremely fascinating contemporary local stories, etc. Perhaps the most fabulously interesting ornamentation on the skins of Kantaji would be the depiction of erotic scenes. All these stories say so much about spirituality, about what is pious and what is not, about togetherness between human beings of different religions and so on. King Prannath Roy passed away in 1722. His adopted son, Ramnath Roy, took charge of the throne and, according to the last wish of his beloved father, finished the construction in 1752, which stands till date. With no tickets required, the temple is open at any time of the day and is open to all, regardless of faith. It’s one of the major archeological sites in Bangladesh.
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Enchanting Echoes from an Ancient Ancient Metropolis
In an early winter evening, the sun is about to say the shimmery adieu for the day to those on the bank of the mighty Meghna. And you walk along the alleys of serenely silent Panam, trying to chat through your curious eyes with the architectural relics on both sides. They will slowly start engulfing you with their memoirs about witnessing time. A melting pot of architectural influences from the Mughal, the Sultanate and the European eras, but ardently crafted by local artisans and architects of the Bengal in their techniques, Panam City is a living specimen of the timeline. The comeliest of Chinni-tikri ornamentations made of broken ceramics brought from the Dutch, the scroll-shaped Greek stuccos, cast iron railings first produced in the 19th century Britain, and those alluring arches that you can eye on every Mughal era structure – the list goes on. The city is not only a pristine example of architecture but also has a finely designed urban plan, especially in terms of its utilisation of water. There are two large canals, parts of the land are slightly slanted towards one of the canals for drainage, and the city also has five big ponds. If we look at the remains of the buildings, it is noticeable that there are open spaces inside each compound and a well for household water supply in the backyard. Built almost five centuries ago by one of the legendary Baro Bhuiyas (12 Bhuiyas), Isa Khan, Panam City is the oldest capital of Bengal. Although it is one of the most popular tourist sites, many people still make the mistake of interchanging Sonargaon and Panam City. Whereas Sonargaon is a thousand years’ old, Panam is roughly 500 years of age. At the time, Sonargaon consisted of three cities: Boro Nagar, Khas Nagar and Panam Nagar. History says Panam started gaining colossal importance with the gradual decline in the prominence of the then-port city of Sonargaon, which was one of the most important trading points in the world. Bengal was the fourth largest exporter of goods at the time, and a golden era of the finest Bengal Muslin was vastly being exported to Europe, and various foreign goods were imported. Sonargaon was one of the most sought-after places for international merchants at the time. Later, with the arrival of the East India Company and the British sun gradually rising on the Bay of Bengal colonising the land, the plot drastically changed. The business didn’t stop at the site but it changed a lot with the British, making Panam a hub of their notorious indigo farming. As the demand for blue dye grew in the West for various usage purposes, so did the greed of the colonisers here for making more profit resulting in an ever more ill fate for the local indigo farmers. Although after a series of constant resistance later, the gruesome industry here gradually fell, the stains from the royal blue inked scars remained for a long time. Located 20 kilometers off the capital Dhaka, Sonargaon currently is an Upazila of the Narayanganj administrative district where Panam proudly rests. The remains of the beautifully built single to three-storied buildings on both sides of its roughly 600-meter-long main road, were mostly constructed from investments by the wealthiest local Hindu merchants and aristocrats of the time. The city containing multi-purpose buildings including places of worship, halls, guest houses for foreign merchants, libraries, and so on, was also a cultural hub with twinkling sounds of baijis (professional dancers) dancing in a courtyard full of guests consuming the finest of booze and tobacco, after the sunset. It is said that the Sultan of Bengal, Giyasuddin Azam Shah once invited the world-famous Persian poet Hafiz, but he was unable to make the long trip due to his old age. Hafiz instead wrote a beautiful poem about the beautiful city he only knew through word of mouth and texts. After reading his poetry, many Persians made their trip to the city, only to be enchanted by its aura. After a series of gruesome phases of riots, lootings of the site, and situations during the 1971 liberation war being the final nails in the coffin, the once-loved and bustling city was gradually being abandoned by its very dear residents. The buildings stayed like that, slowly rotting, welcoming new inhabitants outside human beings. For a time being many of them were being leased out by the government, followed by heavy protests from conservationists. In 2004 it was declared a protected site. Amongst the most significant buildings on the site, perhaps the most popular and notable one is the magnificent Baro Sardar Bari. Staying in a dying state for years without care, the once multi-purpose building, which still has hooks on certain ceilings inside, reminds us of how Muslin fabrics were hung. It recently went through a major painstaking restoration process as part of a conservation project funded by a Korean company in collaboration with the Ministry of Cultural Affairs. The remains are what in a comparatively well-state are 52 other structures as well. You can still walk on their marvelous checkered pattern floors of black, red and white marbles and mosaics with risks of plasters falling on your head from any of the walls above. But there are reasons to smile as part of the same conservation programme led by the Bangladeshi conservation architect, Dr. Abu Sayeed M Ahmed, the whole site will be gradually restored. Within a walking distance, in one of the restored old buildings, there is also a museum showcasing artifacts and the history of local handicraft practices. The museum, currently consisting of 10 galleries, was established by the legendary artist Zainul Abedin in 1975. From a broader perspective, Panam is much more than just being pertinent to the discussion of being an eccentric tourist site fantasised by the mass and delving into a peculiar sense of pride in the name of heritage. Panam is also a hushed yet piercing testament about how the nature
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