A Brilliant Conclusion with Countless Accolades Ceramic China 2024 Unfolds a New Chapter of Cooperation
On June 18–21, 2024, CERAMICS CHINA 2024, with “Great Minds to Lead, Digital Intelligence for Brilliancy” as the theme, concluded successfully in extensive praise. This edition is jointly organized by seven entities, including China National Light Industry Council (CNLIC), China Building Materials Federation (CBMF), China Building Ceramic and Sanitaryware Association (CBCSA), China Ceramic Industry Association (CCIA), CCPIT Building Materials Sub-Council (CCPITBM), Unifair Exhibition Service Co., Ltd. and Beijing Jianzhan Technology Development Co., Ltd., thereby, the long-standing “Organizing Ceramics China by turns” has concluded, showcasing the strong influence and multifaceted benefits of the partnership between five national associations and two exhibition companies through united cooperation and resource integration. This act of union has drawn widespread industry attention and positive responses. Mr. Chen Guoqing, Executive Vice President of CBMF and President of CCPITBM, highly praised the collaborative efforts of the seven organizers in presenting this unprecedented exhibition and expressed sincere gratitude to all the exhibitors, visitors, buyers, and the media partners for their continued support for CERAMICS CHINA over the years. Mr. Du Tonghe, Vice President of CNLIC and President of CCIA, expressed full affirmation of the seven organizers for jointly holding the exhibition: “This is a powerful measure in line with the forward trend of the new era, promoting high-quality development in the ceramic industry, and giving full play to the role of the ‘national team’ of the ceramic industry. It has gained extensive industry support.” Ms. Han Xiuping, Managing Director of Unifair Exhibition Company urged industry peers to strengthen cooperation, unite efforts, and jointly propel the industry towards premium, smart, green, and integrated transformation for high-quality development.
Reviving the Roots: Conservation & Restoration Progress Reflections by Conservation Architect Abu Sayeed M Ahmed
At the anniversary celebration of Ceramic Bangladesh Magazine, esteemed conservation architect and heritage specialist Abu Sayeed M Ahmed presented “Reviving the Roots: Conservation and Restoration Progress”—a heartfelt journey through two decades of architectural conservation across Bangladesh. With vivid images and powerful anecdotes, he reminded the audience that conservation is not about romanticising ruins—it is about safeguarding identity, craftsmanship, and cultural continuity in a nation at risk of forgetting itself. “Every day in Dhaka, a piece of our heritage vanishes. Buildings are bulldozed in the name of development. But without roots, how can we grow a future that is truly ours?” Bringing History Back to Life Nimtali Deuri & Naib-Nazim Museum, Dhaka Abu Sayeed M Ahmed’s first major restoration was the late Mughal-era Nimtali Deuri in Old Dhaka. Hidden under layers of plaster. The restored gateway now houses the Naib-Nazim Museum, commemorating the deputy governors of Dhaka and reflecting a revived connection between the city and its Mughal past. Uttar Halishahar Mosque, Chattogram This 200-year-old mosque was facing demolition for modern expansion. Upon assessment, its authentic Mughal character became evident. Abu Sayeed’s team removed inappropriate cement layers, dismantled an added veranda, and re-clad it in traditional lime and surki. Locals now call it a “Gayebi Mosque”—as if it reappeared by miracle. Nearby, a new mosque by Architect Kashef Mahboob Chowdhury respectfully contrasts the old, echoing its jali motifs in modern concrete. Hanafi Jame Mosque, Keraniganj Once a modest family-owned mosque, it gained global recognition after restoration—winning a UNESCO Award. A new mosque built adjacent to it by Architect Kashef Mahboob Chowdhury, with full visibility of the old structure—offers a striking example of architectural dialogue between past and present, tradition and transparency. Rediscovering Rural Heritage Buraiich Maulvi Bari, Faridpur Neglected and engulfed by vines, this ancestral home seemed destined for ruin. Through sensitive restoration, it has been transformed into a heritage Airbnb, preserving its traditional character while offering economic sustainability. Period furniture, handpicked materials, and contextual storytelling give visitors a window into Bengal’s rural past. Mithamoin Kachari Bari, Kishoreganj This decaying administrative house—once thought beyond repair—was restored to reflect its original civic purpose. From a wild, overgrown ruin, it emerged as a dignified reminder of regional governance and colonial-era architecture, now serving as an active public building. Urban Civic Revival Narayanganj Municipal Building Among Bangladesh’s earliest municipal structures, it was at risk of being replaced. A dual solution—preserve the old and integrate it into the new. Today, it functions as the entrance to the new Nagar Bhaban (City Hall), and plans are underway to convert its upper level into a civic museum. Baro Sardar Bari, Sonargaon A Mughal-Colonial mansion from the Baro-Bhuiyan era, this structure was revived through corporate social responsibility. South Korea-based Youngone Corporation led the project under the leadership of CEO Kihak Sung, who has familial roots in the region. This model highlights how private sector investment can play a crucial role in cultural restoration. Reviving Lost Icons Dhaka Gate (Mir Jumla Gate) Once a neglected and overgrown monument, the historic city gate has been revitalised with its original grandeur—complete with a replicated fire cannon that signals its defensive legacy. Rose Garden Palace, Tikatuli, Dhaka A jewel of Dhaka’s architectural heritage, the Rose Garden was meticulously restored—from stained-glass panels to ornamental plasterwork. Where pieces were missing, they were reconstructed based on archival records, ensuring authenticity over imitation. Hammam Khana, Lalbagh Fort Perhaps the most complex restoration, the Mughal-era bathhouse had suffered colonial and post-colonial misuse. Funded by the U.S. Ambassador’s Fund, the project uncovered a breathtaking pavilion structure, restored lighting from above (true to hammam tradition), and reestablished the original spatial and sensory quality of the Mughal bathhouse. Crafting the Future with the Past Reviving Chini Tikri Ornamentation A rare local tradition, Chini Tikri—the use of broken ceramic dinnerware to form decorative motifs—was resurrected. The team digitally reconstructed patterns, reproduced the plates, broke them and reapplied them by hand. This craft was even adapted into a contemporary mosque in Noakhali, designed by Architect Mamnoon Murshed Chowdhury and Architect Mahmudul Anwar Riyaad, using waste ceramic products donated by Monno Ceramics. These projects demonstrate what is possible when craftsmanship, community, and conservation come together. They are not just restorations—they are cultural revivals, offering spaces where memory, faith, and identity continue to live. Written by Samia Sharmin Biva
An Artist’s Meditative Take on the Textile Crisis
On 10th October, Bengal Shilpalay’s Quamrul Hassan Hall made room for Yasmin Jahan Nupur’s solo exhibition to breathe in silence. Silence that carries the weight of unspoken resistance, forged over decades. Each corner is equipped with different kinds of soft sculptures and artworks, woven and drawn with bare hands. These sculptures will urge you to zoom in, squint, and at times, resist touching and feeling their texture. The space is surrounded by a variety of installations, including tapestry, jamdani woven in a grid-like matrix, a golden net made of zari threads, Bangla phrases stitched in muslin fabric, and hand-drawn textures and patterns. The sculptures, made from gentle materials like thread and wool, celebrate their natural malleability and softness. Her meticulously executed works on paper using only pen and watercolor draw viewers into their quiet depths. In contrast, Nupur’s brass sculptures defy expectation, transforming rigid metal into forms that appear almost supple. As one takes a closer look, they can find the artist’s sheer brilliance of witty and powerful juxtaposition of delicate threads and robust objects. One of the guests at the opening, globally famous architect Marina Tabassum, who won Aga Khan Award twice, reflected on the powerful presence of silence—describing it as an equally vital element in architecture, a space everyone strives to reach, yet few truly achieve in the process of creation. She observed that Nupur’s works embody that very quality, carrying a quiet strength despite being crafted from simple materials like strand and wool. The softness of Nupur’s sculptures and the intricacies of her work, in fact, carry a more concrete and unsettling truth—illuminating the fading textile legacy of Bengal. Behind these delicate forms lie the stories of countless artisans unable to continue their craft, disrupted not only by economic pressures but also by colonial legacies and ecological changes. A powerful installation in the exhibition was a dazzling hanging burqa. While the traditional burqa symbolizes modesty and concealment, Nupur reimagined it as a three-dimensional form embroidered with gold and silver zari threads—not as a symbol of elegance, but as a testament to distressed endurance. Nupur’s professor, Abul Monsur, recalls how her gentle demeanor during her time at the Fine Arts Institute, CU, fooled him into perceiving her as rather fragile. Her quiet resilience and unwavering devotion to her craft beneath that delicate surface only proved him wrong over time. Yasmin Jahan Nupur not only hails a heavy portfolio of glorious works but also became a household name in the international galleries. This second solo exhibition is Nupur’s careful documentation and a commitment to preserving the vanishing heritage of Bangladesh’s textiles. As visitors walk through the gallery, they are compelled to stop, gaze, and ultimately begin to unravel the silences behind each piece. “Even though the voice may be muted or just a soft whisper (mridu shor), the visitors must take the time to truly listen,” quotes curator Tanzim Wahab. “Unravelling Silence” is on view until November 22, every day from 4 to 8 PM, except Sundays, at Bengal Shilpalay. Written by- Fariha Hossain