Ruplal House: The Magnificent Past of Farashganj

The evidence says about Armenian community in the region during 17th to 18th century and their existence. Armenian Church was build in 1781 on Armenian Street in Armanitola. The site was an American graveyard before before the church built. Agaminus Catachik, an Armenian, gave away the land to build the church. Michel Cerkess, Okotavata Setoor Sevorg, Aga Amnius, and Merkers Poges helped build the church.

Mother Teresa stayed in this church during a visit to Dhaka.

In the old graveyard, among the 350 people buried there, a statue stands at the grave of Catachik Avatik Thomas, portraying his wife. The statue was bought from Kolkata and the grave is inscribed with the words "Best of Husband." Following the domination of their homeland by Persian powers of the time, Armenians were sent by their new rulers to the Bengal region for both political and economic reasons. Although the Armenian presence in South Asia is now insignificant, their presence in Dhaka dates back to the 17th century. Armenians came to Dhaka for business, and have been acknowledged for displaying a passion for trade comparable to that of the Bengalis of the time. In Dhaka, Armenian merchants traded in jute and leather, and profitability in these businesses convinced some to move permanently to Bangladesh. The area where they lived became known as Armanitola.

In 1781 the now famous Armenian Church was built on Armenian Street in Armanitola, then a thriving business district. The site was an Armenian graveyard before the church was built, and the tombstones that have survived serve as a chronicle of Armenian life in the area. Agaminus Catachik, an Armenian, gave away the land to build the church. Michel Cerkess, Okotavata Setoor Sevorg, Aga Amnius, and Merkers Poges helped build the church.

In the fifty years following the church's construction, a clock tower was erected on its western side. Allegedly, the clock could be heard four miles away, and people synchronized their watches with the sound of the tower's bell. The clock stopped in 1880, and an earthquake destroyed the tower in 1897. The Armenian played a prominent part in the jute trade in Dhaka and are reputed to be the pioneers of that trade in the second half of the 19th century. Today, the last Armenian that takes cares of the church is Mikhail Hopcef Martirossian (Micheal Joseph Martin). He was also one of the Armenian who was in the jute trade.

Poddar bari, or according to the local people, the "Panam Rajbari". This is a bit eastern side to the panam city. If someone wants to visit the place, then there is no way except passing through the panam city. This is currently a private property, and there is a picnic spot inside the boundary of the place.  The owner of the place used to live at the newly built building beside the old one. But the old one is still empty.

After getting permission you can easily enter the area. Its not known when the building was actually built. But from the structure, and the design, it appears that it was built by some rich merchant during the 1900 AD. The structure and the design is almost identical to the Sonargaon Folk art and craft Museum. Inside the building, the yard is identical to the museum building of sonargaon.

The building comprises of numerous number of rooms. And interestingly you can move from one room to another one easily. There is no window at the rooms, and also no doors, most of those are taken down, or stolen, or something else. Since its a bit darker inside the building, its a hideout for the bats. When camera flashed, we have seen several bats were flying and making noisy sound. Also there nest of other birds which are making continuum sound, but we bet you won't feel bored by those. Those are really nice to hear. So if you are at sonargaon, please don't leave the place by only visiting the panam city. It will worth if you visit the place.

Dayarampur Rajbari (দয়ারামপুর রাজবাড়ি) is located in Bagatipara Upazila, inside of the Qadirabad Cantonment under the administration of Bangladesh Army. After taking the oath of the Zamindari, Pramadanath (প্রমদানাথ) Roy (1873-1925), the elder son of then Dighapatia King Promothonath (প্রমথনাথ) Roy (1849-1883), established the Junior Raj Dayarampur Estate in a place named Nondikuza (নন্দীকুজা) on the bank of river Boral and built this Rajbari for his three younger brothers. They are Kumar Bosontokumar Roy (1874-1925), Kumar Sharatkumar Roy (1876-1946) and Kumar Hemendrakumar Roy (1877-1943).

This place was named after Dayaram (দয়ারাম) Roy (1680-1760), the great efficient Dewan of Queen Bhabani (1716-1795) of Natore and the establisher of Dighapatia Royal Family. After the death of Kumar Bosontokumar Roy, Kumar Sharatkumar Roy took the responsibility of the whole Dayarampur Estate and stayed this palace till death. After the eradication of Zamindar dominion, they went to India.

Source: History of Natore, by Samar Pal

Itakhola Mura is an archaeological site in Mainamati. This site is one of the most impressive ruins. It lies in three terraces on adjacent hillocks just opposite the Rupban Mura site across the Kotbari road in Comilla. Excavations have revealed here a grand stupa complex with an attached monastery, located 42m to its north. The cultural phases of the site are stated (or overstated) to be five; the earlier three being still buried underneath the later remains.

The Stupa Complex was originally built as a solid stupa in the traditional style on a 13.1 meter square basement. However, it has one peculiarity; a small sanctum (2.4 m x 2.1 m) built in the center of its eastern or front side.

Subsequently, the shrine was enlarged and elaborated by additions and alterations, especially by adding three long narrow chapels in the eastern side after blocking the old sanctum; thus giving the structure an oblong shape (41.4 m x 24m). In this particular feature, it is strikingly similar to the Rupban Mura shrine. The side chapels were ultimately blocked up, leaving space for a few cubicles for installing cult images, as in other parts of the shrine. This establishment is surrounded by a 2.6 m wide circumlocutory passage and is enclosed by a 1.2 m thick boundary wall.

This holy precinct is again enclosed within a much larger, well-defined, and better preserved boundary wall (79 m x 56 m), in the slightly lower second terrace. It contains three interesting subsidiary shrines, two in two corners of the eastern side, and the other, a slightly larger one, at the back in the west. An elaborate entrance with 22 broad steps at the Center of the eastern side leads to the much lower third terrace. The outer face of its damaged boundary wall in this front side is excellently decorated with offsets, sunken panels, and ornamental designs.

Five votive stupas lie at the base of the long staircase, three of them in a north south row within a well-defined enclosure, all semi-cruciform in shape, like that of the larger subsidiary shrines in the western side of the second terrace. They certainly represent an experimental early stage in the development of the cruciform style in Buddhist architecture that we see in mature form at shalvan vihara, paharpur, Vikramashila and many other sites. These structures may reasonably be dated as belonging to 7th-8th centuries AD.

The Monastery This medium sized monastery of the usual square shape with 19 cells and one entrance hall was built around an open courtyard, 16.2m. Square, on a separate mound. Its monumental gateway complex, 17.6m x 8.5m, projecting outwards, lies at the Centre of the eastern wing. Some of the cells have brick-built bedsteads. This structure was badly damaged by brick-hunters in 1944-45.

Mentionable antiquities from the site, besides the stucco image, are three round pellets of solid gold, (19 tolas), and a copperplate inscription, discovered during clearance work after the excavations. The copperplate has not yet been deciphered.