Govinda Vita at Mahasthangarh

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

Historic and archaeological importance of the majestic house of poet Quazi Kader Newaj, an icon of Bangla literature, has been lying uncared in Sreepur upazila town under Magura district, as the authorities concerned are ignoring its tourism potentials.

The poet is specially recalled for his masterpiece of poetry ‘Shikhaker Marjada’. The poet was also a freedom fighter as he played an important role during the liberation war. He was also a good teacher. The poet and his kin were buried along this majestic building.

The splendid building still stands tall along the bank of the Kumar River beckoning the people passing by it to have a look of its grandeur and magnificence. None can resist the temptation of taking a look at the captivating old structure when one passes by it.

In the absence of proper maintenance and renovation, weeds have grown in and around the house while the mossy bricks are crumbling down from the decaying structure. The house has lost much of its charm of terracotta due to the authorities’ negligence. Locals have already taken away many of the bricks, plaques, wooden doors and windows. The house has become a safe haven for drug addicts and gamblers due to lack of proper initiatives for its preservation and maintenance. Local people use the building as their cowshed and it has turned into the public toilet.

Unfortunately, the government has done nothing to renovate the palace, though the historic site can fetch a large amount of revenue every year.

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.

Sat Masjid is located in the Mohammadpur area of Dhaka city, the building exhibits seven domes- three over the prayer chamber and four over the corner towers. Hence it is known as Sat Gombuz (seven domed) Mosque. The mosque occupies the western end of a slightly raised masonry plinth 26.82m by 25.60m, which is enclosed by a low wall with a gateway in the middle of the eastern side. This arched gateway with flanking ornamental turrets is exactly in alignment with the central doorway of the mosque proper. The top of the gateway could be approached from either the north or the south by an ascending flight of steps.

The mosque proper forms a large rectangle 14.33m by 4.88m on the inside and is emphasised with massive hollow domed towers of octagonal design on the exterior angles. The prayer chamber is entered through arched doorways - three in the east and one each on the north and south sides.

Corresponding to the three eastern archways there are three semi-octagonal mihrabs inside the western wall. Beside the central mihrab there is a three-stepped masonry pulpit. The central archway and the central mihrab, including two other archways on the north and south walls, have outwardly projected frontons depicting ornamental turrets on either flank.

The interior of the mosque is divided by two wide arches into three conventional divisions - a large central square bay and a smaller rectangular bay on either side. The roof is covered with three slightly bulbous domes on octagonal drums, the central one being bigger than its flanking counterparts. The large central dome is supported by the wide arches together with the two blocked arches over the central mihrab and central archway and the triangular pendentives on the upper angles. But in covering the side rectangles with domes a clever method has been adopted. In order to make a circular base for the dome, the rectangular space has first been made square above by creating half-domed vaults on the east and west walls. These half-domed vaults together with a further series of pendentives on the corners directly support the small domes.

The corner towers have flanking turrets like those in Khwaja Shahbaz’s Mosque and musa khan mosque, both in Dhaka city. Each of these consists of two storeys and is a monument by itself. The lower storey is pierced with four cardinally set arched openings in the north-south and east-west axis. Internally the roof of the lower storey is domical, but its reverse side is flat and forms the floor of the upper storey.