Bangladesh is a country of tropical climate which is characterized byhigh temperature, heavy precipitation, excessive humidity and fairly markedseasonal variations. This type of climate is not suitable for preservation ofancient brick-built structures, which constitute almost 100% of our heritage.Besides the climatic factors, certain cultural factors are also responsible for Deteriorating the tangible cultural heritage of the country. Sometimes culturalfactors are stronger than the natural factors. For instance, vandalism in theCultural mounds by the owners of the concerned lands and their associates inrecent times in Mahasthan and its environs is so strong and vibrant that if itcontinues in its present pace, after five years or so those mounds will entirelydisappear. So it is most urgent that some measures must be taken right at themonument to stop this vandalism. Moreover, new settlements have beendeveloped over many mounds. Many cultural properties are being graduallysqueezed due to encroachment. Illicit trafficking of movable cultural propertiesis a common phenomenon in a third world country like Bangladesh. So inmany ways we are loosing our glorious heritage day by day. Water logging,salinity, biological growth in brick-built monuments etc. are also causing thedegradation of these cultural properties.
Apart from these, values of the heritage sites are not preserved properlyin course of conservation works. The country also lacks a national heritagemanagement plan. So it imperative that the problems should be identifiedproperly and suggestive measures must be undertaken for effectiveconservation and management of all the heritage sites.The sulptures found with our hard excavation and exploration works are unbelievably rich and complex heritage of Bangladesh. Benefiting from recent archaeological research helps us to show works from the Maurya period and go on until the 19th century. And thus we will retrace history whilst emphasising on a certain number of major sites. As a matter of fact, one of the characteristics of this heritage is that a lot of the pieces are well documented and enable us to situate the same in their precise historical and artistic context. The four great religions, Buddhism, Hinduism, Jainism and Islam that determine the history of Bangladesh will be duly represented.Sculptures of a impressive dimension have been recently unearthed: a bronze Buddha measuring 1,3 metres in Paharpur in 1982, a Gupta Buddha (from Sarnath) sculpted on both sides at Mahasthan in 1992, a bronze Vajrasattva, 1,40 metres in height, at Mainamati in 1995, and finally an Avalokitesvara found on the same site of the same material and size. These pieces are the real proud of Bangladesh Archaeology.I AM REALLY FORTUNATE TO LEAD THIS EXCAVATIONATION MAINAMATI,COMILLA
শুক্রবার, ২৪ ডিসেম্বর, ২০১০
SOME ARCHAEOLOGICAL TREASURES OF BANGLADESH
Bangladesh is a country of tropical climate which is characterized byhigh temperature, heavy precipitation, excessive humidity and fairly markedseasonal variations. This type of climate is not suitable for preservation ofancient brick-built structures, which constitute almost 100% of our heritage.Besides the climatic factors, certain cultural factors are also responsible for Deteriorating the tangible cultural heritage of the country. Sometimes culturalfactors are stronger than the natural factors. For instance, vandalism in theCultural mounds by the owners of the concerned lands and their associates inrecent times in Mahasthan and its environs is so strong and vibrant that if itcontinues in its present pace, after five years or so those mounds will entirelydisappear. So it is most urgent that some measures must be taken right at themonument to stop this vandalism. Moreover, new settlements have beendeveloped over many mounds. Many cultural properties are being graduallysqueezed due to encroachment. Illicit trafficking of movable cultural propertiesis a common phenomenon in a third world country like Bangladesh. So inmany ways we are loosing our glorious heritage day by day. Water logging,salinity, biological growth in brick-built monuments etc. are also causing thedegradation of these cultural properties.
Apart from these, values of the heritage sites are not preserved properlyin course of conservation works. The country also lacks a national heritagemanagement plan. So it imperative that the problems should be identifiedproperly and suggestive measures must be undertaken for effectiveconservation and management of all the heritage sites.The sulptures found with our hard excavation and exploration works are unbelievably rich and complex heritage of Bangladesh. Benefiting from recent archaeological research helps us to show works from the Maurya period and go on until the 19th century. And thus we will retrace history whilst emphasising on a certain number of major sites. As a matter of fact, one of the characteristics of this heritage is that a lot of the pieces are well documented and enable us to situate the same in their precise historical and artistic context. The four great religions, Buddhism, Hinduism, Jainism and Islam that determine the history of Bangladesh will be duly represented.Sculptures of a impressive dimension have been recently unearthed: a bronze Buddha measuring 1,3 metres in Paharpur in 1982, a Gupta Buddha (from Sarnath) sculpted on both sides at Mahasthan in 1992, a bronze Vajrasattva, 1,40 metres in height, at Mainamati in 1995, and finally an Avalokitesvara found on the same site of the same material and size. These pieces are the real proud of Bangladesh Archaeology.I AM REALLY FORTUNATE TO LEAD THIS EXCAVATIONATION MAINAMATI,COMILLA
Apart from these, values of the heritage sites are not preserved properlyin course of conservation works. The country also lacks a national heritagemanagement plan. So it imperative that the problems should be identifiedproperly and suggestive measures must be undertaken for effectiveconservation and management of all the heritage sites.The sulptures found with our hard excavation and exploration works are unbelievably rich and complex heritage of Bangladesh. Benefiting from recent archaeological research helps us to show works from the Maurya period and go on until the 19th century. And thus we will retrace history whilst emphasising on a certain number of major sites. As a matter of fact, one of the characteristics of this heritage is that a lot of the pieces are well documented and enable us to situate the same in their precise historical and artistic context. The four great religions, Buddhism, Hinduism, Jainism and Islam that determine the history of Bangladesh will be duly represented.Sculptures of a impressive dimension have been recently unearthed: a bronze Buddha measuring 1,3 metres in Paharpur in 1982, a Gupta Buddha (from Sarnath) sculpted on both sides at Mahasthan in 1992, a bronze Vajrasattva, 1,40 metres in height, at Mainamati in 1995, and finally an Avalokitesvara found on the same site of the same material and size. These pieces are the real proud of Bangladesh Archaeology.I AM REALLY FORTUNATE TO LEAD THIS EXCAVATIONATION MAINAMATI,COMILLA
বৃহস্পতিবার, ১৬ ডিসেম্বর, ২০১০
Islamic Architectural Heritage In Bangladesh
Bangladesh has a long and rich Islamic background regarding thedevelopment of its arts, culture, music and architecture. The advent of Islam was made in the 13th century AD. in Bangladesh. Since thatadvent, the Muslim rulers continued their structural activities indifferent corners of the country. Of the major surviving relics aremosques. Besides there are examples of Mausoleum, Madrasah, Eidgah,Forts, bridges, hammam-khanas etc. Till today the Govt. has declared78 Mosques, 14 Mausoleums, 2 Katras, 1 Eidgah, 1 Madrasah, 3 HammamKhana, 4 Forts protected. The oldest Madrashah was built in theearliest 16th century AD. at Gaur. The earliast Eidgah is located incity of Dhaka. It is called Dhanmondi Eidgah. It was constructedduring the rule of Mughal prince Shah Suja in the 17th century AD.However among the oldest mosque mentions may be made of Sait GumbudMosque (Sixty domed Mosque) of Bagerhat (The early 15th century AD.),Chhota Sona Mosque (or small Golden Mosque) of Gaur, Bagha Mosque ofRajshahi, Kusumba Mosque of Naogaon, Lalbagh Fort Mosque of Dhaka cityand Goaldi Mosque of sonargaon. Of the surviving mausoleums the tombof bibi pari in Dhaka city, the tomb of bibi Marium in Narayangonj,the tomb of Giusuddin Azam shah and the tomb of Khan-e-Jahan inBagerhat are a few to note.The Muslim rulers also founded a number of towns since the verybeginging of this regime in Bangladesh. Of the towns special mentionsmay be made of sonargaon in Narayangong, Gaur in Chapai Nawabgong,Khalifatabad in Bagerhat and Jahangirnagar of Dhaka. All these townsare adorned with several kind of edifices i.e. – spring Garden, Katra,fort etc.The Muslim archaeological history of Bangladesh is divided into twomajor distinct period. One was the advent of the Muslims of SultanatePeriod (1204-1576 AD). This period experienced the introduction of newbuilding types such as mosques and mausoleums. The buildings however,assumed tangible expressions through adoration of regional forms,using the existing features and local materials.Next was the Mughal Period (1576-1757 AD). The Mughals were mightybuilders; their architectural accomplishments in Bengal were modest &articulated. Mughal Architecture was defined by their standard threedomed mosque and by panal decoration on plastered surfaces.Protections of Heritage:The Constitution of the People’s Republic of Bangladesh in itsarticles 24 stated that ‘The State shall adopt measures for theprotection against disfigurement, damage or removal of all monuments,objects or places or special artistic or historic importance orinterest’.In line with the Constitutional provision the Govt. enacted importantlaw namely ‘‘the Antiquities act. 1968’’ where conservation,preservation, protection of heritage monuments are the main contents.Protection of architectural heritage is predominantly important tosafeguard it from being damaged. Awareness in the community is a majorkey area that needs to be high lighted. The Department of Archaeologydeveloped school programme to sensitize the school children ofneighborhood about protection of sites. Archaeological Engineers asroutine Programme undertake activities to conserve and repair theHeritage site every year depending on the present situation of thebuildings and the resources available. The major problems they face isthe salinity on the walls, grounds, plasters, ceilings etc. Experts,specialists are trying hard to address this issue. UNESCO also hasbeen requested to explore experts from abroad to attend this problem.Tourism Potential:Architectural Heritage sites are considered very attractive spot fortourists of Home and Abroad. Its potentials are gradually increasing.To enhance this potential the Govt. has under taken a project ‘SouthAsian Tourism in fracture Development Project (Bangladesh Portion) withthe support of Asian Development Bank. This package included SaitGumbud Mosque (Sixty domed Mosque). In formulation of other projects,the Govt. considers Tourism potentials, and its requirments like safeConnectivity, Fooding, Lodging and law & Order situation as priority.We have in our country ‘Bangladesh porjoton corporation’ (BPC). ThatOrganization conducts all the tours in different Islamic heritagesites in the country.There are private tourism organizations too which facilitate journeyof the tourists, their logding and dinning. To strengthen the privatepartnership with Tour Operators an Event wise consultation are on.Citizens of Bangladesh are always happy to extend their hospitality tovisitors, in particular the foreign Tourists. Booklets, browshiors,folders are regularly being published from various dept. like Islamicfoundation, BPC, DOA etc. The Govt. has also given importance tointroduce light & sound display in various important Islamic Heritagesites. Meanwhile, in Lalbagh Fort specific activities are going on Bangladesh: The Tourism Destination, a document that contains all thesites, festivals with its present status is going to be published verysoon. It will help to understand, plan & develop the sites as a whole in near future.
সোমবার, ১৩ ডিসেম্বর, ২০১০
ARCHAEOLOGICAL WORKS IN BANGLADESH AND ITS FUTURE
ARCHAEOLOGICAL WORKS IN BANGLADESH AND ITS FUTURE
Archaeology is a fascinating modern science which is increasinglybecoming popular in the world for its un-limited scope ofRediscovering Civilizations and culture s long extinct. In advancedcountries many scientific methods are used to expand our knowledgedeeper into the past using infallible material evidences of man andhis environment. It extends the horizon of un- recorded history andPrehistory to an infinite range. In the absence of any Recordedhistory the only unerring source of piecing together man’s activitiesand progress on our planet is the material remains that he has leftbehind in the form of Monuments, arts and Crafts, various objects ofdaily use, Inscriptions, coins etc. which are known asAntiquities.Scientfic excavation and study of such antiquitiesfaithfully preserved by nature in stratified sites for centuries,reveal a fairly accurate picture of lost civilization and culture.
Archaeological Investigation in less than hundred years havesucceeded in unfolding astonishing details of PrehistoricCivilizations which flourished in Egypt,Mesopotamia,the Indus Valley,Crete and Mycenae to such an extent that the historical periods ofmany countries have failed to produce. Despite globalisation, the reality of each individual city is unique and complex.
There are no "urban models" of reference, only case studies. I hope that the architects,
urbanists and mayors who have kindly agreed to participate in this conference will demonstrate to us,
through such case studies, the ways in which each city's future can be anchored in its individual identity.
Let us all strive to protect and build an "urban heritage" as the basis for developing urban policies for the city of the future, the city of the new, democratic age.
In the over-populated cities of the developing South, other than in a few "museum towns", the demolition of entire historic urban sectors, the abandonment of unique historic buildings, and the construction of new buildings that are incongruous, to say the least, with the integrity of the historic urban fabric are combining to transform the cities' very identity. Furthermore, work to upgrade roads and improve mass transport systems, while necessary, may unfortunately be done without due regard to maintaining the integrity of historic centres.
If the essence of heritage protection is to preserve the ingenuity of the past for future generations, as well as to stimulate new creations, heritage must have a meaning in contemporary society. This is a fundamental precept of the World Heritage Convention, contained in Article 5. For heritage preservation that denies modernity, that obstructs development, that attempts to freeze time, would be counter-productive to the ultimate goal of human progress.
Archaeology is a fascinating modern science which is increasinglybecoming popular in the world for its un-limited scope ofRediscovering Civilizations and culture s long extinct. In advancedcountries many scientific methods are used to expand our knowledgedeeper into the past using infallible material evidences of man andhis environment. It extends the horizon of un- recorded history andPrehistory to an infinite range. In the absence of any Recordedhistory the only unerring source of piecing together man’s activitiesand progress on our planet is the material remains that he has leftbehind in the form of Monuments, arts and Crafts, various objects ofdaily use, Inscriptions, coins etc. which are known asAntiquities.Scientfic excavation and study of such antiquitiesfaithfully preserved by nature in stratified sites for centuries,reveal a fairly accurate picture of lost civilization and culture.
Archaeological Investigation in less than hundred years havesucceeded in unfolding astonishing details of PrehistoricCivilizations which flourished in Egypt,Mesopotamia,the Indus Valley,Crete and Mycenae to such an extent that the historical periods ofmany countries have failed to produce. Despite globalisation, the reality of each individual city is unique and complex.
There are no "urban models" of reference, only case studies. I hope that the architects,
urbanists and mayors who have kindly agreed to participate in this conference will demonstrate to us,
through such case studies, the ways in which each city's future can be anchored in its individual identity.
Let us all strive to protect and build an "urban heritage" as the basis for developing urban policies for the city of the future, the city of the new, democratic age.
In the over-populated cities of the developing South, other than in a few "museum towns", the demolition of entire historic urban sectors, the abandonment of unique historic buildings, and the construction of new buildings that are incongruous, to say the least, with the integrity of the historic urban fabric are combining to transform the cities' very identity. Furthermore, work to upgrade roads and improve mass transport systems, while necessary, may unfortunately be done without due regard to maintaining the integrity of historic centres.
If the essence of heritage protection is to preserve the ingenuity of the past for future generations, as well as to stimulate new creations, heritage must have a meaning in contemporary society. This is a fundamental precept of the World Heritage Convention, contained in Article 5. For heritage preservation that denies modernity, that obstructs development, that attempts to freeze time, would be counter-productive to the ultimate goal of human progress.
শনিবার, ১১ ডিসেম্বর, ২০১০
ArchaeologyOnline: Archaeological Information on the Web: New Jersey Archaeological ALERT! Petty's Run
ArchaeologyOnline: Archaeological Information on the Web: New Jersey Archaeological ALERT! Petty's Run: "Lt. Gov. Guadagno wants archaeological dig on [NJ] Statehouse lawn buried 11/27/2010 Tom Hester Sr. NewJerseyNewsroom.com Angry preservati..."
Safeguarding of the Intangible Cultural Heritage : Bangladesh
Bangladesh has been the cradle of civilization and a centre of cultural diffusion since the dawn of history of humankind. In it’s over two thousand years of chequered history Bangladesh became the meeting ground of various peoples in different states of civilization, the most primitive as well as the most advanced. Each phase of the history of this land has its distinct characteristics and every race who came and settled here, left their individual, racial, religious or cultural evidence in the form of secular and religious establishments along with their associated movable cultural properties. Unfortunately most of these have now perished with the passage of time due to destructive activities of man and nature. Still whatever relics, precariously survive today and lying scattered all over the country, eloquently testify to their lost splendor.
In 3rd century B. C. northern region of the largest delta formed a part of the vast Mauryan empire then known as ‘Pundravardhana Bhukti.’ Since then upto the 12th century A. D. north-west part of the country was successively ruled by the great Buddhist Mauryan rulers (3rd century B. C), the Guptas (5th century A. D), the Palas (8th to 11th century A. D) and the Senas (12th century A. D). The Trans-Meghna region to the south-east, however, constituted the ancient Buddhist kingdom of \Samatata\ -- a significant name indicating a kingdom located on the littoral of the Bay of Bengal. The Khadgas, the Devas, the Chandras, and the Varmans successively ruled over here. The whole country, later on, was gradually supplemented by the Turko-Afghan Muslim rulers from the beginning of the 13th century A. D.
The next Mughal rule from the 16th century to 18th century linked the Bengal region with the rest of India which resulted in a northern Indian cultural atmosphere along with Buddhist and Brahminical influences that prevailed in the country side by side with the tribal social ritualistic traditions. This socio-political fabric was further mingled with European cultures ushered in conquest of Bengal by the English in mid 18th century. Bengal remained under the British colonial rule for 190 years. Partition of India occurred in 1947 creating two countries, Pakistan and India. But the people of Bengal had to fight for democracy, equal right and economic parity within the new country. Cultural activist had significant role in all the struggle for freedom and economic emancipation. After 23 years of struggle against oppression. Bangladesh emerged as an independent state on 16 December, 1971. Under the leadership of the father of the nation Bangabhandu Sheikh Muzibur Rahman.
The cultural diffusion of Bangladesh took unique shape through its historical, geographical, religious and social context Specially scattered geographical location of gangetic delta and climatic diversity evolved emergence of scattered independent habitation of her population and from a singular, unique and diversified cultural tradition and history of modern Bangladesh.
02. Cultural heritage :
Cultural heritage is the bearing of past tradition of both tangible and intangible culture. The heritage are being maintained in the present which are to be carried down to the future generations. It retains and reflects the day to day life of the people and their activities. Basic components of culture are: knowledge, beliefs, ideology, education, language, ethics, laws and regulations, customs and many others, with the help of which a man identifies himself as a member of a particular society and a nation.
3.0. Bangladesh & Cultural Heritage:
Bangladesh has its own rich cultural heritage to glorify the image of the country in the world. It is possible to strengthen the image of the country as a nation through perfect development of culture and cultural heritage. Cultural activities can also be included with the economic development of the country. It is possible to develop a vibrant cultural economy through an interactive patronization among cultural activities, cultural traditions, tourism and trades.
3.1. Constitutional Commitments :
The importance of culture has been significantly underscored in postliberation days.
Bangladesh is committed for equal rights of people in every sphere of life. The urgency of protecting cultural heritage was strongly felt through the struggle for autonomy & independence. Immediately after independence state obligation was clearly envisaged in the new constitution of the country back in 1972.
Article-23 of our constitution says “The State shall adopt measures to conserve the cultural traditions and heritage of the people, and so to foster and improve the national language, literature and the arts that all sections of the people are afforded the opportunity to contribute towards and to participate in the enrichment of the national culture.”
Article-24 of the constitution envisaged: “The State shall adopt measures for the protection against disfigurement, damage or removal of all monuments, objects or places or special artistic or historic importance or interest”.
The highest legal instruments reflect commitment of the people and state in conserving cultural traditions & heritage and protection of archaeological & historical sites.
3.2. Law & other legal instruments :
For proper preservation and maintenance, flourishment and development of national culture and cultural traditions as in our National Policy of Culture was proclaimed in 2006 to uphold the traditional cultural heritages, beliefs and religious faiths of all the groups of people including all small ethnic groups inhabiting Bangladesh in accordance with the prevailing traditions of our country.
Bangladesh Shilpakala Academy, established under the Bangladesh Shilpakala Academy Act, 1989 (Act No. 22 of 1989), implements the objectives of the Policy under its purview along with its own activities. Its main objective is to safeguarding and fostering the national cultures as well as Intangible cultural heritage in Bangladesh.
Bangla Academy implements, according to the Bangla Academy Ordinance, 1978 (Ordinance No. 21 of 1978) for development and promotion of Bangla language, literature and culture.
Nazrul Institute, established under Nazrul Institute Ordinance, 1984 (Act No. 39 in 1984), ensures proper tune of Nazrul's song as per its notation and arrangs to offer training on it and inspire the scholars from home and abroad to undertake research on Nazrul's works and to implement relevant objectives of the Policy.
Bangladesh Folk and Art Foundation, established under the Bangladesh Lok O Karushilpa Act, 1998 (Act No. 8 of 1998), makes necessary arrangements for preserving history and folk-arts and crafts, imparting training on it, setting up an Art Museum and developing folk-arts and crafts and implementing the aims and objectives under its purview.
Khadra Nrigosti Ain has recently been adapted to allow establishment of cultural institute of ethnic and indigenous peoples of the country.
To preserve & protect cultural heritage of indigenous people an act naming Khudra Nri-Ghosty Cultural Institute Act has been enacted to protect indigenous cultural heritage.
To protect intellectual property right the Copyright Act, 2000 (Act No. 28 of 2000) and rules has been framed. Copyright Office takes effective steps for protection of copyrights of literary works, dramas, music, films and other related publications and implements the aims and objectives of the Policy under its purview.
3.3. Institutional arrangements:
The area of culture in Bangladesh is wide and extensive. Along with the Ministry of Cultural Affairs, Ministry of Information, Ministry of Education, Ministry of Commerce, Ministry of Civil Aviation and Tourism, Ministry of Women and Children Affairs and the Ministry of Religious Affairs are playing important roles in preserving, nourishing, fostering and flourishing the cultural heritage and traditions. The Ministry of Cultural Affairs playing the role of catalyst and coordinator through her following 17 organisations:
ArchaeologyOnline: Archaeological Information on the Web: Archaeological Field School on Edgefield, South Ca...
ArchaeologyOnline: Archaeological Information on the Web: Archaeological Field School on Edgefield, South Ca...: "Image via WikipediaArchaeological Field School on Edgefield, South Carolina Pottery Communities University of Illinois, Urbana-Champaign Ant..."
শুক্রবার, ১০ ডিসেম্বর, ২০১০
বৃহস্পতিবার, ২৫ নভেম্বর, ২০১০
MUSEOGRAPHY AT THE SERVICE OF ASIAN ART
Mankind's most authentic record is his art. Like Tom Thumb the wise little boy of the fairy-tale who threw pebbles to mark his path for those who would follow him later, so man of history and pre-history marked his path with the works of his art. Cataclysms struck, sweeping peoples together with their civilizations off the earth. But not all perished. Floods did not reach the mountaintops. Sandstroms did not penetrate into subterranean caves. And there, in these inaccessible places, careful hands concealed the precious memorials of the past. Fragments of lost civilizations did survive. The sands of the deserts, and the deep layers of the earth preserved them jealously in their recesses. If we look back to the history of Asian art particularly in the sub continent, we will find that the Buddhist artists for several centuries were prohibited from representing Buddha in human form. But gradually the desire "to see" the image of their beloved teacher gained the upper hand. By the first century of our era representations of Gautama Buddha and Buddhist saints in the guise of human beings began to appear.
We know that the existence in Asia of a Greco-Buddhist tradition and a school of art is usually connected with the campaigns -and conquests of Alexander the Great [334-327B.C.] although the road to India had been known by merchants and adventurers long before the conquests of Alexander.
Greco-Buddhist art shows less of purely decorative elements characteristic of the pictorial representations of the orient and more interest in the experience of human life.
The excavations in Taxila, Peshawar, and Hadda of Pakistan yielded rich material for the study of Greco-Buddhist art. The center of Greco-Buddhist art was in the northwestern province of Andhra, which occupied parts of the Punjab and Afghanistan. The influence of the Andhra School spread widely in Turkistan, China, and Japan.
Parallel with the Andhra school, another influential school of art existed in Mathura on the southern tip of the Kushana Empire. It flourished from the second century B.C.to the Sixth century A.D. It was based on popular national Non - Muslim tradition as represented by the art of Sanchi and Amaravati. Bound to it was the art of the Gupta Dynasty, [320 A.D.] One of the most brilliant epochs in the history and art of India.
To this epoch belong most of the frescoes of the cave-temples of Ajanta, which revealed clearly and tangibly to the western world the surprising heights attained by Indian painting. We must bore in mind that probably the painting in this extreme moist region of Bangladesh was not a great success. So, if we want to know anything about the art history of the sub-continent, we have to depend on the art history of India, Pakistan, Sri-Lanka, Japan and other important Asian countries.
Contemporary literature shows that painting was associated with virtually every phase of life. Frescoes covered the walls of temples and houses; manuscripts abounded in miniatures. The art of painting was as widespread as writing, if not more so. It represented a natural and convenient vehicle for the expression and transmission of thought.
Miniatures of the eleventh and twelfth centuries of our era, which have survived to present times as illustrations to texts of Buddhist manuscripts, were found in Bengal Of earlier miniatures nothing has been found as yet. However, according to ancient Indian literary evidence, the art of miniature painting like that of mural painting has existed in India since the dim past.
The chronicles of Indian art of the Mogul period contain many European names. Frenchman- Austin de Bordeaus, who served for a while at the court of Shah-Japan probably participated in decorating the famous Mausoleum of Taj Mahal.
It is rather astonishing that the modern school of art in India should have come into existence in Bengal, the province that adhered most conservatively to the ancient traditions. Popular rites and customs, with roots in the distant past, were preserved intact here through the course of the ages, and its folk art in particular are very rich. Folk art represents a deep mine for studying the origin of the art of a place as it is transmitted through the ages almost un-changed.
In the light of the above-mentioned discussion, we can now fix up the role of Museum and that of Museographer at the service of art. Naturally, a museum's principle activity is the use of the "language" peculiar to itself-that is, of presentation-to display the objects belonging to its collections or occasionally lent to it for temporary exhibition. The aim of presentation is to provoke and facilitate direct contact between the individual and the object, whether the individual be a child member of a school group or an adult alone, whether the object is a work of art, a specimen belonging to natural science, or a working model in a gallery of technology.
The science of the musiologist and the art of the museographer will convey the message simultaneously to diverse categories of persons. In the case of a work of art, the message of which is above all aesthic and therefore individual, contemplation and assimilation will be made easier by a layout whereby a significant number of persons may without mutual hindrance enter into intimate contact with the work and benefit from what have been called the "tactile values" by the art historian Bernard Berenson. Recollection of the content will thus be more pliant and more allusive.
Art museums are those whose collections are conceived and displayed essentially for their aesthetic value even if the objects they enclose are not all xvorks of art in the intention of their creator. In this way, in addition to the museums of painting, sculpture, decorative arts, applied and industrial arts, one may include most museums of antiquties, of folklore, and of primitive arts. As has been said above, the work of art is displayed for its own sake in order that a direct and intimate contact between the visitor and the object may be established.
The most important reason for preserving things in museums is to ensure that they will be available for study and study means handling.
Museums are the repositories of our cultural heritage and have the responsibility of interpreting this for us now and of conserving it for future generations. It is through museums that an important part of ourselves, our very roots, is revealed to us. We must remember that the things we preserve have not been destroyed by age because age of it is rarely destructive. By one miraculous accident or another they have survived of ten for hundreds of years, sometimes for thousands, the hazards of fire, tempest and war, theft, vandalism, and Most of all, our own negligence. They are often in greater danger in a modern building than at any other time in their lives; fluctuating temperatures, too much or too little moisture, ultraviolet radiation, insects, atmospheric gassed and bad handling may destroy what nature spared.
The general condition of most collections in Asia does not indicate that the responsibility for conservation is either properly appreciated or suitably carried out. The observant critic might even see beautiful stone sculptures and carvings being used by visitors and sometimes by museum staff as replacement for seats in the garden. Equally widespread is the accumulation of dust on wooden objects, paintings, ethnographical pieces and other types of materials.
In truth, if we see the problem in a wider context, the responsibility of conservation, particularly that of Museographer starts with the citizens themselves. We can often see graffiti on the walls of monuments, on mural paintings and sometimes on museum objects too, people cut carvings, heads of sculptures or Architectural pieces simply to decorate their drawing rooms. This type of vandalism might be attributed to the lack of awareness and of feeling for art on the part of the people.
It should be noted very clearly that even when objects are acquired and taken into a museum collection, they aren't preserved automatically. There are definite techniques and principles to be followed for their safeguard and care. Very often, whenever the words 'preservation' or 'conservation' are mentioned it is assumed by the curator that these matters are the concern of the conservation laboratory- and not of the curatorial staff. How we overcome this problem and create better consciousness of art objects are questions very much related to the ultimate preservation of our heritage.
To have national treasures to display at all means, we must maintain and restore them. There is an immense and urgent need for the establishment of conservation and restoration laboratories throughout the country. Lastly, I must say that as a whole the national cultural heritage is in such a state of neglect that if remedial action is not taken quickly, the value of the collections will diminish greatly in the next ten years, particularly in the small and medium-sized museums.
Cultural Diversity in the framework of international cooperation
The protection of the right to cultural diversity requires the development of international cooperation in the fields of education, science and culture within the framework of the existing treaties, covenants and agreements that govem the work of international and regional organizations and institutions. However, it must be stressed that the exercise of the right to cultural diversity throughout the world cannot blossom fully unless dialogue among religions, cultures and civilizations be enhanced and further developed till it entrenches the values of concord, cooperation and coexistence among the followers of the different civilizations, and consolidates international cooperation within the framework of the existing international and regional organizations, which constitute, in their own ite right, an international system that rallies peoples, nations, States and f governments alike, regardless of their religion, culture and civilization.
However, to be constructive, efficient and purposeful, dialogue and interaction among civilizations and cultures must be founded on the basis of mutual respect in the highest ethical sense. In addition, it must rest on a set of sound and credible rules agreed by all peoples and regarded as the legal code governing the international community. Civilizational dialogue and interaction will be, in this context, grounded on the international legitimacy as well as on the rules of international law, which not only constitute common denominators for
peoples and governments of the contemporary epoch, but are also, and more importantly, the chief conceptual framework generally acquiesced by each and everybody, unlike the religious, cultural and civilizational frameworks, which are a point of discord, indeed a source of struggle, which we, the heirs of the Islamic culture and civilization, view as a manifestation of the competition raging among peoples and nations, and thereby among cultures and civilizations.
Dialogue leading to civilizational interaction becomes, thus, a human act that has a direct impact on the course of history, as well as an efficient instrument that helps--n7eintain Viand security in the world, and a driving force that promotes stability and prosperity.
Being eager to maintain close ties with our civilizational identity and to safeguard the cultural personality of our peoples, we cannot accept the type of dialogue and interaction among cultures and civilizations which is no more than intellectual luxury, with no tangible impact on the contemporary reality, or on the decision-making circles. Nor do we want a type of dialogue and interaction that originates from a feeling of racial superiority and civilizational haughtiness, grounded on cultural hegemony.
In seeking to establish a type of dialogue conducive to civilizational interaction among cultures and civilizations, we are, in fact, aspiring to disseminate the values of tolerance, in
the purest sense of the term, as understood by the Believers in God, those who have faith in the unity of the human origin and destiny (Dr. Aidulazu Othmaan Altwafjri, on Building the Civilizational Edifice of the Islamic World, Vol. 2, in the press.). We are 'seeking to affirm, by the same token, the cultural and civilizational identities.
Today, the right to cultural diversity has become one of the rules of international law, corroborated by the Charter of the United Nations Organization, in addition to the many treaties and conventions governing cultural cooperation relations within the international community. To guarantee this human right is tantamount to affirming the specificity of the culture of each single people in the world. By the same token, it would highlight the national identities and their civilizational features, which conglomerate into the global human identity based on the unity of the human species and the similitude of the human traits as bestowed upon humans by the Almighty Creator.
In the first article of the declaration on the principles of international cultural cooperation (Issued by the General Conference of UNESCO, at its 14th Session, 4 November 1996.), it is said that
1/ each culture has a dignity and a value which must be respected and preserved ;
2/ each people shall have the right and the duty to develop its own culture ;
3/ all cultures, with their rich diversity, differences and mutual influence, constitute part of the heritage owned in common by all mankind.
The diversity of identities and specificities is not inconsistent in the least with the mutual interest of peoples and nations, provided it is allowed to unfold in the context of a human cooperation based on mutual acquaintance and coexistence. Such diversity embodies, indeed, the ingredients that stimulate the natural disposition of humans to work for the attainment of progress and prosperity, driven spontaneously by the force of competition and civilizational emulation.
Since identity is so inveterate in the life of peoples and nations, it cannot be overstepped, blotted out or fused in the crucible of a single, hegemonic identity, whatever be the motive. The attempt to mop up the identities of peoples by insidious, coercive means would not only be a deviation from the natural course of things and a rebellion against the laws of the universe and the essence of life, but it would also be a violation of the very laws agreed by humans, a dangerous encroachment upon the rules of international law and a threat to peace, security and stability in the world.
Heritage and perception of Identity
Our perception of the identity is based on our civilizational heritage. In the Arab-Islamic culture, "identity" means to be distinct from others in all concerns. The term takes on three meanings : the personification, the person himself and the external existence (Abu AI-Baga AI-Kafoui (d. 1094 H), AlKuiliyat, p. 961, authenticated by Dr. Adnan Darwish and Muhamed Al-Masri, Al-Risala Institution, Beirut, First Edition, 1992..
In the AI-Taarifat, by AI-Jurjani, identity is defined as the absolute truth that enshrines facts amidst its folds like the nucleus that embodies the future tree (AI-Sharif Ali Ben Muhamed Al-Jurjani, Kitabu AI-Taarifat, Dar Al-Kutub AlIlmiyah, Beirut, 1995, p. 257.).
In the contemporary literature, the term "identity" designates the fact of being the same in all respects, either to oneself or to a similar entity (The Arab Philosophical Encyclopedia, Vol. 1, p. 821, First Edition, Arab Development Institute, Beirut, 1986.). The same definition is given in the modern dictionaries, in which "identity" stands for the absolute essence of an entity, the essence which embodies its intrinsic qualities, distinguishing it from the others. It is also called the "unity of the self."
Whether we adopt the linguistic or modern philosophical acceptation of the term "identity," the general sense does not change for that matter, as it will always connote the fact of being distinct from others or of being the same in all respects, that is to say to have specific characteristics, values and constituents that distinguish the individual and society from others.
In short, the cultural and civilizational identity of a given nation represents the immutable and essential body of general characteristics and traits peculiar to the civilization of a nation,
which confer upon the national personality a patina that distinguishes it from the other national personalities (Dr. Muhamed Imara, Al-Hilal magazine, February 1997, Cairo.).
But how can the cultural and civilizational identity be safeguarded in the context of a far-reaching globalization, whose leverage stretches out to the entire international community ? More importantly, how can the requirements of national sovereignty tally with those of globalization ?
The trend taken by globalization portends an adverse impact on both identity and sovereignty. The Western stance vis-a-vis the identity of peoples is conspicuously contradictory.
While, on the one hand, the West takes great pride in its identity, to which it clings staunchly by the way, it refuses, on the other, to recognize the national identities of non-Western peoples, as it feels that globalization might lead to further awareness about cultural and civilizational specificity. In the view of the Western thinkers, in general, this is the thorniest problem with which they are confronted. Their intellectual perplexity vis-a-vis this problem is voiced with incomparable clarity.
We know that the existence in Asia of a Greco-Buddhist tradition and a school of art is usually connected with the campaigns -and conquests of Alexander the Great [334-327B.C.] although the road to India had been known by merchants and adventurers long before the conquests of Alexander.
Greco-Buddhist art shows less of purely decorative elements characteristic of the pictorial representations of the orient and more interest in the experience of human life.
The excavations in Taxila, Peshawar, and Hadda of Pakistan yielded rich material for the study of Greco-Buddhist art. The center of Greco-Buddhist art was in the northwestern province of Andhra, which occupied parts of the Punjab and Afghanistan. The influence of the Andhra School spread widely in Turkistan, China, and Japan.
Parallel with the Andhra school, another influential school of art existed in Mathura on the southern tip of the Kushana Empire. It flourished from the second century B.C.to the Sixth century A.D. It was based on popular national Non - Muslim tradition as represented by the art of Sanchi and Amaravati. Bound to it was the art of the Gupta Dynasty, [320 A.D.] One of the most brilliant epochs in the history and art of India.
To this epoch belong most of the frescoes of the cave-temples of Ajanta, which revealed clearly and tangibly to the western world the surprising heights attained by Indian painting. We must bore in mind that probably the painting in this extreme moist region of Bangladesh was not a great success. So, if we want to know anything about the art history of the sub-continent, we have to depend on the art history of India, Pakistan, Sri-Lanka, Japan and other important Asian countries.
Contemporary literature shows that painting was associated with virtually every phase of life. Frescoes covered the walls of temples and houses; manuscripts abounded in miniatures. The art of painting was as widespread as writing, if not more so. It represented a natural and convenient vehicle for the expression and transmission of thought.
Miniatures of the eleventh and twelfth centuries of our era, which have survived to present times as illustrations to texts of Buddhist manuscripts, were found in Bengal Of earlier miniatures nothing has been found as yet. However, according to ancient Indian literary evidence, the art of miniature painting like that of mural painting has existed in India since the dim past.
The chronicles of Indian art of the Mogul period contain many European names. Frenchman- Austin de Bordeaus, who served for a while at the court of Shah-Japan probably participated in decorating the famous Mausoleum of Taj Mahal.
It is rather astonishing that the modern school of art in India should have come into existence in Bengal, the province that adhered most conservatively to the ancient traditions. Popular rites and customs, with roots in the distant past, were preserved intact here through the course of the ages, and its folk art in particular are very rich. Folk art represents a deep mine for studying the origin of the art of a place as it is transmitted through the ages almost un-changed.
In the light of the above-mentioned discussion, we can now fix up the role of Museum and that of Museographer at the service of art. Naturally, a museum's principle activity is the use of the "language" peculiar to itself-that is, of presentation-to display the objects belonging to its collections or occasionally lent to it for temporary exhibition. The aim of presentation is to provoke and facilitate direct contact between the individual and the object, whether the individual be a child member of a school group or an adult alone, whether the object is a work of art, a specimen belonging to natural science, or a working model in a gallery of technology.
The science of the musiologist and the art of the museographer will convey the message simultaneously to diverse categories of persons. In the case of a work of art, the message of which is above all aesthic and therefore individual, contemplation and assimilation will be made easier by a layout whereby a significant number of persons may without mutual hindrance enter into intimate contact with the work and benefit from what have been called the "tactile values" by the art historian Bernard Berenson. Recollection of the content will thus be more pliant and more allusive.
Art museums are those whose collections are conceived and displayed essentially for their aesthetic value even if the objects they enclose are not all xvorks of art in the intention of their creator. In this way, in addition to the museums of painting, sculpture, decorative arts, applied and industrial arts, one may include most museums of antiquties, of folklore, and of primitive arts. As has been said above, the work of art is displayed for its own sake in order that a direct and intimate contact between the visitor and the object may be established.
The most important reason for preserving things in museums is to ensure that they will be available for study and study means handling.
Museums are the repositories of our cultural heritage and have the responsibility of interpreting this for us now and of conserving it for future generations. It is through museums that an important part of ourselves, our very roots, is revealed to us. We must remember that the things we preserve have not been destroyed by age because age of it is rarely destructive. By one miraculous accident or another they have survived of ten for hundreds of years, sometimes for thousands, the hazards of fire, tempest and war, theft, vandalism, and Most of all, our own negligence. They are often in greater danger in a modern building than at any other time in their lives; fluctuating temperatures, too much or too little moisture, ultraviolet radiation, insects, atmospheric gassed and bad handling may destroy what nature spared.
The general condition of most collections in Asia does not indicate that the responsibility for conservation is either properly appreciated or suitably carried out. The observant critic might even see beautiful stone sculptures and carvings being used by visitors and sometimes by museum staff as replacement for seats in the garden. Equally widespread is the accumulation of dust on wooden objects, paintings, ethnographical pieces and other types of materials.
In truth, if we see the problem in a wider context, the responsibility of conservation, particularly that of Museographer starts with the citizens themselves. We can often see graffiti on the walls of monuments, on mural paintings and sometimes on museum objects too, people cut carvings, heads of sculptures or Architectural pieces simply to decorate their drawing rooms. This type of vandalism might be attributed to the lack of awareness and of feeling for art on the part of the people.
It should be noted very clearly that even when objects are acquired and taken into a museum collection, they aren't preserved automatically. There are definite techniques and principles to be followed for their safeguard and care. Very often, whenever the words 'preservation' or 'conservation' are mentioned it is assumed by the curator that these matters are the concern of the conservation laboratory- and not of the curatorial staff. How we overcome this problem and create better consciousness of art objects are questions very much related to the ultimate preservation of our heritage.
To have national treasures to display at all means, we must maintain and restore them. There is an immense and urgent need for the establishment of conservation and restoration laboratories throughout the country. Lastly, I must say that as a whole the national cultural heritage is in such a state of neglect that if remedial action is not taken quickly, the value of the collections will diminish greatly in the next ten years, particularly in the small and medium-sized museums.
Cultural Diversity in the framework of international cooperation
The protection of the right to cultural diversity requires the development of international cooperation in the fields of education, science and culture within the framework of the existing treaties, covenants and agreements that govem the work of international and regional organizations and institutions. However, it must be stressed that the exercise of the right to cultural diversity throughout the world cannot blossom fully unless dialogue among religions, cultures and civilizations be enhanced and further developed till it entrenches the values of concord, cooperation and coexistence among the followers of the different civilizations, and consolidates international cooperation within the framework of the existing international and regional organizations, which constitute, in their own ite right, an international system that rallies peoples, nations, States and f governments alike, regardless of their religion, culture and civilization.
However, to be constructive, efficient and purposeful, dialogue and interaction among civilizations and cultures must be founded on the basis of mutual respect in the highest ethical sense. In addition, it must rest on a set of sound and credible rules agreed by all peoples and regarded as the legal code governing the international community. Civilizational dialogue and interaction will be, in this context, grounded on the international legitimacy as well as on the rules of international law, which not only constitute common denominators for
peoples and governments of the contemporary epoch, but are also, and more importantly, the chief conceptual framework generally acquiesced by each and everybody, unlike the religious, cultural and civilizational frameworks, which are a point of discord, indeed a source of struggle, which we, the heirs of the Islamic culture and civilization, view as a manifestation of the competition raging among peoples and nations, and thereby among cultures and civilizations.
Dialogue leading to civilizational interaction becomes, thus, a human act that has a direct impact on the course of history, as well as an efficient instrument that helps--n7eintain Viand security in the world, and a driving force that promotes stability and prosperity.
Being eager to maintain close ties with our civilizational identity and to safeguard the cultural personality of our peoples, we cannot accept the type of dialogue and interaction among cultures and civilizations which is no more than intellectual luxury, with no tangible impact on the contemporary reality, or on the decision-making circles. Nor do we want a type of dialogue and interaction that originates from a feeling of racial superiority and civilizational haughtiness, grounded on cultural hegemony.
In seeking to establish a type of dialogue conducive to civilizational interaction among cultures and civilizations, we are, in fact, aspiring to disseminate the values of tolerance, in
the purest sense of the term, as understood by the Believers in God, those who have faith in the unity of the human origin and destiny (Dr. Aidulazu Othmaan Altwafjri, on Building the Civilizational Edifice of the Islamic World, Vol. 2, in the press.). We are 'seeking to affirm, by the same token, the cultural and civilizational identities.
Today, the right to cultural diversity has become one of the rules of international law, corroborated by the Charter of the United Nations Organization, in addition to the many treaties and conventions governing cultural cooperation relations within the international community. To guarantee this human right is tantamount to affirming the specificity of the culture of each single people in the world. By the same token, it would highlight the national identities and their civilizational features, which conglomerate into the global human identity based on the unity of the human species and the similitude of the human traits as bestowed upon humans by the Almighty Creator.
In the first article of the declaration on the principles of international cultural cooperation (Issued by the General Conference of UNESCO, at its 14th Session, 4 November 1996.), it is said that
1/ each culture has a dignity and a value which must be respected and preserved ;
2/ each people shall have the right and the duty to develop its own culture ;
3/ all cultures, with their rich diversity, differences and mutual influence, constitute part of the heritage owned in common by all mankind.
The diversity of identities and specificities is not inconsistent in the least with the mutual interest of peoples and nations, provided it is allowed to unfold in the context of a human cooperation based on mutual acquaintance and coexistence. Such diversity embodies, indeed, the ingredients that stimulate the natural disposition of humans to work for the attainment of progress and prosperity, driven spontaneously by the force of competition and civilizational emulation.
Since identity is so inveterate in the life of peoples and nations, it cannot be overstepped, blotted out or fused in the crucible of a single, hegemonic identity, whatever be the motive. The attempt to mop up the identities of peoples by insidious, coercive means would not only be a deviation from the natural course of things and a rebellion against the laws of the universe and the essence of life, but it would also be a violation of the very laws agreed by humans, a dangerous encroachment upon the rules of international law and a threat to peace, security and stability in the world.
Heritage and perception of Identity
Our perception of the identity is based on our civilizational heritage. In the Arab-Islamic culture, "identity" means to be distinct from others in all concerns. The term takes on three meanings : the personification, the person himself and the external existence (Abu AI-Baga AI-Kafoui (d. 1094 H), AlKuiliyat, p. 961, authenticated by Dr. Adnan Darwish and Muhamed Al-Masri, Al-Risala Institution, Beirut, First Edition, 1992..
In the AI-Taarifat, by AI-Jurjani, identity is defined as the absolute truth that enshrines facts amidst its folds like the nucleus that embodies the future tree (AI-Sharif Ali Ben Muhamed Al-Jurjani, Kitabu AI-Taarifat, Dar Al-Kutub AlIlmiyah, Beirut, 1995, p. 257.).
In the contemporary literature, the term "identity" designates the fact of being the same in all respects, either to oneself or to a similar entity (The Arab Philosophical Encyclopedia, Vol. 1, p. 821, First Edition, Arab Development Institute, Beirut, 1986.). The same definition is given in the modern dictionaries, in which "identity" stands for the absolute essence of an entity, the essence which embodies its intrinsic qualities, distinguishing it from the others. It is also called the "unity of the self."
Whether we adopt the linguistic or modern philosophical acceptation of the term "identity," the general sense does not change for that matter, as it will always connote the fact of being distinct from others or of being the same in all respects, that is to say to have specific characteristics, values and constituents that distinguish the individual and society from others.
In short, the cultural and civilizational identity of a given nation represents the immutable and essential body of general characteristics and traits peculiar to the civilization of a nation,
which confer upon the national personality a patina that distinguishes it from the other national personalities (Dr. Muhamed Imara, Al-Hilal magazine, February 1997, Cairo.).
But how can the cultural and civilizational identity be safeguarded in the context of a far-reaching globalization, whose leverage stretches out to the entire international community ? More importantly, how can the requirements of national sovereignty tally with those of globalization ?
The trend taken by globalization portends an adverse impact on both identity and sovereignty. The Western stance vis-a-vis the identity of peoples is conspicuously contradictory.
While, on the one hand, the West takes great pride in its identity, to which it clings staunchly by the way, it refuses, on the other, to recognize the national identities of non-Western peoples, as it feels that globalization might lead to further awareness about cultural and civilizational specificity. In the view of the Western thinkers, in general, this is the thorniest problem with which they are confronted. Their intellectual perplexity vis-a-vis this problem is voiced with incomparable clarity.
বৃহস্পতিবার, ৬ মে, ২০১০
ARCHAEOLOGICAL MOUND AND MOUMENTS UNDER WORLD HERITAGE LIST
The protection and preservation of an historical monument is not an end in itself unless it is attractively presented and integrated in the social and cultural life of the people surrounding it. These monuments are not isolated objects of curiosity preserved at the tax-prayer's cost. While preserving these treasured heirloom of the nation and using them,care must be taken to ensure that the use for which an Historical building was originally designed is consistent with the monument. Pathetic violation of this internationally accepted principle is however, glaring in this part of the world. The bulk of the protected Monuments in
রবিবার, ২ মে, ২০১০
BANGLADESH ARCHAEOLOGY & ITS WORKS
A nation is known by the standard of respect and care it takes to protect and maintain its Cultural wealth of which it is an heir. Increased awareness of the people of more advanced countries are now safeguarding certain "Historical Zones"in the urban as well as rural areas by introducing special provisions in their law as rural areas by introducing special provisions in their law which are under private ownership threatened by destruction or whole renovation.
The protection and preservation of an historical monument is not an end in itself unless it is attractively presented and integrated in the social and cultural life of the people surrounding it. These monuments are not isolated objects of curiosity preserved at the tax-prayer's cost. While preserving these treasured heirloom of the nation and using them, care must be taken to ensure that the use for which an Historical building was originally designed is consistent with the monument. Pathetic violation of this internationally accepted principle is however,glaring in Bangladesh.
The bulk of the protected Monuments of Bangladesh are of religious character, still in use, such as Mosque,Tomb,Temple,Stupas and the like.Precisely for many of such reasons many of our important historical buildings of the country had to be 'Deprotected' and helplessly witness their spoliation. Conservation services in Developing countries are faced with manifold problems. Limited financial resources are one of the other or important obstacle to creating the needed administrative structure, establishing and running a variety of Museums, protecting historical sites, carrying out archaeological Excavations and starting restoration work on endangered monuments.However, adequate financial resources do not provide all these answers. These are usually a real source of anxiety for the Government of Bangladesh and other heritage conscious persons and organization.
In spite of the great handicap under which the Government of Bangladesh [Particularly Department of Archaeology, Bangladesh] had been working it has carried out commendable conservation of some important historical/Architectural monuments of the country.
Bangladesh archaeology believes that, History is defined as a Biography of a nation. Scientific approach to national history necessitates the exploration of Archaeological sources.
Bangladesh Government and the Department of Archaeology of Bangladesh is fully concerned with the standardized method of Protection, and Conservation and as such cannot refrain itself from the task of rebuilding history of Bangladesh.And the past cannot be rebuild on the debries of the future
শনিবার, ১ মে, ২০১০
INTANGIBLE CULTURAL HERITAGE OF BANGLADESH
The Colorful Cultural life of the tribal people of Bangladesh also plays an important part in the Cultural life of Bangladesh.
The picturesque hill ranges of their peripheral regions on the north -east, east and south-east, ordering Mymensingh ,Sylhet,and Chittagong Hill tracts are inhabited by a number of tribal people, whose culture and way of life are as varied and colorful as the natural beauty of our land.Dress,ornaments,tools and weapons ,rituals,customs,traditions and crafts are sharply different from the people of the plains. No cogent history, but some legends, is to be found about any of the quasi-tribal groups living at present in Bangladesh. According to the legend a, still in current, each appear to be a sub-segment of a nomadic tribe who prowled in the neighboring lands for their sustance in the hoary past and ultimately wended its way into naturally forlorn lurking pockets of Bangladesh following incessant feud for either land or leadership. This supposition may be held to be correct for the Northerners as well as east-enders only since we have definite proof that the Westerners were brought as immigrants by different colonial peers
From Santalparganah, Nagpur and Ranchi of India in the late-medieval period. Whatever may be the case, they are now sharing Bangladeshi nationhood at full length.But,they are gradually forgetting their hereditary style of life with the fast expanding urbanization.
Therefore, the Government of Bangladesh now maintains five Tribal Cultural Institutes and an ETHNOLOGICAL MUSEUM across the country with a view to make the future generation informed about the different issues of their traditional phenomena. Even the National Museum of Bangladesh also has one more galleries to serve the the same purpose.
And since these tribal peoples yet retain their distinctiveness and appear to have little advanced from the Neolithic primitive social pattern of life. These we can call our most important INTANGIBLE CULTURAL HERITAGE.
Among these hill people by far the largest population lives in the Chittagong Hill-Tracts, which indeed is the only predominantly tribal district in Bangladesh. These tribal people of Bangladesh live in this region on the fringe of Civilization in comparative isolation.
We the modern and common people of the plain have very little knowledge the colorful life of our Hill tribes, which indeed is a separate world in capsuled from our Modern Society.
At this stage of life however, it is very difficult to assess how long they can resist the pace of gradual Modernization /industrialization into their Hills. In the long run it is inevitable that their distinctive way of life, customs, dress, ornaments, and arts and crafts will disappear with the passage of time. It is needless to argue here if it would be form their benefit or it would result in precipitating a cultural Tragedy
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