United News of Bangladesh

With temperatures nearing 40 degrees Celsius outside, Chicago native Michael Shedd visited a hotpot restaurant located inside a former air-raid shelter in southwest China’s Chongqing Municipality. In front of him was a bubbling, intensely spicy broth, but the heat and humidity did not seem to bother him. “I feel it’s cool as I get inside, just like there are air conditioners, but there are not. This is amazing,” Shedd said. Thousands of air-raid shelters were carved into Chongqing’s mountainous terrain in the late 1930s and early 1940s. Once used as refuges for civilians during China’s War of Resistance Against Japanese Aggression, many have since been converted into hotpot restaurants, teahouses and venues for Sichuan Opera performances. The shelters offer visitors a naturally cool environment while preserving an important part of the city’s history. “The temperature inside the shelters remains around 25 degrees Celsius all year round,” said Wang Jing, marketing director of the restaurant. During summer weekends, the restaurant serves more than 300 tables a day, with about one in six diners coming from overseas. “I feel like eating in history. The food is also good. You are never gonna find something like this anywhere in the world,” Shedd said, describing the restaurant as “legendary.” As a severe heatwave sweeps across parts of the world this summer, such unusual destinations have helped make “China Cool” a popular term on overseas social media, following the earlier trend of “China Travel.” By late July, bookings for inbound summer trips to China had increased by more than 20 percent from a year earlier. Data from Trip.com showed that European countries accounted for 30 percent of the top 20 source markets for inbound tourism to China this summer. Orders from Europe surged 275 percent year on year, while ticket sales increased by more than 2,000 percent. Natural Retreats China’s vast territory and diverse climate provide numerous natural destinations for visitors seeking relief from the summer heat, ranging from high-altitude plateaus and forested mountains to coastal areas. Huangshizhai, a scenic area in Zhangjiajie National Forest Park in central China’s Hunan Province, stands more than 1,200 meters above sea level. Its dense forests and mountain breezes provide a naturally cool environment. Data from the past five years show that average summer temperatures at major tourist sites in the park ranged between 16 and 25 degrees Celsius from June to August. “For me, it’s been a wonderful trip. I’m here with my family, surrounded by nature and spending time with Chinese friends. It feels great,” said French tourist Isabelle Sala Jaboule while walking along a trail in Huangshizhai. “It’s very hot in France right now, but here we can breathe fresh air and feel so much cooler,” she said. Zhangjiajie National Forest Park received more than 100,000 international tourists in July, up 46.78 percent year on year, with visitors from 148 countries and regions, according to local authorities. A similar increase has been recorded in northeast China. At the Changbai Mountain Scenic Area in Jilin Province, located on the “golden summer escape” belt around 42 degrees north latitude, daily visitor numbers have exceeded 30,000 since the summer peak began in July. The number of overseas tourists has risen 38 percent compared with the same period last year. “This summer, we’ve seen notable growth in tour groups from Europe, the United States and the Republic of Korea,” a staff member at the scenic area said. “Overseas visitors have shown a strong preference for nature-based activities such as forest hiking and splashing in mountain streams, with the area’s consistently cool temperatures the key draw,” the staff member said. “Yesterday we visited the west slope of Changbai Mountain, and today we came to the north slope. We’ve been greeted by waves of cool mountain air. I just want to etch all the scenery before my eyes deep into memory,” said Choi Suk-rye, a visitor from the Republic of Korea. “This is my first time in China, and I hope I can come back often,” said another South Korean traveler, Ahn Sun-mi. Urban Chill China’s cooling infrastructure is also becoming part of the summer travel experience. By 2025, China had 150.6 air conditioners for every 100 households, or more than 1.5 per household, according to the National Bureau of Statistics. Over the years, cooling facilities have expanded beyond homes into public spaces, including shopping malls, neighborhood cooling stations, underground shelters and transport hubs. At Huaqiangbei, a large electronics market in Shenzhen, French visitor Jocelyne spent more than an hour exploring a shopping mall. “There’s air conditioning everywhere in China. It’s very comfortable,” she said, pointing to a portable fan she had found. “I’d like to get a few to take back for my friends.” “For European visitors from places where air conditioning is not yet ubiquitous, the sheer availability of cool, air-conditioned spaces almost everywhere in China can be quite a revelation,” said Yang Yong, who works for an international travel agency. At The Ring shopping mall in Chongqing, visitors encounter a lush indoor rainforest rather than rows of conventional stores. Misting systems and specially designed lighting help maintain the temperature at around 21 degrees Celsius. “The scenery in the mall has become quite popular on overseas social media, so I came here to see it for myself,” said Avidar, a visitor from Jordan. “It’s not only a cool place to escape the summer heat, but also a feast for the eyes,” he said. In Chongqing’s historic Mountain City Alley district, a 400-meter pedestrian walkway has also been turned into a “cooling corridor.” Misting systems and shaded areas lower the perceived temperature by 3 to 5 degrees Celsius. Meanwhile, 23 subway stations in Shenyang, capital of northeast China’s Liaoning Province, have established cooling areas with benches since June 21. The facilities are open to everyone without requiring a ticket or transit card and will remain available until the end of September. Deeper Stays  China’s expanding visa-free transit arrangements and improved travel facilitation have contributed to a noticeable change in inbound tourism this summer, with visitors staying longer and exploring beyond traditional tourist routes. For many international travelers, “China Cool” means more than escaping high temperatures. It represents a different kind of travel experience combining cultural discovery with modern innovation. Visitors are practicing traditional exercises such as Baduanjin, drinking tea, exploring intangible cultural heritage, traveling on high-speed trains, making mobile payments and visiting technology hubs. In southwest China’s Yunnan Province, a popular destination for international tourists, travelers staying four to seven days accounted for 35 percent of visitors, while 23 percent stayed for more than a week, according to a Trip.com official. Juan Antonio of Spain is among them. During his eighth trip to China this summer, he traveled to Yunnan after reading several books about the province before his arrival. In Kunming, the provincial capital, he visited Yuantong Temple, a Buddhist site dating back 1,200 years. “Here, an ancient temple gazes calmly across at a high-rise a hundred meters away. That’s the China I came to understand,” Antonio said. His itinerary includes traveling from northwest Yunnan to the south, with stops in Dali to experience ethnic tie-dye, Lijiang to see traditional Naxi homes, Shangri-La to watch the sunrise over snow-capped mountains and Yuanyang to admire its famous rice terraces. For Dutch visitor Bilal Badri, a trip to Chongqing was inspired by the video game “Cyberpunk 2077.” At an observation deck atop a skyscraper, he stepped out over the edge in a safety harness and posed against the city’s illuminated nightscape for what he described as a “once-in-a-lifetime shot.” “The whole city looked very cyberpunk,” he said, adding that Chongqing’s distinctive experiences offer visitors opportunities to explore the city beyond conventional sightseeing. Similar experiences are being reported across China as the summer travel surge reflects the country’s continued growth in inbound tourism. Data from the National Immigration Administration showed that China recorded 22.91 million inbound visits by foreign nationals in the first half of this year, up 20.4 percent year on year. Of those visitors, 77.7 percent benefited from visa-free entry arrangements. “A China that pursues peaceful development, buzzes with innovation, and pulses with cultural richness is winning ever-greater trust and recognition around the world,” Chinese Foreign Ministry spokesperson Lin Jian said at a regular news briefing in late July. “We welcome more international friends to come and feel the warmth and vitality of a Chinese summer for themselves,” he said.

Bangladesh on Monday marked the 103rd birth anniversary of internationally acclaimed painter SM Sultan with a day-long celebration in his native Narail district, honouring an artist who once shared exhibition space with Pablo Picasso and Salvador Dali yet spent his life painting barefoot farmers in a mud-walled village studio. The programmes, organised by Bangladesh Shilpakala Academy in association with the SM Sultan Sangrahashala and the district administration, were held at the SM Sultan Memorial Museum and Shishu Sworgo (Children's Paradise) and the District Shilpakala Academy in Narail. The day's events included an art camp featuring 20 local artists, a painting festival and exhibition involving more than 300 children from Shishu Sworgo, the newly launched "Sultan Sammanona Padak" (Sultan Honour Medal) presentation, a discussion on the artist's life and work, and a cultural programme. Cultural Affairs Minister Nitai Roy Chowdhury, speaking at the event, said Sultan's stature extended far beyond Narail or the banks of the Padma. "This world-famous painter belongs not just to us in Narail, but to the whole of Bangladesh and the world," he said, announcing that the Sultan Sammanona Padak, introduced this year, will place special focus on school-based initiatives to nurture young artists from rural Bangladesh. "If children in small village schools are encouraged in art and given the opportunity, their intellect will awaken and flourish, and they will be able to stand tall," the minister said. Bangladesh Shilpakala Academy Director General, poet Rezauddin Ahmed (Rezauddin Stalin), described Sultan as the most humane and life-affirming artist Bangladesh has produced. "He is the greatest painter of agrarian civilisation, a pride of Narail, of greater Jashore, of Bangladesh and of the entire world," he said, expressing hope that children growing up at Shishu Sworgo will one day become artists in Sultan's own mould. Born Sheikh Muhammad Sultan on August 10, 1923, the artist became known simply as SM Sultan, an icon whose canvases evoke rural Bengal much as poets Jibanananda Das or Jasimuddin might have painted it, had they traded pens for brushes. Unlike abstract or cubist art, which often demands interpretation even from its own creators, Sultan's work speaks for itself at first glance. His most distinctive signature was the muscular, almost superhuman physique he gave to Bengal's peasants, a striking departure from the frail, emaciated figures typically associated with rural farmers.

More than a dozen men and women work at wooden looms, moving shuttles through rows of wool yarn and pulling each thread tightly into place as they weave Pulu, a traditional woolen fabric that has been used on the Tibetan plateau for centuries. They work at the Ethnic Huaji Handwoven Cooperative in Shannan, where artisans are working to preserve one of Tibet’s oldest weaving traditions while also providing jobs for local people. Founded in 2008 by Tibetan artisan Pasang, the cooperative employs more than 100 local residents, including people with disabilities. It also teaches younger Tibetans the traditional craft, which Pasang feared was gradually disappearing.  

The country on Thursday observed the 85th death anniversary of Nobel Laureate Rabindranath Tagore, with people from all walks of life paying tribute to the literary giant revered as the Bishwakobi (World Poet). Although Tagore died on August 7, 1941, according to the Gregorian calendar, at the age of 80, his death anniversary is traditionally observed on the 22nd of Srabon in the Bengali calendar. Tagore's poetry inspires freedom-loving Bangladeshis: Chief Whip  Various cultural organisations and institutions arranged commemorative events featuring music, recitation, discussions and reflections on Tagore’s life and works. The state-run and private television channels aired special programmes highlighting the poet’s legacy. Born on May 7, 1861 (25th of Baishakh, 1268 in the Bengali calendar) in Jorasanko, Kolkata, Tagore was the youngest of 13 surviving children of Debendranath Tagore and Sarada Devi. A towering figure in Bengali literature and culture, Tagore composed over 2,000 songs, establishing a unique genre known as “Rabindra Sangeet.” His vast literary contributions include eight novels, 84 short stories, countless poems, plays, and essays over a career spanning nearly seven decades. He founded Visva Bharati University at Santiniketan in 1921, envisioning it as a centre for global learning rooted in Indian traditions. In 1913, Tagore became the first non-European to receive the Nobel Prize in Literature for his English translation of Gitanjali (Song Offerings). Two of his songs became national anthems – “Amar Sonar Bangla” for Bangladesh and “Jana Gana Mana” for India – reflecting his enduring influence across the subcontinent. 

A banner displayed by Argentina’s national football team after defeating England in the World Cup semifinals has reignited public interest in the disputed Falkland Islands, known in Argentina as the Malvinas, turning the territorial issue into a nationwide cultural phenomenon. The hand-painted banner reading “Las Malvinas son Argentinas” (“The Malvinas are Argentine”) quickly spread across Argentina, appearing on T-shirts, murals, stickers, jerseys, artwork and social media. Thousands also downloaded a typeface inspired by the banner’s lettering. The Falkland Islands, administered by Britain since 1833, are claimed by Argentina. The two countries fought a 10-week war over the islands in 1982, leaving 649 Argentine and 255 British troops dead. Britain cites a 2013 referendum in which islanders overwhelmingly voted to remain a British territory. War veteran Edgardo Esteban said the World Cup had introduced a new generation to the Malvinas issue. Ahead of the semifinal, FIFA prohibited political messages inside the stadium, but Argentine players unfurled the banner after supporters threw it onto the pitch. The display drew criticism from British politicians and prompted FIFA to charge the Argentine Football Association. Meanwhile, the banner sparked a merchandising boom and renewed political debate in Argentina. Experts say the incident also boosted global awareness, with Google searches for “Malvinas” surging 2,400% after the semifinal.

Visitors thronged the final day of 'Search Soul, Soil', a group art exhibition featuring works by seven contemporary Bangladeshi artists at Alliance Française de Dhaka in Dhanmondi on Tuesday.  Centered on themes of memory, landscape, the environment, cultural heritage, biodiversity and the relationship between people and the land. The exhibition showcased artworks by Banani Simlai, Dipro Bonik, Sithi Sinha, Lutfa Mahmuda, Md Faijul Islam, Md Hashem and Ruposhree Hajong before concluding its run. Drawing on personal experiences and observations, the artists engage with contemporary environmental realities, ecological transformation and broader questions surrounding human existence. Against the backdrop of environmental degradation, biodiversity loss and the growing impacts of climate change, the exhibition encourages visitors to reflect on the relationship between nature, land and humanity.

UNESCO on Sunday added Greece’s Mount Olympus, Japan’s ancient capitals of Asuka and Fujiwara, and South Sudan’s Boma-Badingilo Migratory Landscape to its prestigious World Heritage List during the World Heritage Committee session in South Korea. The committee, meeting in the southeastern city of Busan through Wednesday, is reviewing dozens of nominations from around the world. Mount Olympus, famed in Greek mythology as the home of the 12 Olympian gods, was recognized as a mixed cultural and natural heritage site after a 12-year campaign by Greece. Standing 2,918 meters above sea level, the country’s highest peak is renowned for both its mythological significance and rich biodiversity. Greek officials welcomed the recognition, saying it reinforces the country’s commitment to preserving the mountain’s unique natural environment amid concerns that increased tourism could put additional pressure on the site.  

The 14th death anniversary of eminent playwright, novelist and filmmaker Humayun Ahmed is being observed across the country on Sunday through various commemorative programmes. Widely regarded as one of the most influential figures in modern Bengali literature, Humayun Ahmed passed away on July 19, 2012, at the age of 63, after battling colorectal cancer at Bellevue Hospital in New York, USA. To mark the day, his family and several cultural organisations have arranged a series of programmes in different parts of the country. Various organisations and platforms are commemorating the day with diverse events, and fans are sharing emotional tributes on social media. Born on November 13, 1948, in Kutubpur village of Mohanganj in Netrakona, Humayun Ahmed was the son of Foyzur Rahman Ahmed and Ayesha Foyez. He completed his SSC from Bogura Zilla School and HSC from Dhaka College.  He earned both his BSc and MSc in Chemistry from Dhaka University and joined its Chemistry Department as a lecturer. He later pursued a PhD in Polymer Chemistry from North Dakota State University in the US. 'Nondito Noroke' (1972) was Humayun Ahmed's debut novel, which gave Humayun the breakthrough and propelled his career as a writer. The Ekushey Padak winner writer wrote over 200 fiction and non-fiction books, all of which were bestsellers in Bangladesh to date. In his illustrious career, Humayun Ahmed won Bangla Academy Award, Lekhak Shibir Award, Shishu Academy Award, Michael Madhusudan Padak, Bachsas Award, and more for his outstanding contributions to the Bengali culture and entertainment sphere. He debuted with his drama 'Prothom Prohor' (1983) for Bangladesh Television (BTV). His successful journey in television continued with popular drama serials 'Ei Shob Din Ratri', 'Bohubrihi', 'Ayomoy', 'Nokkhotrer Raat', 'Aaj Robibar' and most notably, 'Kothao Keu Nei' which created a historic hype in the nation. Humayun Ahmed also explored success as a filmmaker in the early 1990s and went on to make a total of eight films in his filmmaking career, each based on his novels. Two of his films, 'Syamol Chhaya' (2004) and 'Ghetuputra Komola' (2012) were the official Bangladeshi submission for the Academy Award for Best Foreign Language Film in their respective years. He received seven Bangladesh National Film Awards in different categories for the films 'Shonkhonil Karagar' (as screenwriter), 'Aguner Poroshmoni', 'Daruchini Dwip' and 'Ghetuputra Komola'.

Gallery Cosmos and Cosmos Atelier71 hosted the 11th session of its artist talk series, Cosmos Art Echo, on Saturday, featuring the artistic transformation of distinguished Bangladeshi artist, art educator, curator and researcher Bishwajit Goswami. The session, titled "Metamorphosis," was held at the Cosmos Atelier71 Studio at Cosmos Centre in Malibagh, bringing together artists, students, art educators and cultural enthusiasts for an in-depth discussion on transformation in artistic practice, cultural identity and contemporary visual language. Through his multidisciplinary and research-based practice, Bishwajit reflected on his lifelong artistic evolution, saying nothing had been able to stand in the way of his journey of transformation. Bishwajit Goswami’s practice centers on six foundational elements—Ma, Mati, Manush, Bhasha, Swadesh and Prokriti—representing mother, soil, people, language, motherland, and nature. Through multidisciplinary approaches, he investigates how these interconnected elements shape collective identity.  His practice emphasizes collaboration, site-responsive methodologies, and sustained dialogue with artisans and communities across local and international contexts. Both his artistic and curatorial works advocate shared authorship, repositioning traditional forms within contemporary frameworks through processes of exchange. Goswami said his creative practice is deeply rooted in nature, drawing inspiration from natural phenomena such as the tides, the roar of the sea and the first light of day entering his studio. Reflecting on his role as an educator at the Faculty of Fine Arts, he described teaching as a continuous learning process, saying the enthusiasm and energy of young students, including watching them paint on large canvases, remain one of his greatest sources of inspiration. He stressed that art should communicate with everyone- from rickshaw pullers to schoolchildren- and said he was proud that his wall-paintings were protected following the July movement because ordinary people felt connected to them. Speaking about his curatorial works, Bishwajit said he focused on presenting the richness and strength of Bangladeshi culture to international audiences, citing his work with the Victoria and Albert Museum as an example.

The first known international appearance of HOBEKI?’s iconic Subodh graffiti has disappeared from a wall in Rangpo, Sikkim, only five days after it was first reported. The large stencil mural, which appeared near the Majitar Nala Bridge on the Gangtok–Rangpo Road around June 30, 2026, immediately attracted widespread attention across both Bangladesh and India. Its emergence marked the first documented appearance of HOBEKI?’s work outside Bangladesh and generated extensive discussion in newspapers, television, online media, and social media on both sides of the border. HOBEKI? crosses borders: Subodh appears at Gateway to Sikkim Several Indian news outlets interpreted the work from different perspectives. Some viewed it primarily as a remarkable example of contemporary street art, while others questioned its appearance in a sensitive border state and discussed possible security implications. The mural quickly became the subject of public debate, with discussions extending beyond art into questions of borders, identity, diplomacy, and public space. ARTCON, an art agency documenting the artist's practice, has now learned that the mural has been removed. As of publication, no individual or authority has publicly claimed responsibility for its removal, and no official explanation has been issued. The circumstances surrounding its disappearance therefore remain unknown. The removal is, in one sense, consistent with the inherently temporary nature of street art. Graffiti created on outdoor walls is constantly exposed to weather, redevelopment, repainting, political poster campaigns, and advertising. Bangladesh itself has witnessed numerous examples of significant graffiti works disappearing within days or months of their creation. HOBEKI?‘s work, however, occupies a distinctive position within South Asian street art. The artist’s anonymity, highly recognisable visual language, and refusal to explain individual works have made each new Subodh mural an event in itself. Every appearance generates public curiosity, multiple interpretations, and, at times, controversy. That same combination has also meant that several of the artist’s earlier murals in Bangladesh have disappeared shortly after attracting public attention. Social thinker Professor Manosh Chowdhury observed that politically sensitive public art often creates discomfort for certain sections of society and that graffiti carrying strong symbolic meaning has repeatedly disappeared in different contexts. Expressing a complex reaction to its rapid destruction, Prof. Chowdhury noted that it triggers a "complicated emotion because this is a painting most people were not even supposed to see in person given its location, yet it was erased so quickly." He reflected that while multiple works by 'Hobe Ki' or the 'Subodh series' have remained intact on several walls in Dhaka, others did not last long. However, because of its strategic location and the significance it had gained, the feeling is even more intricate, leaving a strange sense of loss. The Sikkim mural itself invited interpretation without providing any explicit explanation. It depicted Subodh lying in a hammock woven from barbed wire, holding a wire cutter, with a bucket resting below and the Teesta River nearby. As with all of HOBEKI?’s works, the artist offered no statement explaining its meaning. ARK Reepon, art analyst and founder of ARTCON, noted that although the wall has now been erased, the conversation it initiated continues. He observed that as with many significant works of street art, the mural’s physical life proved brief, but its cultural afterlife may prove considerably longer.