United News of Bangladesh

Artist Moni Majhi’s solo exhibition ‘Non-duality (Adwaita)’, exploring the interconnectedness of human life, nature and cultural traditions shaped by the riverine landscape of the Sundarbans, was inaugurated at La Galerie of Alliance Française de Dhaka (AFD) on Friday. Rooted in the ecological and cultural landscape of the Sundarbans, the exhibition draws inspiration from the region’s rivers, forests, tides, saline waters, soil, wildlife, myths and folk beliefs, reflecting a worldview based on coexistence, shared memory and interconnectedness. Through the concept of Adwaita, the artist moves beyond religious doctrines to explore a cultural philosophy in which distinctions between beliefs, identities and forms of life remain fluid. At the heart of the exhibition is the shared cultural imagination of different religious and spiritual traditions. Bon Durga and Bonbibi are perceived as manifestations of the same Mother, while Paban Thakur and Paban Pir belong to a common realm of folk beliefs.

‘Peripheral Imaginaries’, a special art exhibition exploring the lives, struggles and aspirations of landless communities through their own artistic expressions opened at Bengal Shilpalay in the capital on Thursday, marking the 45th anniversary of rights organisation Nijera Kori. The exhibition was inaugurated at 6 pm by artist Syed Abul Barq Alvi and Rahela Begum, a landless leader from Khulna. Curated by Mahbubur Rahman, the three-day exhibition brings together works co-created by members of landless communities and artists from Britto Arts Trust, challenging conventional ideas about whose experiences are recognised as art and who has the authority to shape its narratives. The exhibition explores how land, ecology, labour and everyday life shape the imagination of communities whose intimate knowledge of their surroundings often contrasts with the insecurity of their claims to the land.

Dhallywood actor Shiba Shanu has been appointed Managing Director (MD) of the Bangladesh Artists’ Welfare Trust at the rank of an Additional Secretary. The appointment is contractual for one year, with salary and allowances equivalent to Grade-2, according to a recently issued notice by the Ministry of Public Administration. Shiba Shanu’s real name is Chowdhury Mazhar Ali. According to the notification, he has been appointed under Section 12(2) of the Bangladesh Shilpi Kallyan Trust Act, 2001, for one year from the date of joining, subject to relinquishing his professional, business and employment affiliations with any government, semi-government or private institution or organisation. Other terms and conditions of the appointment will be determined through a contract, the notification said. Shiba Shanu is currently serving as President of the Bangladesh Film Artistes’ Association. He will have to relinquish the position to join the Artists’ Welfare Trust as its managing director. However, the actor has yet to announce his decision regarding the association’s presidency.

Inspired by Bangladesh’s rickshaw painting tradition, the Buddy Bear at the German Embassy bridges two cultures through vibrant art, nature, and a shared message of unity. A German icon has found a distinctly Bengali voice in Dhaka. Standing on the grounds of the German Embassy, the familiar Buddy Bear sculpture has been transformed through the vivid colors and intricate motifs of Bangladesh’s celebrated folk-art tradition. Repainted by local artists Rasel Rana (known as Sajen) and Miraj Hossain ahead of the Day of German Unity, the sculpture offers a striking visual celebration of friendship between two nations. Draped in light blue, vivid floral patterns, native birds, and rural landscapes, the bear draws directly from the visual language of rickshaw painting—an art form deeply woven into the fabric of everyday Bangladeshi life. The result goes far beyond a decorative makeover: it is a true synthesis of artistic traditions, reimagining a classic German symbol through a Bangladeshi lens. A Symbol Reinterpreted The Buddy Bear project originated in Berlin in 2001, conceived by Klaus and Eva Herlitz. With their upright posture and raised arms, the sculptures were created to champion peace, tolerance, and international understanding, becoming informal global ambassadors for Berlin in diplomatic spaces worldwide. A core principle of the project is that each bear should reflect the cultural heritage of its host country. In Dhaka, this spirit comes alive through rickshaw painting—renowned for its bold palettes, decorative exuberance, and lively depictions of nature and daily life. Earlier this year, the German Embassy hosted a design competition inviting local artists to propose a Bangladeshi interpretation of the sculpture. Artist Rafiur Suny submitted the winning concept, which provided the blueprint for lead artist Rasel Rana and co-artist Miraj Hossain to bring to life. For Rana, the project offered a rare chance to bridge distinct creative identities. Describing the process, he noted that shaping a German form through an Asian artistic vision harmonizes diverse aesthetics and creative energies into a powerful symbol of unity. That unity is visibly woven into the sculpture itself: the bear’s raised arms bear the national colors of both Germany and Bangladesh—a joint visual statement of mutual respect and enduring friendship. Artistry and Endurance Behind the Canvas Bringing the vision to life required both artists to venture beyond their usual domains of canvas painting and performance art. Transforming a three-dimensional, curved sculpture presented a new technical challenge. The process began by stripping away the bear's old paint down to its raw fiberglass using acetone and chemical solvents.After applying fresh base coats, the artists hand-sketched the complex illustrations directly onto the curved surface before filling them with detail. Bangladesh’s harsh tropical climate presented another hurdle. To guard against intense humidity, heat, ultraviolet exposure, and monsoon rains, the artists rigorously stress-tested acrylic paints in direct sunlight and rain. They concluded the process with a heavy-duty protective varnish to ensure the colors remain vibrant outdoors for years to come. A Vibrant Tapestry of Bangladesh The bear’s facade is an homage to Bangladesh’s rich natural landscape. Prominently featured on the front is a striking peacock—a traditional staple of rickshaw art—flanked by the Oriental magpie-robin (the national bird), blossoming boughs, and water lilies. The reverse side tells a broader story of riverine life. A winding waterway bustles with traditional wooden boats and native fish, set against lush green fields, thatched rural homes, and fluttering kites beneath the national flag. Stylized urban elements and intricate floral scrollwork along the legs unify the entire narrative. Rather than relying on strict realism, the piece relies on bold contours and folk symbolism to evoke a deep sense of place. The choice of medium carries international prestige: in 2023, UNESCO inscribed Dhaka’s traditional rickshaws and rickshaw painting onto the Representative List of the Intangible Cultural Heritage of Humanity. By hosting this art form on a Buddy Bear, the embassy gives a beloved street-art tradition a prominent international platform.

Chhayanaut paid tribute to legendary folk singer Abbasuddin Ahmed marking his 125th birth anniversary through a special edition of its Shrotar Ashor at the Chhayanaut auditorium in the capital on Tuesday evening. The programme, which began at 6:30 pm with opening speeches by Chhayanaut President Dr Sarwar Ali, featured seven artistes performing Bengali songs from different musical traditions, including folk, Nazrul and traditional songs, highlighting the rich musical heritage associated with Abbasuddin Ahmed and other eminent composers and lyricists. The participating artistes were Priyantu Deb, Suman Majumdar, Most Sarifa Khatun, Biman Chandra Biswas, Md Abul Kalam Azad, Chandana Majumdar and Kiran Chandra Roy. Priyantu Deb opened his segment with ‘E Kon Modhur Sharab Dile’ and ‘Bosiya Nodikule, Elochule Ke Udasini’, both written by Kazi Nazrul Islam. Suman Majumdar performed ‘Khatune-Jamat Fatema Janani’, ‘Tomar Akashe Uthechhilo Chand’ and ‘Sadh Jage Mone Porojibone’. Most Sarifa Khatun presented folk songs including ‘Fande Poriya Boga’ and ‘O Ki Ekbar Asiya’, the latter associated with Abdul Karim.  

‘DOT: The Beginning of Everything’, the first solo exhibition of Japan-based Bangladeshi artist Kamrul Hasan Lipu is underway in Yokohama, Japan, featuring 41 paintings that explore memory, identity and cultural roots through the colours and motifs of Bengali folk art. The six-day exhibition opened at Gallery Shimizu on October 20 and will continue until October 25, bringing Bengali cultural influences into dialogue with contemporary Japanese aesthetics. The paintings, primarily created using acrylic and mixed media on canvas, reflect Lipu’s experiences of living away from Bangladesh and his continuing connection with the country’s cultural heritage. His works move between figurative imagery and expressive abstraction, using vivid colours such as turquoise, emerald green, sea blue, amber, crimson and golden yellow to create layered compositions. "Through time and distance, my memories of Bangladesh have taken on new forms, allowing familiar faces, sari patterns, birds, and flowers to return through the colors of feeling," Lipu said. "By bringing my personal experiences into conversation with the ornaments and rhythms of Bengali folk art, I continue to search for a visual language of my own," he added.  

The July Mass Uprising Memorial Museum has published a book documenting the sacrifices of nine Sanatan faith followers killed during the 2024 mass uprising. Titled 'Bisarjan: Sanatan Martyrs of the July Mass Uprising', the book was released on Monday ahead of Sharadiya Durga Puja, paying tribute to the martyrs from the Hindu community. The nine martyrs are Shree Shuvo Sheel, Riya Gop, Hridoy Chandra Tarua, Saikat Chandra Dey, Tonoy Chandra Das, Ripon Chandra Sheel, Rudra Sen, Dipto Dey and Ganga Charan Rajbongshi. They included students, children and working-class people. The death of six-year-old Riya Gop during the uprising sparked widespread outrage across the country. She was fatally shot while playing on the rooftop of her residence.

The 2026 China Jingdezhen International Ceramic Expo opened on Sunday in Jingdezhen, a city in east China's Jiangxi Province known as the "porcelain capital", drawing more than 1,000 professional buyers from home and abroad. The five-day event showcases various aspects of the ceramic industry, covering the entire industrial chain, domestic and international markets, and the application of digital technology across an exhibition area of 140,000 square metres. Exhibitors from more than 19 countries, including Spain, Germany and Japan, are taking part in the expo. Themed exhibition zones highlight creative design, smart ceramic manufacturing, international brands and ceramic-producing cities. The 2026 standards for the "Jingdezhen Made" regional brand and the city's digital culture and tourism platform were unveiled at the opening ceremony. On July 25, the Jingdezhen Handicraft Porcelain Industry Sites were inscribed on the UNESCO World Heritage List, filling a longstanding gap in the list's representation of porcelain heritage and becoming China's 61st World Heritage site. The sites reflect the handicraft porcelain industry system that developed in Jingdezhen between the 10th and 19th centuries. Today, the city's ceramic industry chain employs more than 100,000 people, while the comprehensive division-of-labour system that contributed to its historical success remains active. First held in 2004, the expo has steadily expanded its international reach and developed into a comprehensive platform for exhibitions and trade, cultural exchanges and investment cooperation. Jingdezhen, which has a population of more than 1.6 million, recorded a net population inflow of 136,000 over the past decade. More than half of those who have established long-term businesses in the city come from outside Jiangxi Province, including a notable number from overseas.

Bangladeshi artist and printmaker Kalidas Karmakar has been remembered on his seventh death anniversary, honouring a creative legacy that helped shape the development of modern art and printmaking in the country. Renowned for his experimental approach to art, Karmakar explored painting, printmaking, sculpture, installation and mixed media throughout his career, constantly pushing the boundaries of artistic expression through innovative techniques and unconventional materials. Fondly known as ‘Kali Da’ in the country's art sphere, he earned the distinction of being called Bangladesh’s ‘Alluvial Artist’, reflecting his deep connection with the country’s landscape, culture and artistic traditions. Born in Faridpur on January 10, 1946, Karmakar completed his preliminary degree in fine arts at the Institute of Fine Arts, Dhaka University, in 1964 before graduating from the Government College of Fine Arts and Crafts in Kolkata in 1969. His artistic practice evolved through decades of experimentation, with printmaking remaining one of his most significant areas of contribution. He explored techniques including etching, aquatint and viscosity printing, helping expand the possibilities of the medium in Bangladesh. Beyond printmaking, his work encompassed a wide range of materials and forms, often blurring the distinctions between traditional artistic disciplines. His distinctive visual language and willingness to experiment established him as an influential figure in the country’s modern art movement. Karmakar’s artistic journey extended beyond Bangladesh, with his works exhibited across South Asia, the Middle East, Europe and the United States. His achievements were recognised with the Shilpakala Padak in 2016 and the Ekushey Padak in 2018. A significant part of his legacy also lies in his longstanding association with Gallery Cosmos and Cosmos Atelier-71, where he served as an adviser and played a pivotal role in developing facilities for printmaking. He designed the studio’s interior and was closely involved in setting up its printmaking equipment. The studio was established to provide artists with access to specialised machinery and facilities that were then scarce in Dhaka, enabling them to explore different printmaking techniques. His contribution extended beyond the studio’s physical infrastructure. Kalidas Karmakar envisioned an artist residency programme that would give printmakers a shared space to work independently, exchange ideas and develop their artistic practices. He remained closely involved with Gallery Cosmos and Cosmos Atelier-71 until his death on October 18, 2019, serving as a lifelong Adviser and helping shape the institutions’ commitment to artistic experimentation and the development of printmaking in Bangladesh. “Today marks the seventh death anniversary of Ekushey Padak-winning eminent Bangladeshi artist and printmaker Kalidas Karmakar, our beloved Kali Da. His contributions to the establishment of Gallery Cosmos and Cosmos Atelier-71, as well as to the arts in Bangladesh, particularly printmaking, are undeniable. On this day, Gallery Cosmos and Cosmos Atelier-71 respectfully remember Bangladesh’s ‘Alluvial Artist’,” Sourav Chowdhury, Artistic Director of Gallery Cosmos, told UNB. Kalidas Karmakar died in Dhaka on October 18, 2019, at the age of 73, leaving behind a diverse body of work and a lasting influence on Bangladesh’s modern art and printmaking.

The iconic white Chinese takeout container-a folded trapezoid cardboard pail featuring a wire handle and red pagoda graphic-is a quintessentially American creation blending immigrant history, innovation, and convenience. Its design dates back to 1894, when inventor Frederick Weeks Wilcox patented a leak-resistant, folded paper pail originally created for carrying oysters. Meanwhile, Chinese immigrants arriving during the mid-1800s Gold Rush and railroad era established Chinatowns and foundational Americanized Chinese eateries. Following World War II, Chinese restaurants proliferated beyond chop suey and chow mein, establishing a reputation for affordable and accessible takeout, according to Michelle King, a history professor at the University of North Carolina at Chapel Hill. In the 1970s, packaging company Fold-Pak added the trademark red pagoda design and stylized lettering, cementing the container as a Chinese American cultural staple akin to the Italian pizza box. Today, while takeout packaging varies and holds diverse cuisines, the classic oyster pail endures as a cultural symbol-even immortalized as the universal "takeout" emoji.