The Sundarbans is the largest single block of tidal halophytic mangrove forest in the world which covers parts of India and Bangladesh by NASA // Saltstraumen Maelstrom, Norway
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The Sundarbans is the largest single block of tidal halophytic mangrove forest in the world which covers parts of India and Bangladesh by NASA // Saltstraumen Maelstrom, Norway
BANGLADESH927 by a Psychiatrist’s view Via Flickr: Khilkhet North Dhaka Photography’s new conscience linktr.ee/GlennLosack
Shah Muhammad Mohshin Khan Mausoleum (Manikganj, Bangladesh) by Sthapotik
BANGLADESH928 by a Psychiatrist’s view Via Flickr: free ride Tejgoan Dhaka Photography’s new conscience linktr.ee/GlennLosack
In the 1980’s, people living on the borders of forests in India and Bangladesh were issued plastic face masks to wear on the back of their heads. Tiger attacks virtually stopped because the tigers thought people were looking at them when their backs were turned. Photo : Rahulsharma photography
A Chinese travel vlogger getting his revenge learning the ways of his barbershop friend in Bangladesh
English added by me :)
Kumro ful🌼
পুরাণ ঢাকা।
Dhaka, 1979.
Reconstructed Lalbagh fort, Dhaka, Bangladesh by Razin Khan. The Southern Gate, also known as Badshahi Gate was the main gate of Lalbagh fort, which was adjacent to the river at that time.
The Sundarbans is the largest single block of tidal halophytic mangrove forest in the world which covers parts of India and Bangladesh by NASA // Saltstraumen Maelstrom, Norway
#pet
An elderly man reciting Quran in mosque, Bangladesh
Kalighat painting or Kalighat Pat (Bengali: কালীঘাট পটচিত্র) originated in the 19th century in West Bengal, India, in the vicinity of Kalighat Kali Temple, Kalighat, Calcutta. From being items of souvenir taken by the visitors to the Kali temple, the paintings over a period of time developed as a distinct school of Indian painting. From the depiction of Hindu gods and goddesses and other mythological characters, the Kalighat paintings developed to reflect a variety of subjects, including depictions of everyday life.
In 19th century Bengal, the traditional art of scroll paintings flourished in the rural areas. These paintings were done on cloth or patas and depicted images of gods and goddesses and scenes from epic. The artists were villagers who travelled from place to place with their scroll paintings and sang the scenes from the epics depicted in the paintings during village gatherings and various festivals. These artists were called patuas or ‘painters on cloth’. Initially, these artists were concentrated around the temple at Kalighat where there was a demand for religious art. Eventually, they started to incorporate newer techniques and the distinct style of the Kalighat painting was born. Other than the images of gods and goddesses the artists also started depicting domestic scenes of everyday life, as well as caricatures critiquing the decadent lifestyle of the richer upper middle classes. The Kalighat school continued to thrive up to the early part of the twentieth century and influenced the art of later artists like Jamini Roy.
Alta (Bengali: আলতা) (Odia: ଅଳତା), alah or mahavar is a red dye that is applied to the hands and feet of women, found predominantly in eastern India. It is applied with a cotton swab or brush to the hands and feet during marriage ceremonies and festivals. Traditional Alta consists of painting the soles with the red liquid dye and then adorning its upper foot with an elaborate design which brings out the beauty of the feet.
Traditionally, Alta was made from the betel leaves. Later on, it was replaced with other artificial dyes like Kumkum or vermillion (Sindoor). These days, alta is considered by many as a more temporary and feasable alternative to Mehendi, as Alta usually washes off in a single day, unlike Mehendi which stays a week.
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By Niloy Palit
Boga Lake, Ruma Upazila, Bandarban, Bangladesh
Winter Morning