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Scholars have speculated that Kālidāsa may have lived near the Himalayas, in the vicinity of Ujjain, and in Kalinga.This hypothesis is based on Kālidāsa's detailed description of the Himalayas in his Kumārasambhavam, the display of his love for Ujjain in Meghadūta, and his highly eulogistic descriptions of Kalingan emperor Hemāngada in Raghuvaṃśa (sixth sarga).
The remains of the ancient archaeological sites bear ample testimony to the fact that the art of architecture was practiced in Bangladesh from very early period of her history. The Somapura Mahavihara , a creation of the Pala ruler Dharmapala , at Paharpur, Bangladesh, is the largest Buddhist Vihara in the Indian subcontinent, and has been ...
The architecture of Bangladesh has a long history and is rooted in Bangladesh's culture, religion and history. [2] It has evolved over centuries and assimilated influences from social, religious and exotic communities. The architecture of Bangladesh bears a remarkable impact on the lifestyle, tradition and cultural life of Bangladeshi people ...
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Selim, Lala Rukh (2000). "Women in the Contemporary Art World of Bangladesh: Images and Reality". In Panandiker, V. A. Pai; Behera, Navnita Chadha (eds.). Perspectives on South Asia. Delhi: Konark Publishers. OCLC 44503780. Shamsuzzaman, Abdul Fazal (1992). Who's Who in Bangladesh Art Culture Literature (1901-1991). Tribhuj Prakashani. OCLC ...
Abedin, a pioneer of the country's modern art movement, created works of art on subject matters such as the Bengal famine of 1943 and the peoples' independence. [2] The museum is located in the area of Shaheeb Quarter Park on the bank of the Old Bramaputra River.
Pundranagar to Sherebanglanagar: Architecture in Bangladesh (Chetana, Dhaka, 1997) National Capital of Bangladesh (GA Edita, Tokyo, 1994) Rafiq Azam. Born 29 December 1963, Dhaka, Bangladesh Bachelor of Architecture, Bangladesh University of Engineering and Technology 1989; SHATOTTO - architecture for green living
A poem of 120 [3] stanzas, it is one of Kālidāsa's most famous works.The work is divided into two parts, Purva-megha and Uttara-megha. It recounts how a yakṣa, a subject of King Kubera (the god of wealth), after being exiled for a year to Central India for neglecting his duties, convinces a passing cloud to take a message to his wife at Alaka on Mount Kailāsa in the Himālaya mountains. [4]