THE Lost City-Panam Nagar

 Panam Nagar

Reading a book, looking at a piece of brilliant artwork, or visiting a place of historic importance can sometimes relive the past. Walking the streets of Panam Nagar, the rows of faded red-bricked stranded houses echoing the past lineage and history of a period that was once dominated by three different cultures at different times surpasses that feeling.

Panam Nagar, located in the ancient city of Sonargaon, has a rich cultural history. Sonargaon was the seat of the Sena and Deva dynasties until the thirteenth century when the river Brahmaputra ran through these areas. Later, after the thirteenth and middle of the fourteenth centuries, the Delhi Sultanate rulers included Sonargaon in their sultanate's domain. From that time to the Mughals, Sonargaon was considered the main capital of undivided Bengal.

When someone approaches the alleys of Panam Nagar, it is natural to be taken aback by the unusual architecture displayed along the wayside; with the streets that are now abandoned and scattered echoing the rush and bustle of a bygone era. Though originally ruled by the Mughals, the city now looks very different, with a mix of Hindu and colonial architecture. However, when examined attentively, vestiges of its Muslim forebears can be detected in ceiling decorations, brickwork, and woodwork artwork. There are also some other architectural structures, such as the Goaldi Masjid, which was erected during the reign of Aurangzeb and is located near Panam Nagar in Sonargaon and demonstrates the Mughal connection. 

The city's current architectural specimens demonstrate the change in style brought about by the arrival of the Hindu mercantile elite in the late nineteenth century. This merchant class was primarily made up of the Shahas and Podders, who are credited with the construction of these existing structures, which were generally used as residential homes for private usage. Thus, for about a century, the city of Panam belonged to these Hindu merchant-class families, establishing itself as an upper-class commerce center. Previously, this location was more religious with masjids, temples, religious ghats, and ponds; however, with the occupation of the merchant families, the architecture shifted to be more secular, with residential buildings, private internal temples, and wells taking their places.

As an abandoned town, this city's history can now only be understood and studied through its stranded structures, which are a one-of-a-kind architectural study in their own right. The Archaeological Department of Bangladesh has currently recognized fifty-two (52) deteriorated structures, with thirty-one (31) on the north side and twenty-one (21) on the south side of the east-west axis road. The buildings are predominantly two-stories, with eight (8) single-story structures and a few three-story buildings. When studying and attentively examining the buildings in Panam, two unique types of architecture emerge the compound style, which features large courtyards, ponds, gardens, and so on. The second category includes the majority of the structures that line the streets and are classified as urban street-front dwellings.

The first kind of buildings i.e., the compound style are few in number and are mostly found at a distance from the main street. For example, the Sardar Bari house, located at the south end of Panam Nagar is an excellent example of this style of house which at present has been converted into a Folk Art Museum. It is a double-storied building having seventy chambers of various sizes. This house was established as the Bangladesh Folk and Craft Foundation by the renowned painter of Bangladesh Zainul Abedin. Today, this center attracts a lot of tourists and displays the rich art and culture of Bangladesh mainly Jamdani, Kantha, and other folk arts.

Another example of a compound house is Anand Mohan Poddar's House, also known as Awal Manzil because it is thought that Awal Manzil took over possession of the house from Anand Poddar. The house's greatest attraction is its two courtyards and two ponds, each of which has steps. Decorations can be found in the pilasters, arch, and cornice.

Even though these large compound buildings are exceptional examples of architecture that reflect the opulence and grandeur of the time, it is the street-facing urban houses that draw the tourist's attention. These residences are of various sizes, demonstrating a consistent synchronization despite differences in layout and architecture. The majority of the houses are close to the road, thus they have a high plinth or verandah in front of them. These structures were primarily made of bricks, with lime occasionally used as a plaster.  Bricks were employed in a variety of shapes, including rectangular, semi-circular, round, and angular, depending upon the shape desired in the Construction of the building. The decorations in these buildings represent the epitome of colonial influence and the lavish extravagance of a wealthy merchant community. Many houses' balconies and porches include Greek-style Corinthian pillars with ornamental lattice and floral motif carvings. Terracotta plaques with lovely floral patterns are also used, most notably on the entrance doors of some residences. Again, certain ceilings had different themes carved into them, making them stand out and lend beauty to the overall building.  A few residences still show remnants of black and white checkered tiles. Some of Panam City's buildings use mosaic and colorful glass for windows, which is a common European design. Wooden roofs are also common, as is the usage of broken China, known as Chinitkri work. Another distinguishing characteristic is the frequent do-chala or chou-chala hut-style roofing found in many structures in Bengal. All of the numerous variations of style and decoration infused into the building of these architectures attest to the inevitable European and indigenous influence of the time. The combination of Hindu, European, and old Mughal patterns produced an individualistic architectural design for Panam Nagar's dwellings. When one stands in the middle of the street, the view is breathtaking, with tall buildings standing close together as if giving an architectural symphony. The houses appear to be similar, but the location of verandahs, porticos, balconies, and decorations distinguishes one from the other.

These old houses are very charming to look at. Civilization is still alive here. Ancient people's traditions and history are intertwined within the brick walls.

This location, which is still unknown to many people, is one of the greatest living examples of colonial art and architecture combined with Hindu beliefs in a country that is now controlled by Muslims. With India and Pakistan divided, Sonargaon fell victim to religious rioting, and Hindu merchants fled to India, abandoning the city. Such a lovely city, which was once the leading economic and cultural center, now displays the ruins of its former greatness. As a result, one must visit Panam Nagar at least once to recreate and experience the virtual ambiance of the congested streets of this once-thriving Hindu Merchants Town. Other attractions