#padmabati

[ghostlycreatorconnoisseur]

Odia Book Atibadi Jaganantha Das By Baishnab Charan Samal

Atibadi Jagannatha Dasa was an Odia poet and litterateur. He was one of the 5 great poets in Odia literature, the Panchasakha. He wrote the Odia Bhagabata.Dasa was born in Kapileswarpur Sasana (one of the 16 traditional Sasana villages in Puri) on Radhastami in 1491, in an established Brahmin family of Kaushiki Gotra. His mother was Padmabati Debi and his father was Bhagabana Dasa.

His father was a speaker of the Bhagavata in Utkala. Pleased with Bhagbana Dasa's elucidation of the Bhagavata, King Purushottama Deva, the then reigning king of Utkala[citation needed], gave him the title “Purana Panda”. He trained Jagannatha to follow him as a Purana Panda. Jagannatha Dasa was almost the same age as Chaitanya. Soon after their chance meeting under the Kalpa Bata, a spiritual kinship grew between the two that developed into a warm, lifelong friendship. Chaitanya was an avid admirer of Dasa and called him "Atibadi."

[peopletv322]

‘সচ হামেশা কড়বা হোতা হ্যায়’ । কথাগুলো এক্কেবারেই সত্যি । অপ্রিয় সত্য কথা বললে বিপক্ষজন নিমেষে নাক লক্ষ্য করে ঘুষি চালিয়ে দিতে পারে । রক্তাক্ত হয়ে যেতে পারে যে কোনও স্থান । তার কারণ খুঁজতে গিয়ে দেখলাম- এক, ধর্ম । দুই, ধর্মের গোঁড়ামি । তিন, রাজনৈতিক দলের স্তাবকতা । চার, অশিক্ষা । পাঁচ, যুক্তি–তর্ক দিয়ে সব কিছু বিবেচনা না করা । অনেকে যুক্তি দিল, অশিক্ষা থেকে আসছে এসব। কেউ বললেন, সমাজতন্ত্র প্রতিষ্ঠা হয়নি বলে । আবার কেউ বললেন, দেশে একটা বড় অংশের মানুষ আধপেটা খেয়ে দিন চালায়।

[lalmohanpatnaik]

An acre for the King of Bards

Despite living in Cuttack since my school days I didn’t know that Upendra Bhanja Jayanti Saptaha is organised every year at Mission Road in the city to commemorate the birth of the celebrated Odia poet and classical Odissi music composer.  

Regrettably, my awareness was limited to enthusiastic references to the love lyrics of Upendra Bhanja by a fellow student of Odia Honours and friend up to this day - RB - during my graduation years.

Being a student of English literature, a newfound interest in Upendra Bhanja, led me to educate myself about him and know that he was a 17 th century poet renowned for his Odissi songs and epic poems that typified his extraordinary creative sensibility. He made significant contributions to enrich Odia literature.

His date of birth is not known with certainty, but it is traced to between 1670 and 1688 at Kulada in erstwhile Ghumsara Princely State, now Bhanjanagar, a town named after him in Southern Odisha.

He died sometime in the 1740s. By then he wrote some 52 to 60 books. While many of the hand-copied books have been lost in the absence of a printing press, only 22 are reportedly available. With his poetry replete with similes, he carved out a niche for himself in medieval literature as a leading ornate poet.

Upendra Bhanja’s works based on Odissi classical music, the traditional classical music of Odisha won him wide acclamation as one of the greatest Odissi composers of the time. His compositions are commonly employed in Odissi dance as well as Gotipua, Sakhi Nata, Prahallada Nata, Radha Prema Lila and other allied art forms.

He composed many love lyrics with symbolic reflection of nature. Devotion to the Almighty was integral to most of his poems. His Cantos (one of the sections into which long poems are divided) mostly ended with symbolic dedication to the Supreme power. Apart from the literary legend, historical facts are described in several of his works.

Upendra Bhanja whose first published work is "Rasapanchaka" came up with the first dictionary – Gita Abhidan in Odia literature. He is said to have contributed 32,300 words to Odia language and literature.

According to literary critics some of his well-known Kavyas – long narrative poetic compositions characterised by decorative elaboration are Baidehisha Bilasa (with each line starting with "Ba"), Rasalila, Brajaleela, Subhadra Parinaya  (with lines starting with "Sa"), Labanyabati, Premasudhanidhi, Rasika Harabali, Subhadra Parinaya and Chitrakabya Bandodhya, Koti Brahmanda Sundari, Kala Koutuka (with "Ka" initial for every line), Satisha Bilasa" (with 'Sa'  initial in every line), "Damayanti Bilasa" (with 'Da' initial in each line) and "Padmabati Parinaya" (starting each line with 'Pa').

He has been addressed as “Kabi Samrat” in popular reference since the early part of 19th century for his unsurpassed rhetoric excellence as a poet. Perhaps no other language has a poet to compare with him apart from Sanskrit.

According to poet and critic Mayadhar Mansingh, Upendra Bhanja may be taken as the most supreme master of using Sabada Alankar (a recognised and respected element in literary art in Indian poetics) in the whole Indian literature.

This year Upendra Bhanjas annual 78th birth anniversary week was observed as usual from May 16 to 22 at the Bhanja Mandap constructed for this purpose close to the Union Club in 1973.

Kalinga Bharati, one of the oldest cultural organisations of the state along with Utkal Chhatra Sahitya Samaj organised like all years the week-long anniversary marked by symposiums on Upendra Bhanja, Odissi dance and Odissi music from 6 pm to 10 pm.

But the red tape over grant of permanent lease of near to one acre land which has been the venue for the unrelenting observation of the Upendra Bhanja’s birth anniversary week year after year by Kalinga Bharati testifies how well successive governments in the state have patronized the ‘Kabi Samrat’ over the past nearly five decades.

Madhusudan Das, better known as Madhu Barrister had established the Union Club by obtaining a plot of 3.65 acres of Government land at Mission Road, on lease in 1914 with Netaji Subhas Chandra Bose’s father Janakinath Bose as its first President. Union Club was purportedly established as a challenge to the colonial powers which refused entry of the locals to the Cuttack Club established in 1865 for Europeans and Anglo-Indians.

Kalinga Bharati – an organisation at Dagarpada in Cuttack was created by Guru Bichhanda Charan Patnaik in 1933-34 purportedly for the promotion of ancient and medieval Odia literature and culture, especially the works of Upendra Bhanja.

Available records, including Court orders indicate that Kalinga Bharati requested Cuttack Collector for allotment of land for permanent office, stage and library in 1971.

After Union Club agreed to spare one acre from the 3.65 acres lease hold land in its possession to Kalinga Bharati. Cuttack Collector approved the proposal and permitted sub-lease of one acre on May 30, 1971.

The sub-lease was executed on July 6, 1971 between the President of Union Club and Secretary of Kalinga Bharati. Secretary Union Club gave consent February 15, 1973 for construction of Bhanja Mandap on the subleased land.

Cuttack Improvement Trust accorded permission for construction of the Bhanja Mandap on the subleased land on June 9, 1973. Thereafter, Kalinga Bharati constructed a permanent stage to perform different literary and cultural functions along with a library and music rehearsal room’

In the same year when lease granted in favour of Union Club expired Kalinga Bharati applied for renewal of lease of the one-acre land in its favour. But the entire land 3.65 acres was renewed in favour of the Union Club on January 31, 1987.

Kalinga Bharati filed a title suit in 1989 before the Court of II Additional Civil Judge (Sr Division) which directed the Cuttack Collector to dispose of the case for permanent lease considering their possession within six months on December 20, 2013.

The available records further indicate that the Union Club sought intervention of Orissa High Court for allotment of the entire land in their favour in 2016. Acting on it the high court directed the Revenue Divisional Commissioner (Central) to take steps on the pending lease application.

Kalinga Bharati on its part also sought intervention of the high court in 2017. Responding to it the high court directed the Cuttack Collector to dispose of the pending lease application of Kalinga Bharati on July 22, 2019.

But the lease applications of both Union Club and Kalinga Bharati relating to the Khasmahal land are pending before the Cuttack Collector.

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Ph- +91 890809812

[boitoiofficial]

SOMOYER JHORAPALOK (BENGALI , HARDCOVER , PADMABATI MANDAL)

SOMOYER JHORAPALOK (BENGALI , HARDCOVER , PADMABATI MANDAL)

THE AUTHOR OF THIS BOOK IS PADMABATI MANDAL AND PUBLISHED BY BARTA PRAKASHAN.

[ahmforhad]

"Kaun Hai Yeh Gustakh", the emperor of Delhi Sultanate Alauddin Khilji has been introduced this way at the very beginning of the film Padmavat. Film maker depicts him as an evil with immense hateful attention that in the entire film, even divine beauty of Queen Padmabati, the impeccable creation of the Poet Malik Muhammed Jayasi, has faded! Racism and Hinduism are the source of the boundless hatred that fuels to play with the truth! Against to the glory of the fictional character queen Padmini from the  poetry, in the film the historical powerful emperor is constructed as a demon in opposition to the truth, while the Rajput king is portrayed as almost a saint. This is from the heart of Utopian Mahabharat!

"Hail India!!"

"কৌন হ্যায় ইয়ে গুস্তাখ" পদ্মাবত সিনেমার শুরুতে আলাউদ্দিন খিলজিকে এইভাবে পরিচয় করিয়ে দেয়া হয়। খিলজিকে শয়তান হিসেবে চিত্রিত করতে ঘৃণাপূর্ণ মনোযোগ এত বেশী দেয়া হয়েছে যে ফিকশনাল খিলজি চরিত্রের কাছে - এমনকি মধ্যযুগের কবি মালিক মুহম্মদ জায়সির অনবদ্য সৃষ্টি রাণী পদ্মিনীর স্বর্গীয় সৌন্দর্য্যও ম্লান হয়ে গেছে পুরো চলচ্ছিত্রে। পদ্মাবত ছবির পুরোটা জুরেই সম্রাট আলাউদ্দিন খিলজিকে শয়তান হিসেবে নির্মাণের গল্প। বর্ণবাদ ও হিন্দুত্ববাদ এই সীমাহীন ঘৃণার উৎসস্থল। পুঁথির পাতা থেকে তোলা কাল্পনিক রানী পদ্মিনীর গৌরবের বিপরীতে একজন ঐতিহাসিক চরিত্রকে রাক্ষস হিসাবে নির্মাণে সত্য বিকৃতি এবং একইসাথে রাজপুত রাজাকে পূত পবিত্র হিসেবে চিত্রিত করে জাতিবাদিতার ঝান্ডা ওড়ানোয় বিন্দুমাত্র সংকোচ দেখা যায়নি। কারণ, ''সেই সত্য যা রচিবে তুমি,  ঘটে যা তা সব সত্য নহে । ”জাতিবাদী-বর্ণবাদী-হিন্দুত্ববাদী “মনোভূমি, রামের জন্মস্থান অযোধ্যার চেয়ে সত্য'' জানতেন চলচ্চিত্রকার। এনআরসি, ক্যাব, ৩৭০ ধারা’র যুগে এই ইউটোপিয়ান মহাভারত!!

[swanirbhar]

"Lord Gopinath’s Submerged Temple :: The detailed story"

This is a story that depicts the cruel side of mighty Mahanadi which once swallowed down a happy habitat into its humongous mouth. "Satapatana" a combination of seven neighbouring localities was located just in the bank of Mahanadi about 7kms away from Baideswar of Cuttack district. It is said that the width of Mahanadi was very narrow those days, but then came the worst time for the residents when the cruel river shifted its course towards the locality and gradually flooded Satapatana living the locals totally hopeless. The desperate locals then shifted themselves to the nearby regions having higher elevation above the river level.

Their villages and houses were underwater now, they took all their religious idols, deities along with them and new temples were constructed later on for those deities. The earlier temples also went under the water along with the houses of villagers. It is said that there are more than 20 temples in the region between Baideswar to Kantilo are still present down under the water of Mahanadi. Among all those flood affected temples Gopinath Deva Temple of Padmabati village in Bhapur block of Nayagarh district was possibly the tallest one. Although, the temple is buried in sand of Mahanadi, very seldom the sands are removed with the flow of flood water of Mahanadi to provide locals few rare glimpses of that majestic temple which their ancestors had once built. After 11 long years that special moment came when this summer the dome section of that submerged temple was visible for a short period of time.

About 3 months back I got a phone call from my good friend & heritage explorer Sri Rabindra Rana about this. I knew about few submerged temples of Sambalpur near Hirakud Dam, but hearing about a submerged temple in the lower-central region of Mahanadi valley was an exceptional thing to me. I instantly called on my Project Coordinator Sri Anil Dhir to explore this place and list it as one of the monument in our campaign "Mahanadi Valley Heritage Sites Documentation". Anil Sir was also agreed and we planned to visit the place within next 3 days. However, our planning got spoil as Lock down was declared due to ongoing Covid19 crisis. Soon after Lock down was reduced and things were bit settled I went to the spot with Rana Babu thrice. But all the time, we found the temple merged inside water. We left hope and thought it is no more possible to document this place.

However, surprisingly on the evening of 7th June, I was informed by Rana Babu that just a thin part of the Dome (Amalaka) section of the temple is probably visible from last couple of days as the water level is little bit down. I got totally refreshed and asked Anil Sir's final permission whether to start documenting the spot. Unfortunately, Sir was away from Bhubaneswar and was unable to join me next day. But he insisted me to list the place if possible.

Next morning, I left home early in the morning and reached Baideswar market by 7 AM where Rana Babu was waiting for me. We reached Balunkeswar temple of Padmabati village from where one needs to cross the river to reach the spot where the temple is found. We hired a small boat of a fisherman; the priests of Balunkeswar temple were all gentlemen and sweet-speaking persons. One of the priests was agreed to join us and guided us to the other side of Mahanadi.

We were totally unsure whether we will be able to see the temple, however within 10 minutes our boat reached there and was taking circumference around the Mastaka section that was visible. We tried to take some photograph; it was not that easy, the small boat was in a shaking state with water waves making its effect after getting obstructed by the dome of the temple. The priest then did an incredible thing; he climbed on to Dadhinauti section of the temple and held the boat in his hand to provide us few static moments to click few photographs. The pictures attached here were generated with very tough efforts. We hardly spent 5-7 minutes at the spot and returned back.

We found the mastaka section of the submerged temple huge and understood why it gets visible at times. It was possibly a Temple having a Vimana and Jagamohana. The Vimana was in Rekha Deula style and Jagamohana was of Pidha order. The stone materials used to construct this temple are generally seen in temples of 15th/16th Century. When the region was merged under water, there were several deities those get shifted. Notable among them were Gopinath, Nrusingha, Rasa Bihari, Kamana Devi & Dadhibamana. All of these deities are still worshipped in Padmabati village other than the Dadhibamana shrine who is worshipped in nearby Tikiripada village.

We then moved on to present day Gopinath temple of Padmabati village where the original shrine of Lord Gopinath is worshipped after being moved from the river. We saw a plaque at the entrace of this temple mentioning this temple was constructed by Bebarta Keshab Pattanaik of Khandapada Gada in the year 1850. Worshipping of flute playing Lord Krishna in the forms of Gopinath, Rasabihari, Madan Mohana, Nikunja Bihari etc. were mainly developed during late Gajapati period after King Purushottama Deva brought the beautiful idol of Sakhi Gopinath from Kanchi to Kataka. Though, smaller in size we found the iconographical construction of this particular shrine very much similar to any other Flute playing Krishna shrine of Gajapati era.

Yesterday, when I posted few images through my FB accounts, I got around 15 queries (via emails, comments and phone calls) asking me whether some part of the temple is underwater!! I understood it was creating confusion. So, I put my observations through a rough sketch (please refer image no-2 in this post), it depicts the possible position with which the Temple currently stands in the middle of Mahanadi. We assume, the temple was possibly rising to a height of 60 feet. Out of which 50/55 feet is underlying the sand just beneath the flowing water, rest 5 feet i.e. the rising part of the temple or the Mastaka section is submerged in water, out of which only 10 inches is above water, currently. That is what I observe, though it's entirely my personal assumption and I might be wrong.

So this was the total story. Practically if we see there is nothing much to do with this older submerged temple. However, it was a spot telling many eventful tales from the past especially highlighting human struggle and survival against all negative acts of natural calamities.

[guidetourme]

Sabarna Sangrahashala

Sabarna Sangrahashala- a place for history enthusiasts

It is a museum that was founded in the year 2005 by the royal family of Sabarna Roy Chowdhury. The Sabarna Sangrahashala museum has been created basically for the research scholars and the students to make them aware of the history of West Bengal and to preserve the source materials. It has jointly formed by with the Manna Publications. The Sabarna family is very famous of the old zaminders since 18th century. The greatest thing that was achieved by their family is the Kolkata birthday case. Now the family has decided to preserve their history and therefore established this Sangrahashala that means a house of rare collection. You would be amazed to know that Kabindra Parameshwar who translated Mahabharata into Bengali language belongs to this family. The Padmabati gallery is the main attraction that houses many fascinating historical belongings such as Siraj Ud Daula’s knife made of ivory, stamps, old kitchen utensils, graphics and comics are added attractions.

Exhibitions details

Every year during Durga puja the magazine ‘Sabarna Barta’ is published where the new researched materials get published. And in the month of February every year the museum arranges for an international heritage and history exhibition that showcases history resources. The exhibition continues foe four days and many cultural events, open quiz and seminars are held during this period. This cultural program organizes seminars that focus on history of different nations specially the neighbouring countries of India. They highlight their historical relationship with these neighbouring countries with India. In 2015 it was Bhutan and in 2016, Sri Lanka was the main topic of the seminar. In 2017 Nepal was highlighted and the counsellor general of Nepal was present there. In the year 2018, it was Thailand who centralised the edition. There is a hand written magazine named ‘Saptarshi’ that is published by the family during this exhibition. The editor of this magazine is Devarshi Roy Chowdhury and Dipak Kumar Roy.

Library

The museum got a library of its own that houses many rare books as well as journals. There is a new digit library that has been created recently and public can use it free of cost. It contains journals and travelogues with historical topics from Kolkata, Mughal period and it also contains the history of the Sabarna Roy Chowdhury family.

About Sabarna Sangrahashala

The museum is situated in Barisha of Kolkata.  The museum is maintained by the Sabarna Roy Chowdhury Parishad. The visiting hours are from 10 to 12 in the morning and again from 5 to 7 in the evening. Entry fee is not there. It takes just one to two hours to completely visit the place. It remains opened on all days of the week except Thursday.

How to reach

Buses are available from esplanade that leaves for Thakurpukur or Amtala. You must get down at Sekharbazar to reach the hitorical place. And if you choose metro then get down at Mahanayak Uttam Kumar or Tollygunge metro. From there Sekharbazar is just at a distance of 20 minutes. It is near to the diamond harbour road.

Places to stay near Sabarna Sangrahashala

There are wide varieties of places to stay near the museum. If you are searching for any budget hotels then Alipore guest house, hotel sea castle and Oyo Kalighat are the perfect ones to serve you a comfortable stay. There are also 3 star hotels such as Artland hotel and Prayag Artisto club where you should not hesitate to stay as they are much pocket friendly than any other hotels. Anyone who is keen to know about the past history of west Bengal and want to have an insight into them through the preserved materials then you must try this wonderful historical museum. Ou would be greatly moved by the art and design that created such a wonderful heritage destination. You can spot students participating in the events that prove that the museum succeeded in putting impressions of the old tradition in the mind of young generation. Best time to visit the museum would be during the month of February when the seminars and events are held. This museum serves as the most innate historical heritage among all other museums in Kolkata. Read the full article

[ghostlycreatorconnoisseur]

Odia Book Bidagdha Kabya Srastha Kabi Samrat Upendra Bhanja

Kabi Samrata Upendra Bhanja was a 17th-century Odia poet-composer of classical Odissi music. He is most known for his Odissi songs and kabyas written in the Odia language, primarily Baidehisa Bilasa, Labanyabati & Koti Brahmanda Sundari.He was born during 1670 (opinions differ between 1670 and 1688) in Kulagarh, Ghumusar zamindari, present day Kulada near Bhanjanagar, 80 kms from the Silk City Brahmapur, Odisha and died during 1740 (again opinions vary).

Upendra Bhanja wrote some 52 books of which only 22 are available now. Due to the absence of a printing press, many of the hand-copied books have been lost. Some of his eminent kabyas are Baidehisha Bilasa (with "Ba" initial for each line), Rasalila, Brajaleela, Subhadra Parinaya(with "Sa" initial for every line), Labanyabati, Premasudhanidhi, Rasika Harabali, Subhadra Parinaya and Chitrakabya Bandodhya, Labanyabati, Koti Brahmanda Sundari, Kala Koutuka (with "Ka" initial for every line), Satisha Bilasa" (with initial 'Sa' initial every line), "Damayanti Bilasa" (with 'Da' initial each line) and "Padmabati Parinaya" (starts with 'Pa') etc.

[freesampleinindia]

Online Caption Contest Answer & Win JBL Headphones

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Address:-

Padmabati Market Complex,Plot no-364,365,Orakal,Bhubaneswar,Odisha-751002

Ph- +91 8908098127

[sureshdigitalseva]

Padmabati | documentary Trailer | December 1st | Ranvir Singh | Shaheed ...

[banglabooksme]

Madhusudan Rachanabali Bangla book pdf file ebook name- Madhusudan Rachanabali Author- Michael Madhusudan Dutta File format- PDF Pages- 921 File size- 26mb Quality- good, without any watermark

Michael Madhusudan Dutta (January 25, 1824 – 29 June, 1873) great poet, Playwright, sonnet promoter of Bangla language and pioneer of Bangla amitraskhar rhythm. This great author was born in a respectable Kayastha family of Jessore District in British India but he accepted Christianity in youth. Madhusudan started poetry at the time of his studies in Hindu College. His poems were published in the journals like Gyanambeshan, Bengal Spectator, Literary Gleamer, Calcutta Library Gazette, Literary Blossom, Comet etc. He brought innovation in his every pen down. He was the first to apply the ideal of western literature in Bangla literature. His greatest achievement is Meghnadabad poetry which is written on the basis of Ramayana’s legend. His other notable books are- The Captive Lady, Sharmistha, Krishnakumari (drama), Padmabati (drama), Birangana Kabya, Hektar Badh etc. Michael’s personal life was dramatic and painful. Now I want to share a great Compilation collection book of this author- ‘Madhusudan Rachanabali’ as pdf file. Table of content-

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Bangla book pdf Madhusudan Rachanabali

Madhusudan Rachanabali Bangla book pdf Madhusudan Rachanabali Bangla book pdf file ebook name- Madhusudan Rachanabali Author- Michael Madhusudan Dutta File format- PDF…

[guidetourme]

Sabarna Sangrahashala

Sabarna Sangrahashala- a place for history enthusiasts

It is a museum that was founded in the year 2005 by the royal family of Sabarna Roy Chowdhury. The Sabarna Sangrahashala museum has been created basically for the research scholars and the students to make them aware of the history of West Bengal and to preserve the source materials. It has jointly formed by with the Manna Publications. The Sabarna family is very famous of the old zaminders since 18th century. The greatest thing that was achieved by their family is the Kolkata birthday case. Now the family has decided to preserve their history and therefore established this Sangrahashala that means a house of rare collection. You would be amazed to know that Kabindra Parameshwar who translated Mahabharata into Bengali language belongs to this family. The Padmabati gallery is the main attraction that houses many fascinating historical belongings such as Siraj Ud Daula’s knife made of ivory, stamps, old kitchen utensils, graphics and comics are added attractions.

Exhibitions details

Every year during Durga puja the magazine ‘Sabarna Barta’ is published where the new researched materials get published. And in the month of February every year the museum arranges for an international heritage and history exhibition that showcases history resources. The exhibition continues foe four days and many cultural events, open quiz and seminars are held during this period. This cultural program organizes seminars that focus on history of different nations specially the neighbouring countries of India. They highlight their historical relationship with these neighbouring countries with India. In 2015 it was Bhutan and in 2016, Sri Lanka was the main topic of the seminar. In 2017 Nepal was highlighted and the counsellor general of Nepal was present there. In the year 2018, it was Thailand who centralised the edition. There is a hand written magazine named ‘Saptarshi’ that is published by the family during this exhibition. The editor of this magazine is Devarshi Roy Chowdhury and Dipak Kumar Roy.

Library

The museum got a library of its own that houses many rare books as well as journals. There is a new digit library that has been created recently and public can use it free of cost. It contains journals and travelogues with historical topics from Kolkata, Mughal period and it also contains the history of the Sabarna Roy Chowdhury family.

About Sabarna Sangrahashala

The museum is situated in Barisha of Kolkata.  The museum is maintained by the Sabarna Roy Chowdhury Parishad. The visiting hours are from 10 to 12 in the morning and again from 5 to 7 in the evening. Entry fee is not there. It takes just one to two hours to completely visit the place. It remains opened on all days of the week except Thursday.

How to reach

Buses are available from esplanade that leaves for Thakurpukur or Amtala. You must get down at Sekharbazar to reach the hitorical place. And if you choose metro then get down at Mahanayak Uttam Kumar or Tollygunge metro. From there Sekharbazar is just at a distance of 20 minutes. It is near to the diamond harbour road.

Places to stay near Sabarna Sangrahashala

There are wide varieties of places to stay near the museum. If you are searching for any budget hotels then Alipore guest house, hotel sea castle and Oyo Kalighat are the perfect ones to serve you a comfortable stay. There are also 3 star hotels such as Artland hotel and Prayag Artisto club where you should not hesitate to stay as they are much pocket friendly than any other hotels. Anyone who is keen to know about the past history of west Bengal and want to have an insight into them through the preserved materials then you must try this wonderful historical museum. Ou would be greatly moved by the art and design that created such a wonderful heritage destination. You can spot students participating in the events that prove that the museum succeeded in putting impressions of the old tradition in the mind of young generation. Best time to visit the museum would be during the month of February when the seminars and events are held. This museum serves as the most innate historical heritage among all other museums in Kolkata. Read the full article

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