UNESCO World Heritage Sites in Bangladesh 

World Heritage Sites are declared by the UNESCO considering the leading natural and cultural features of the objects prevailing worldwide including Bangladesh. About 890 famous sites were declared as World Heritage Sites for having such unique features till 2009. Among those, 689 sites have rich cultural heritage, 176 are naturally unique and 25 sites bear both the features.The Committee also supervises the management function of each of the world heritage site. All declared world heritage sites are given financial support from the World Heritage Fund for proper protection and maintenance. The UNESCO adopted this decision of extending financial support in its special meeting on 16 December 1972. So far, 186 countries of the world including Bangladesh ratified the 'Convention Concerning the Protection of World Cultural and Natural Heritage'.Three spots of Bangladesh have been declared world heritage sites till 2009. These are: Paharpur Buddhist Monastery of Noagaon, Bagerhat Mosque City and the Sundarbans Mangrove Forest. The first two sites are parts of world cultural heritage and the rest belongs to world's natural heritage, as the Sandarbans is the largest mangrove forest of the world.

UNESCO World Heritage sites of Bangladesh


Buddhist Monastery


" the single largest buddihst monastary of South of Himalaya ″


⇒ Built - 770-810AD during Pala Dynastry

⇒ UNESCO Decleared it as first world heritage sight in Bangladesh in 1985.

 the sight and the museum is open for toursit .

Evidence of the rise of Mahayana Buddhism in Bengal from the 7th century onwards, Somapura Mahavira, or the Great Monastery, was a renowned intellectual centre until the 12th century. Its layout perfectly adapted to its religious function, this monastery-city represents a unique artistic achievement. With its simple, harmonious lines and its profusion of carved decoration, it influenced Buddhist architecture as far away as Cambodia.

History of Great Monastery in south of Himalaya : 

Geographically located to the north-west of Bangladesh in the district of Naogaon, the heart-land of ancient “Varendra”, close to the village of Paharpur the extensive ruins of the Buddhist monastic complex are the most spectacular and important pre-Islamic monument in Bangladesh.

The first builder of the monastery was Dharmapala Vikramshila (770-810AD), the king of Varendri-Magadha, as inscribed on a clay seal discovered in the monastery compound. The plan of the monastery can be described as a large square quadrangle measuring approximately 920 feet, with the main entrance, an elaborate structure, on the northern side. The outer walls of the monastery are formed by rows of cells that face inwards toward the main shrine in the centre of the courtyard. In the last building phases of the Monastery these cells, which formed the outer wall, totalled 177. The main central shrine has a cruciform ground plan and a terraced superstructure that rises in three terraces above ground level to a height of about 70 feet. The upper level is a massive rectangular central block which forms the central brick shaft. The intermediate terrace is a wide circumambulatory path which passes four main chapels or  mandapas architectural plan, it is in fact a simple cruciform that has been elaborated with a series of projections at the re-entrants, a form that is copied at all levels on the main shrine. At the intermediate level there were originally two bands of terracotta plaques running around the full perimeter of the shrine, out of which half are still preserved in situ.

The ground level today is 3 feet above the original  pradakshinapatha  or main circumambulatory path, below the base of the lowest band of terracotta plaques. Archaeological excavations have revealed a 15 feet pathway that follows an elaborated cruciform shape, a feature that can be discerned from the foundations of the outer wall that enclose the pathway and that still exist. At the base of the shrine, there are over 60 stone sculptures which depict a variety of Hindu divinities. The main entrance to the monastery was through a fortified gate on the northern access to the central temple. The majority of the ancillary buildings, such as the kitchen and the refectory, are located in the south-east corner, but there were also a few structures to be found in the north-east corner.

Epigraphic records testify that the cultural and religious life of this great Vihara, were closely linked with the contemporary Buddhist centres of fame and history at Bohdgaya and Nalanda, many Buddhist treatises were completed at Paharpur, a centre where the Vajrayana trend of Mahayana Buddhism was practiced.

Today, Paharpur is the most spectacular and magnificent monument in Bangladesh and the second largest single Buddhist monastery on south of the Himalayas.

Mosque City Bagerhat  


 " the most impressive islamic momumnet in indian subcontined  ″

⇒ Built in 1459 during Islamic Rule 

⇒ UNESCO Decleared it as first world heritage sight in Bangladesh in 1998.

Introduction to the Historic Mosque City of Bagerhat 

The Mosque City of Bagerhat was named by Forbes as one of the 15 lost cities of the world. It has over 50 Islamic monuments which were rediscovered after the vegetation that covered them for centuries was removed.Bagerhat was founded in the 15th century by Bangladeshi war hero Khan Jahan Ali (also known as Ulugh Khan Jahan) and is regarded as an incubator of Islam in Bangladesh.The most unique building in the complex Shait Gumbad or the Sixty Pillar Mosque, however, UNESCO also includes several other buildings among its unique monuments, including the tomb of Khan Jahan Ali.


History of Bagerhat Mosque City :

Bagerhat was established in the 15th Century during the Bengal Sultanate by Khan Jahan Ali, who was the administrator of the area. Khan was not only responsible for the construction of mosques, tombs and palaces, but also for town planning including roads and water works.Khan Jahan Ali, was also known as a saintly person and philanthropist who shunned royal titles and did not issue his own personal mint. This aspect of his persona has made him a revered figure in Bangladesh and his tomb a place of pilgrimage.The rediscovery of Bagerhat started in 1895, with work starting on the Sixty Pillar Mosque in 1903. In 1982 UNESCO drew up an extensive plan to start the process of Bagerhat becoming a World Heritage site.

Baul Songs

 " Baul Songs Inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005)

Intangible World Heritage  

The Bauls are mystic minstrels living in rural Bangladesh and West Bengal, India. The Baul movement, at its peak in the nineteenth and early twentieth centuries, has now regained popularity among the rural population of Bangladesh. Their music and way of life have influenced a large segment of Bengali culture, and particularly the compositions of Nobel Prize laureate Rabindranath Tagore. Bauls live either near a village or travel from place to place and earn their living from singing to the accompaniment of the ektara, the lute dotara, a simple one-stringed instrument, and a drum called dubki. Bauls belong to an unorthodox devotional tradition, influenced by Hinduism, Buddhism, Bengali, Vasinavism and Sufi Islam, yet distinctly different from them. Bauls neither identify with any organized religion nor with the caste system, special deities, temples or sacred places. Their emphasis lies on the importance of a person’s physical body as the place where God resides. Bauls are admired for this freedom from convention as well as their music and poetry. Baul poetry, music, song and dance are devoted to finding humankind’s relationship to God, and to achieving spiritual liberation. Their devotional songs can be traced back to the fifteenth century when they first appeared in Bengali literature. Baul music represents a particular type of folk song, carrying influences of Hindu bhakti movements as well as the shuphi, a form of Sufi song. Songs are also used by the spiritual leader to instruct disciples in Baul philosophy, and are transmitted orally. The language of the songs is continuously modernized thus endowing it with contemporary relevance. The preservation of the Baul songs and the general context in which they are performed depend mainly on the social and economic situation of their practitioners, the Bauls, who have always been a relatively marginalized group. Moreover, their situation has worsened in recent decades due to the general impoverishment of rural Bangladesh.

Sundarbans Mangrove Forest 

  Nature & Wildlife  

The UNESCO World Heritage Siteof the Sundarbans is one of the world’s largest single areas of tidal halophytic mangrove forests. Highlighting the environmental value of the Sundarbans, it has been designated a Ramsar site, making it subject to the Ramsar Convention international treaty that promotes the conservation and sustainable utilization of crucial wetlands. The Sundarbans, literally meaning “beautiful jungle” or “beautiful forest”, lies at the mouth of the Ganges and is home to an estimated 200 Bengal Tigers and a herd of approximately 30,000 spotted deer, as well as an impressive variety of reptile, invertebrate and bird species.


please follow the link for Sundarbans Mangrove Forest http://bangladeshecoadventure.com/Admin/EditTourDestination/18

Jamdani Weaving  

 " Traditional art of Jamdani weaving Inscribed in 2013 on the Representative List of the Intangible Cultural Heritage of Humanity

Intangible World Heritage 

Jamdani is a vividly patterned, sheer cotton fabric, traditionally woven on a handloom by craftspeople and apprentices around Dhaka. Jamdani textiles combine intricacy of design with muted or vibrant colours, and the finished garments are highly breathable. Jamdani is a time-consuming and labour-intensive form of weaving because of the richness of its motifs, which are created directly on the loom using the discontinuous weft technique. Weaving is thriving today due to the fabric’s popularity for making saris, the principal dress of Bengali women at home and abroad. The Jamdani sari is a symbol of identity, dignity and self-recognition and provides wearers with a sense of cultural identity and social cohesion. The weavers develop an occupational identity and take great pride in their heritage; they enjoy social recognition and are highly respected for their skills. A few master weavers are recognized as bearers of the traditional Jamdani motifs and weaving techniques, and transmit the knowledge and skills to disciples. However, Jamdani weaving is principally transmitted by parents to children in home workshops. Weavers – together with spinners, dyers, loom-dressers and practitioners of a number of other supporting crafts – form a closely knit community with a strong sense of unity, identity and continuity.