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Published by monmajhi, 2016-08-02 11:49:01

Art and Crafts of Bangladesh

Arts and Crafts of Bangladesh

198 ART AND CRAFTS


the few advertising agencies set up in East
Pakistan in the 50s and 60s had played an
important role in the graphic design of
Bangladesh. Among these, Evergreen
Publicity, Kamart, Eastland Advertising,
Greenways Publicity and later, Star
Advertising, Nikku Advertising and
Nabangkur Publicity are important ones. All
kinds of publishing work from press layout for
newspapers to packaging design of cosmetic
products and publicity for films were done
successfully from these organizations. Among
these, Evergreen and Kamart were especially renowned for advertisement of films.
During the Pakistani regime, among people involved in advertisement in newspaper
Quamrul Hassan (1921-1988), Qayyum Chowdhury (1934- ), Khwaja Shafique
Ahmed (1925-1972), A.Z. Pasha, Abdus Sabur Khan, Subhash Dutta (1930- ) are
noteworthy. A few important advertisements from this era are those of Habib Bank and
different products of the Tibet Company etc.
After partition, high-quality blocks for advertisements were made from Kolkata until
the first half of the 50s. Later a block company named ‘Eastern Process’ was
16
established in Madan Mohan Basak Lane of Old Dhaka. Most of the advertisements
were done in line block (fig. 4.8). In this regard artist Quamrul Hassan’s statement
should be considered. He said, ‘We could not make good advertisements because we
did not have all the equipments for designing as we have today.’ [Trans.] He gave
17
an example, ‘Say, I make a design the way I want to but the block is needed for
printing. We did not have blocks manufactured here in those days. We had to go to
Kolkata. The block-man here would follow my design and produce a plate by
etching on the zinc plate. Thus, whatever I had done in my design would have a very
different result.’ [Trans]
18
After the Liberation War in
Bangladesh, advertisements
designed for newspapers
developed gradually. Usually
for any newspaper
advertisement the design
fig. 4.5 (top) Film needs to be altered to the
advertisement, preferred size and in
published in Weekly accordance to the design of
Chabuk, 6 March 1935
the newspaper. Since 1972,
fig. 4.6 (bottom) An advertisements prepared by
advertisement advertising agencies are in

GRAPHIC DESIGN 199


greater use in the fig. 4.7 (top) Film
newspapers of Bangladesh. advertisement, weekly
Therefore, the number and Banglar Bani, 25 June
quality of advertisements is 1931
increasing day by day on a fig. 4.8 (bottom)
competitive basis. We Cinema advertisement
know that by 1975 there for Mukh O Mukhosh,
were 39 advertising 1956
agencies in Dhaka. 19 At
present, we have more than
a hundred small and large
ones active in Bangladesh.
We can identify a
conventionality in the advertisements in newspapers until the year 1975-76. The main
reason behind this was that most dailies, weeklies and fortnightlies were published in
letterpress until then. For that reason, screens were avoided in designs and the line was
preferred, which created monotony. By the end of the 70s, with the introduction of the
offset press, designs overcame this limitation. We have to make special mention of
Rashid Ahmed (1938-1981) in this regard. In the 70s and
80s, he created amazing designs in black and white without
using any middle tone. We can give examples of
advertisements of the Kohinoor group of industries,
Bangladesh Tobacco Company, Rice Research Institute,
Janata Bank, Uttara Bank etc. for this kind of work.
By the end of the 70s, especially during the 80s, the
tendency of line work in advertisement was replaced by the
more complex technique of screen print, which added a new
dimension to this industry. The use of spray or airbrush in
the 70s brought a new look to the advertisements. Colored
press layouts are also in use in Bangladesh since the 80s. It
is not difficult to conceive from the daily newspapers that
artists and others have made significant contributions to
make advertisement creative and aesthetic.
The graphic designers in Bangladesh have shown their
talent in advertising birth control products, cigarettes,
cosmetics, adult education, tree plantation, sweets or paint
products. Recently, attractive advertisements of cell phone
products or fashion houses are easily notable.
Some of the most important advertisement agencies which
have made major contributions in developing this industry
after the birth of Bangladesh are Bitopi Advertising, Asiatic

200 ART AND CRAFTS


(recently abolished East Asiatic), Interspeed, Adcom, Mediacom, Madonna, Matra,
Roop, Expressions Ltd. etc. (some of these agencies were established before
Bangladesh). Artists trained in the Institute of Fine Art have played an important role
in the creation of the advertisements in these agencies.
After the liberation of Bangladesh, our advertising agencies were mostly inspired by
the Indian agencies (also agencies in the west) and in terms of design, were
sometimes influenced by them as well. Original work was not absent in this scenario
but the number was limited.
2. Poster
The Poster is one of the instruments of modern day publicity. Information or message
when written or printed on a piece of paper and displayed on walls or public places for
the purpose of public viewing and communication are called posters. If we have to
trace back the history of posters in Bangladesh, we have to refer to the stone
inscriptions of royal edicts and declarations during Emperor Asoka’s rule. The
examples of embroidery found in the rural households even today, containing different
kinds of messages, can also be referred to here. However, our current concept of poster
has nothing in common with these.
After the East India Company assumed power by the second half of the 18th century,
the cheap English prints imported into this country mark the beginning of modern day
posters. Later, in the 19th century the prints available in Bat-tala can also be
considered as posters. These cheap prints were very popular and many people used to
collect and use them for various purposes (pl. 4.1). After the establishment of the
Government Art School in Kolkata in 1864 one of its early students (later to become
teacher) Annada Prasad Bagchi (1849-1905) founded an art studio in Kolkata, which
supplied a large number of posters with pictures of Hindu gods and goddesses,
portraits of great men and pictures depicting mythological stories. A number of art
studios of this kind were opened later on. Litho methods were used predominantly in
these studios (pl. 4.2). There was no attempt to publicize any product, organization
20
or to convey any message through these posters, rather they were made for
commercial use with the sole purpose of making profit.
There is an opinion that modern posters were introduced in this country since the
independence movement in British India. Especially during the World War II, the
21
freedom fighters of the Indian subcontinent raised their voice against the oppression of
British Imperial rule, with posters. Many posters saying ‘No war, we want peace’ [trans.]
were published at that time. In this regard, we can mention the works of Nandalal Bose
22
(1882-1966) in 1937 on the occasion of the Haripura Congress (pl. 1.6).
However, during British rule, a different kind of poster was published with
government sponsorship, the main purpose of which was to promote a market for
British products. For example, a few of the posters printed on tin plates explaining the
merits of drinking tea and its recipes can still be found in some old railway stations.

GRAPHIC DESIGN 201


Right after partition, a poster exhibition was arranged in Burdwan House in Dhaka
with the theme of the chronological history starting from Muhammad Bin Kasim’s
conquest of Sindh until the birth of Pakistan. The drawing of these posters was done
by Zainul Abedin (1914-1976) and the coloring by Quamrul Hassan. Later, Zainul
Abedin gave finishing touches to the drawings and colors. It needs to be mentioned
23
that the reason behind choosing this theme for the exhibition was to convince the then
Pakistani rulers that Art has a functional value as well. A few years after this
exhibition, the Art Institute was founded in Dhaka and the Dhaka Art Group (1950)
was founded under the leadership of Zainul Abedin. In the first exhibition of the
Dhaka Group, a copy of Bihzad’s drawing (black and white) was used as a poster,
which was done by Quamrul Hassan. 24
The artists of our country made significant contributions during the Language
Movement of 1952. Posters done by Murtaja Baseer (1933 - ) and Imdad Hossain
(1925 - ) are mentionable here.
However, during the Pakistani regime, posters in Bangladesh developed along with
the film industry. During the 50s and 60s film posters were done in lithography. 25
However, a few posters were printed in West Pakistan for the sake of technical
convenience. In this connection, we can mention posters of two films with Rahman in
the leading role, Milon and Indhon, designed by Qayyum Chowdhury. The aesthetic
posters of Khan Ataur Rahman’s Sirajuddowla and Bhawal Sanyasi designed by
Abdus Sabur can be referred to here. Nitun Kundu (1936-2006) drew an
unconventional poster for the film Tanha. Shubhash Dutta and A. Z. Pasha are also
important as film poster designers. During the Pakistani regime, Kamart and
Evergreen Publicity were two important organizations for designing film posters.
After liberation, cinema posters were printed extensively in this country. However,
these posters were in monochrome. Later, at the end of the 70s printing developed
alongside technology. There were new possibilities in design and graphics. By the end
of the 70s colored posters were beginning to be printed. Nevertheless, a number of
monochrome posters are worthy of attention, for example- posters of the films
Sutorang, Abirbhab, Nil Akasher Niche etc. Posters of films like Madhumilon,
Mainamati etc. were very attractive and popular with audiences among the first stage
of colored posters of this era.
The hero, heroine and sometimes villains are the focus in cinema posters. The
special kind of calligraphy for film titles are also part of cinema posters. Usually
cinema posters are designed keeping in mind the mood and subject matter of the
film. In the 70s and 80s advertising agencies like Dawn Publicity, M Art, Rupayan,
BKD, Universal, Nandonik etc. made major contributions in the improvement of
cinema posters. The posters of films important because of their aesthetic and artistic
value are Jibon Theke Neya, Arunodoyer Agnishakshi, Surjo Shangram, Golapi
Ekhon Trainey, Palanka, Dhire Bohe Meghna, Sundori, Simana Periye, Titas Ekti
Nodir Nam, Dahan etc. The double demi size poster (23´´×36´´) once used to be the

202 ART AND CRAFTS


largest poster. Nowadays, gigantic posters are made which are printed in pieces and
then assembled together (pl. 4.3).
Other than cinema posters, another widely used kind of poster is for the election
campaign. Before liberation, during the Pakistani regime, the posters for election
campaigns had ‘Allahu Akbar’ written at the top irrespective of the candidate’s
religion. From 1971 to ’75/’76 only the name of the candidate and the electoral
emblem were used in election campaign posters. However, later on the pictures of
candidates began to be used. Until the beginning of the 80s these posters were limited
to one or two colors only. But from the mid 80s these posters used four colors.
Attempts to give variations and aesthetic treatment to the presentation of subject
matter can be observed in these posters. The political parties frequently use posters to
disseminate information about their political viewpoint and activities like meetings
and assemblies. These political posters use images which go with the philosophy of
their respective parties.
After liberation in the 70s the theatre movement in Bangladesh became very strong.
We find a new rush of flavor in posters of different theatres in the 80s. Before that,
posters were designed with the title and other information about the play. Sometimes
photographs were used in them. However, we first see an example of the aesthetic
expression of the play’s theme in Ashok Karmaker’s (1963 - ) design of the poster of
Talpatar Sepai by the group Dhaka Padatik. Among several other quality posters of
plays we find Mahbub Akand’s design of Ekhono Kritodash by Theatre, Qayyum
fig. 4.9 Annihilate these Chowdhury’s design of Nuruldiner Sarajibon by Nagorik Natya Sampraday,
Demons, Quamrul Shakespeare’s Tempest and Macbeth in joint collaboration of Theatre and Nagorik
Hassan`s famous Natya Sampraday and sponsored by the British Council and Satpurusher Rin by
caricature of Yahya Aranyak. In the poster of Theatre’s Payer Awaj Pawa Jay the photograph of the cast
Khan published in 1971 was used. Not all posters of theatre have pictures of the cast, rather in keeping with
the theme and mood of the play sometimes drawing,
watercolor or photographs are used (pl. 4.4). In recent
works of Prachyanat’s Circus Circus (pl. 4.5), Palakar’s
Mangula, Aranyak’s Rarang there were attempts to
bring innovation and variation in poster design.
A huge number of posters are designed in Bangladesh
apart from cinemas, plays or election campaigns. A large
portion of this belongs to the advertisement of products
of different commercial organizations. Companies like
Bata, Singer, Unilever etc. make posters to advertise
their products. The significant feature of these posters is
the use of male or female models. In Bangladesh the use
of human photographs in posters and other
advertisements started from the 80s. The appearance of
celebrities as models is also a significant feature.

GRAPHIC DESIGN 203


A number of quality posters have been published in
Bangladesh on several occasions and festivals. We can give
examples of Qayyum Chowdhury’s poster on the Asian Art
Biennale. He made use of folk motifs in these posters
successfully. Some splendid posters were published on the
occasion of the state celebration of the birth anniversary of
poet Kazi Nazrul Islam and Rabindranath Tagore. Most of
these are done by Qayyum Chowdhury. Posters published on
the occasion of birth and death anniversaries of renowned
individuals feature portraits of the concerned individual and
relevant associations. Some very good posters were designed
on the occasion of SAF games. The posters designed by
Shishir Bhattacharjee in 1988 for the poetry festival against
autocracy deserve special mention. Some very attractive
posters were designed on the occasion of film festivals (pl. 4.6)
by Shishir Bhattacharjee (1960 - ), Dhali Al Mamoon (1958- ),
Tarun Ghosh (1953- ). At the end of the 90s Shawon Akand
designed some unusual posters for several film festivals.
Bangladesh Parjatan Corporation has published some
attractive posters. The landscape, farmers, animals, birds and
archaeological sites were featured in these (pl. 4.7). We can
observe quality in selection of subject matter and their
presentation in these posters designed to attract tourists from home and abroad. In fig. 4.10 Desh Aj Bisva
1971, during the War of Liberation some inspiring posters were published on behalf Behayar Khapparey, the
of the Government of Bangladesh in exile in support of the War (pl. 4.8). Amongst last sketch by Quamrul
these Quamrul Hassan’s poster Annihilate these Demons featuring a caricature of Hassan drawn moments
Yahya Khan is a memorable one (fig. 4.9). Besides, many other motivating posters before his death, 1988
were designed by Pranesh Mandal (1951 - ) and Nitun Kundu in the same period. In
1988, the poster published on the occasion of poetry festival of Jatiya Kabita Parishad
based on Quamrul Hassan’s last sketch Desh Aj Bishwabehayar Khapparey is
considered a phenomenal work (fig. 4.10).
Apart from commercial needs, posters can be used as an important instrument for
social welfare activities. Posters published by several voluntary organizations,
humanitarian agencies or the government, especially those by the Department of
Family Planning have helped create awareness among people. Some useful posters
were produced on issues regarding use of contraceptives and orsaline. The posters of
UNICEF to encourage child vaccination are successful creations. No doubt these
posters gave priority to the message rather than to the artistic quality.
3. Book design, cover and illustration
There is a close connection between the history of book design, cover and illustration
and the origin and development of the print industry. In this connection, we can

204 ART AND CRAFTS


mention again Pala manuscript painting and other manuscripts and books in
subsequent eras (fig. 4.1). These can be regarded as fine examples and even the
standard of book cover design and illustration in Bangladesh, before the arrival of the
print industry. However, with the introduction of the print industry, these local and
indigenous rules and methods of manuscripts, designs and map designs were
eventually lost. It is a fact that freedom is lost to a great extent in printing styles
dependent on technology. In book design, cover or illustration—more precisely the
measurement of paper, types of cover-printing and binding, shape and size, title page,
measurement of type-setting, arrangement of types, measurement of margins etc. and
many other details were learnt and borrowed from the Europeans. The history of the
printing industry in Bangladesh, that is book-cover and illustration, starts constrained
by the one-dimensional and unilateral criteria and boundary of technology.
The first Bengali book by Nathaniel Brassey Halhed (1751-1830), A Grammar of the
Bengali Language (fig. 4.11) was published from Hooghly in 1778. The printer was
Charles Wilkins (1749-1836), well versed in Sanskrit and an officer under the British
Raj. The credit for making the first type set of Bengali alphabet is given to Mr.
Wilkins. But he received assistance from Panchanan Karmakar.
The same Panchanan Karmakar and his son-in-law Manohar Karmakar (?-1846) later
prepared alphabets for Serampore Baptist Mission Press of William Carey (1761-
1834). But what was the cover of the first Bengali book like? As far as we know, the
title page was used as the cover. There was no need to make separate type set for the
cover. The amusing fact is that even though this book is given the credit of being the
first Bengali printed book, the title was in English.
fig. 4.11 The title page Graham Shaw has shown that in the 18th century there were 17 printing presses in
26
of Halhed’s A Grammar Kolkata and at least 40 printers. However, most of them were Europeans. By 1799
of the Bengal Language they had published at least 368 books These were not only calendars, grammar books
27
or government publications but also books of songs and pictures. In
this connection, we can mention the famous book by Balthazar
Solvyns (1760-1824) A Collection of Two Hundred and Fifty
Colored Etchings Descriptive of the Manners, Customs and
Dresses of Hindoos (1779), Daniells’ (uncle and nephew) Twelve
Views of Calcutta published from Kolkata. The local people also
worked in these printing presses owned by Europeans and achieved
excellence in making typeset and blocks. But a few more years
elapsed before the first illustrated Bengali book Oonoodah Mongul
by Bharatchandra was published from Ferris Company in Kolkata
in 1816 by Gangakishore Bhattacharya. 28 There were six
illustrations in this book and two had engravings saying, ‘Engraved
by Ramchand Ray’ (fig. 3.2). Though many believe that all these
are done by one artist, it is not certain. We do not know what the
cover of the first illustrated book was like.

GRAPHIC DESIGN 205


The first monthly magazine Digdarshan (April 1918) and weekly Samachar Darpan
in the same year were published from Serampore Press. In the meantime, Calcutta
School Book Society had been established in 1817. In 1822, John Lawson, a member
of this Society published the first illustrated Bengali monthly Pashvabali. The
illustrations published in this monthly was drawn and engraved by him. In every issue
of this magazine, the description of an animal was published and a wood engraving of
the same animal was printed on the first page. 29
In the second or third decade of the 19th century, the famous press of Bat-tala in
Calcutta began its journey. Sukumar Sen commented that around 1831 the prints of
Bat-tala made their appearance. The principal feature of Bat-tala books are that they
30
were printed on cheap paper and the subject matter ranged from everything from holy
books to children’s texts, books on medicine to language, drama-novels to how to
write love letters, panjika to panchali. The cover of Bat-tala books were quite
naturally printed on cheap paper as well. Sometimes wood-engraved prints were used
as covers. Some covers only had the title, the writers’ and the publishers’ name. One
of the characteristics of Bat-tala book cover was its selection of colors. Even though
it was printed with a single color, be it black, dark blue or brown, the cover page was
always different from the book. In most cases, red or pink paper was used for the
cover. In this way an attempt was made to give the impression of two colors in Bat-
tala books, which is significant in the context of that age.
In the huge number of publication from Bat-tala a large number of wood-engraving
artists were involved. Though not all their names can be known, a number of them are.
We have already mentioned Ramchand Ray. Kashinath Mistri, Harihar Bandapadhaya,
Ramdhan Swarnakar, Madhab Chandra Das, Rupchand Acharya, Biswamvar Acharya,
Ramsagar Chakrabarty, Kartik Chandra Basak, Hiramoni Karmakar, Hiralal
Karmakar, Gopal Chandra Karmakar, Kartik Chandra Karmakar, Nrityalal Datta,
Panchanan Karmakar and others are among the important ones. The years between
31
1840 and 1865 are known as the golden age of Bat-tala publication. But its glory
lasted till the end of the 19th century. It is not that this trend has become extinct. It is
surviving in a different form and style.
The publications of Bat-tala were for common people. Their popularity among the
mass was tremendous. The book cover and illustration artists of Bat-tala are important
as they were not institutionally trained artists. Despite that, the kind of skill and
creativity they have shown is amazing. Especially, illustrating characters with
reference to literature (for example, Vidya and Sundar) and to make it comprehensible
to common people is not an easy task (fig. 3.2). The engraving artists of Bat-tala did
it successfully in most cases with book covers and illustrations.
In the later half of the 19th century, a book-market (Ketabpatti) similar to Bat-tala grew
in the Chawkbazar area of Dhaka. It was a large center for the composition and
publication of books for the Muslim community. In both Dhaka’s Ketabpatti and
Kolkata’s Bat-tala - Muslim books were printed the same way as Arabic and Persian

206 ART AND CRAFTS


scripts, from right to left. The fonts were large. The reason behind printing in large font
was to make it convenient for rural readers with very little literacy under the scant light
of the oil-lamp. The covers of these texts were printed on white or colored paper with
borders of creeper and leaf motif. However, in publications of Dhaka’s Ketabpatti there
seemed to have been no use of illustration similar to that of Kolkata’s Bat-tala. 32
In 1854, the first art school was established in Kolkata on private initiative. In 1864,
this became the Government Art School. Here training was imparted on etching,
engraving, lithograph etc. In fact, the British established these art-training institutes in
this country to serve their own purpose. This British Victorian style education system
had a widespread influence on the publication industry of this country especially on
book-cover and illustration.
The introduction and development of lithography is an important event of the 19th
century and the history of graphic design in Bangladesh. Although lithography came
to this country with two Frenchmen in 1822, the first litho press owned by a Bengali
was established in Kolkata in 1829. It was called Shura Pathuria Press. However, we
do not get any example of publication from this press today. We only know the
existence of this press through an advertisement published in a magazine. However,
33
in the latter half of the 19th century lithography became popular in Kolkata and the
artists trained in Government Art School had a role to play in this regard. Among
them, Annada Prasad Bagchi (1849-1905) should be mentioned with special emphasis.
fig. 4.12 Annada Prasad Annada Prasad was famous primarily for book illustration. Among his works, Sir
Bagchi, Antiquities of Joseph Fayrer’s famous book Thanatophidia of India (1872) and Rajendra Lala
Orissa, Plate IV Mitra’s Antiquities of Orissa (1875, 80) and Bodh Gaya (1878) are most significant
(fig. 4.12). In 1876 Annada Prasad established ‘Calcutta Art Studio’in Boubazar Street
of Calcutta. Later, four more artists joined the studio in 1878. 34
Following this trend, a few more art studios were established in
the 70s and 80s. These studios were controlled primarily by
former students of Government Art School who used to work in
book design and illustration in lithography.
It is difficult to get any copy of the earlier editions of
Vidyasagar’s Barno Porichoy published in the 19th century, the
1st part in April 1855 and the 2nd part in June 1855. The same
goes for the book Kathamala published in 1856. We do not
know what was on the cover. But from the receiver edition
published in 1929 it can be assumed that to save the cost of
blocks, the famous picture of the crow and the fox, which was
printed inside the book was used on the cover. 35
A few years later, a special kind of book arrived where the
cover had the title and the writer’s name embossed on it in
brilliant golden or silver-colored letters instead of any
illustration. Michael’s book of sonnets had a similar kind of
cover - a green cover with golden border.

GRAPHIC DESIGN 207


On the other hand, we find information about a different kind of cover from researcher
Manmathnath Ghosh about one of the geniuses among early Bengali book illustrators,
Girindrakumar Datta (1841-1909). According to him, ‘Girindrakumar planned a
beautiful illustration for one of Michael’s book-covers. At the bottom of the picture a
man (the poet) with a dark complexion wearing a coat and trousers is lying down
intoxicated, with a wine glass and bottle nearby and the goddess of speech is emitting
rays of creativity above the head of the slumbering poet. I have heard Michael greatly
appreciated the painter after a glance at the illustration.’ [Trans.] It is to be mentioned
36
that Girindrakumar was not a student of the Art School. He was self-taught. In the
second edition (1870) of Parichand Mitra’s (Tekchand Tagore), Alaler Ghorer Dulal
six lithographs of Girindrakumar can be found. Four years after this, Shyamacharan
37
Srimani’s (?-1875) book on art, Arya Jatir Shilpachaturi (1874) was published. This
is the first modern book on the ancient art of India. It goes without saying that this
book was embellished with lithograph and woodcut prints. 38
Throughout the 19th century, even after the so-called renaissance of Bengal there was
no strong base or style in the art of book design and illustration of Bangladesh. We had
to wait until the next century. At the beginning of the 20th century, the book cover and
illustration in Bangladesh found its own distinct style through the publication of
Thakurmar Jhuli in 1907. It is popularly known that Dakshina Ranjan Mitra
Majumdar, the author of the book, did the illustrations himself. Famous artist
Priyagopal Das (1870-1928) and a few others converted these illustrations into wood
engraving. We find the name of engravers in the acknowledgment page of the book. 39
However, according to Soumyen Pal, ‘Priyagopal Das, a famous wood-engraver of
those times drew the pictures and engraved them.’ [Trans.] But most researchers
40
have agreed that Dakshina Ranjan Mitra Majumdar, the writer, was also the illustrator
of this book. These black and white illustrations are still memorable considering the
natural skill in drawing and the creative imagination of the artist. The principal
characteristics of these pictures is that they were drawn in a pure Bengali style (may
be the idea of the Bengali style developed based on these drawings). We still visualize
the monsters, beasts, or other characters of these fairy tales through these amazing
drawings of Dakshina Ranjan Mitra Majumdar’s Thakurmar Jhuli.
In the history of book illustration, the person who should be remembered first is
Upendrakishore Raychaudhuri. The invention and use of half-tone block (1897?) is his
greatest contribution. Printing was done in line-block before this and there was no
option of printing tones. Upendrakishore Raychaudhuri was the first person to explore
this possibility. He was a writer, painter, musician, and printer at the same time. His
first significant publication was Sekaler Katha (1903). The cover was designed with
the title embossed in golden on red rexin and a pre-historic creature drawn in black
raising its head from the sea trying to grab a pterodactyl embossed in golden. The book
had seventeen full-page half-tone illustrations, one painted in two colors and many
small pictures. The director of public instruction of Bengal during that time

208 ART AND CRAFTS


commented on the book, ‘I had no idea that such good illustration printing … could
be done in Bengal.’ Upendrakishore Raychaudhuri himself wrote in the introduction
41
of his book, ‘…none of these are copies of any English book.’ [Trans.] His work is
42
spread out in several famous books like Tuntunir Boi (1910), Chheleder Mahabharat,
Chheleder Ramayan etc. Numerous examples of his talent in printing and drawing can
be found in Sandesh, an illustrated children’s magazine.
Sukumar Ray (1887-1923), the extraordinary son of Upendrakishore made several
wonderful things happen in the book illustration of Bengal. Every single rhyme and
poetry in Abol Tabol is accompanied by drawings showing wonderful imagination and
humor---for example, characters of Hasjaru (a combination of duck and porcupine),
Ramgorurer Chhana, Kakeshwar Kuchkuch or Pagla Dasu are some of his memorable
creations. This is not just a glorious achievement in the context of Bangladesh but for
the whole world as well. Bengali book illustration discovered its own distinct style
through the achievements of Upendrakishore Raychaudhuri and Sukumar Ray. It was
proven through their work that book cover or illustration is not only commercial in
aim but can also be a work of art enriched with creativity and imagination.
Rabindranath Tagore (1861-1941), Abanindranath Tagore (1871-1951) and
Gaganendranath Tagore (1867-1938) ---the three members of the Tagore family of
Jorasanko are luminous stars in the history of art in Bangladesh in their own respect.
They have added a special dimension in book design and illustration following their
own artistic style and technique. Khajanchir Khata (1921) or Buro Angla (1348
Bengali year) carries Aban Tagore’s unique style and patriotic spirit. Gaganendranath
Tagore did the cover of Raktakarabi (1927). Keeping pace with the new kind of drama
Rabindranath was writing, Gaganendranath did a Cubist (!) kind of cover which was
somewhat Indian in style in black and white, light and shade, and a density of
geometric shapes. Tasher desh or Chandalika can be taken as examples of unusually
sophisticated and aesthetic covers with Rabindranath’s own drawings (pl. 4.11). On
the cover of Parishesh, we find the title written in his own hand and the picture is
printed and pasted separately. Possibly this is an influence of the Japanese style. 43
Among other book covers designed by Rabindranath Tagore Khapchhara, She Dui
Bon are his significant works.
If an artist, who is brilliant and creative in the true sense, works on book illustration,
fig. 4.13 Nandalal
Bose, Nataraj it takes on a different dimension. Nandalal Bose can be regarded as an excellent
Riturangashala, example in favor of this statement. He has blurred the line separating painting and
illustration illustration. In the first edition of Bichitra, Nataraj Riturangashala (1927) was

GRAPHIC DESIGN 209


published with his illustrations (fig. 4.13). Later it was published as a
book from Visva-Bharati. In the history of book illustration in
Bangladesh this book added a new dimension. We must mention the
illustration of Rabindranath’s two-part book Sahaj Path. In the first
part he used the technique of linocut in an amazing interplay of black
and white. On the other hand, in the second part we see very simple
and pleasant pictures drawn with thin lines. Nandalal Bose can be
identified as one of the pioneers of local book illustration.
Jasimuddin’s Baluchar, Gurusaday Dutt’s Bhojar Banshi,
Sharatchandra’s Pather Dabi or Rabindranath’s Chhinnapatra are
some of the best covers done by Nandalal Bose.
A few more artists in the 30s and 40s are important for cover and
illustration of Bengali books only. Among them Purnachandra
Chakravarty (1903-?), Charu Ray (1890-1971), Pratul
Bandopadhyaya (1902-1974), Samar Dey (1907-?), Jatindrakumar
Sen (1882-1966), Ashu Bandopadhyaya (1916-1976), Surya Ray
(1913-1979), Purnachandra Ghosh or P.Ghosh (1885-1949), and
others can be mentioned. However, all of them were more enthusiastic
about drawing pictures in consistency with the story rather than
creative illustration. Their work is so realistic and faithful to the
original story that it does not add any dimension to it. Pratul
Bandopadhyaya was the principal illustrator of children’s book for more than two fig. 4.14 (top) Makhan
decades. He spontaneously created rhythm and made the characters realistic in Datta Gupta,
illustrating detective or adventure stories. He and Purnachandra Ghosh were the Shakuntala, illustration
illustrators of most of the books published from Dev Sahitya Kutir.
Ashu Bandopadhyaya, student of Aban Tagore showed excellence in cover and
illustration art. He did numerous book covers and illustrations between 1935 to 1950.
He designed the covers of most of the books by ‘Mitra and Ghosh’. Bibhutibhushan’s
Aranyak is one of his significant works. Rajshekhar Bose’s books always had the
covers or illustrations done by Jatin Sen. On the other hand, Sibram Chakrabarti’s
books without Shaila Chakraborty’s illustrations, cover and calligraphy were
unimaginable. But another contemporary artist of that time, Jamini Roy (1889-1972)
presented covers in sophisticated colors drawn with the subtle use of his unique style.
Amiya Chakrabarty’s Annada, Sudhin Dutta’s Uttar Phalguni, Buddhadeva Basu’s
Kaler Putul are some of his memorable works. Jamini Roy is memorable for his
covers of Bishnu Dey’s books of poetry.
There were a few others who were closely linked with the advertising industry but also
presented some wonderful covers. Among them Rathin Moitreya (1913-?) and
Makhan Datta Gupta deserve special mention (fig 4.14).
Before and after partition, three persons who made an amazing contribution to the
Kolkata centered Bengali book publication are Satyajit Ray, Khaled Chowdhury, and

210 ART AND CRAFTS


Purnendu Patri. It can be said that these three persons took the cover design industry
to a different level.
There is no need to introduce Satyajit Ray. He is world famous as a film director. But
before he entered the film arena, he was involved in designing covers and illustrations
of Bengali books since his early days and continued doing so until his death.
Following the path of his father and grandfather, Satyajit Ray, the student of Nandalal
and Benode Behari at Kala Bhavana in Santiniketan opened up a new world of
illustration. In the 40s, led by D.K.Gupta some amazing publications were produced
from Signet Press. Many of them became unprecedented with the touch of Satyajit
Ray. Apart from the diversity of cover, exceptional title page, smoothness in
typography, lettering, illustration and binding, the signs of taste and creativity are all
credits of Satyajit Ray. Throughout his career he has done the covers and illustrations
of around 400 books and magazines (fig. 4.15). Bengali readers cannot easily forget
44
the cover and illustration designed for his own writings, Pheluda and Professor
Shonku. When Sandesh was published, again he showed unusual creativity in its
cover and illustration.
The principle feature of Satyajit Ray’s work is that he broke with his own style
repeatedly and moved beyond himself. He carved a niche for himself in the history of
cover design and illustration in Bangladesh as a pioneer with various methods and
techniques of his own innovation. It will not be an exaggeration to say that the model
he established in the publication industry in Bengal is still followed today. It is
difficult to go beyond the sphere of his influence.
Khaled Chowdhury is another influential cover and illustration artist. His most
significant works are Mahasweta Devi’s translation of Jim Corbett Omnibus, Rahul
Sankrityayan’s Volga Theke Ganga, Mahasweta Devi’s Hajar Churashir Ma, Syed
Mujtaba Ali’s Chacha-Kahini etc.
Later on artist Purnendu Patri also added a new dimension in the history of cover
fig. 4.15 (bottom) design and illustration in Bengal. We can name numerous books as examples- Eka
Satyajit Ray, Am Antir Ebong Koyekjon, Kathopakathon, Panthojoner Sokha and many collections of poetry
Bhepu, illustration by Shakti Chattopadhyaya and Sunil Gangopadhyaya. Purnendu also gave thought to
lettering as did Benode Behari, Satyajit and Khaled Chowdhury and experimented

GRAPHIC DESIGN 211


with the immense possibility and limitations of alphabets, which we
observe in several covers and illustrations.
Limiting the discussion of the Kolkata centered history of book
illustration in Bengal, we are now going to shed light on its
development in Bangladesh after partition. We do not find any
significant information about cover design and illustration art in the
present region of Bangladesh before the partition in 1947. Rather
the publication industry was entirely centered in Kolkata.
Newspaper, magazine, books were published since the
establishment of the first printing press in Dhaka (1849) and from
other areas of the country but they were not very significant. The
Ketabpatti of Chawkbazar has already been mentioned. There had
been almost no illustrated publication in Dhaka. The possible reason
might be the fact that until then there had been no framework for art
education or practice in Dhaka.
In 1948, the Government Institute of Art was established in Dhaka.
The history of cover design and illustration in Bangladesh primarily
originated through the artists, teachers, and students of this institute.
However, before that we have to remember the contribution of artist,
Kazi Abul Kasem (1913-2004). Kazi Abul Kasem was a self-taught artist. He did not fig. 4.16 Kazi Abul
get the chance to get formal education. As far as we know, he was the first Muslim Kasem, book cover
artist from East Bengal who worked as a commercial artist in the 30s and 40s in
Kolkata. Apart from working in advertising agencies, he did numerous covers and
illustrations in the realistic trend by depicting stories and writings. Among these, he
showed his skill in illustration of children’s books (fig. 4.16). For example, in the
illustration of Hatem Tai, we find the fairies, genies, snakes and costumes depicted
wonderfully which can easily captivate children. These illustrations were first drawn
in waterproof ink and later the contrast of light and shade was depicted with
watercolor. Even though he followed Upendrakishore’s work in the beginning, he was
able to find his own style. After partition, he came back to Dhaka. Among his other
important works, we can mention Sardar Jainuddin’s Abak Avijan, Ashraf Siddiqui’s
Banijyate Jabo Ami etc.
Shilpacharya Zainul Abedin and Patua Quamrul Hassan are the two personalities who
founded the base of cover and illustration art in our country and paved the way to its
development. Zainul Abedin made his debut in book illustration before partition. From
what we know till now, the sample of his first illustration work is Chhotoder Sachitra
Krittibas published from Kolkata in 1947. We find 18 illustrations in this book. One
of these was used as the cover. 45
After partition, alongside establishing an art education institute in Dhaka, his own
practice and several other socio-cultural activities, he presented us many wonderful
book covers. His cover and illustrations in Shamsuddin Abul Kalam’s Kashboner

212 ART AND CRAFTS


Kanya still amazes us with its originality and spirit of Bengal. Other
examples of Zainul’s works are Jasimuddin’s Nakshi Kanthar Math
(pl. 4.10), Rongila Nayer Majhi, Beder Meye, Palli Bodhu, Ganger
Par, Padmapar, Matir Kana, Ahsan Habib’s Ratri Sheshen, and
Bulbul Chowdhury’s Prachi etc. he did many covers of magazines.
We can observe in Zainul’s cover illustration elements of local and
rural life, which reminds us of the traditional Bengal. Through these
he proved himself not only an artist but also original and successful
as an illustrator.
He supervised the drawing and illustration of the hand-written version
of the Constitution of Bangladesh. One of his sketches at the end of
every chapter of the Constitution gave it special value. A nakshi
kantha from his own collection was printed on the flyleaf with his
enthusiasm. Those who accompanied him in this historical work were
A.K.M. Abdur Rouf, Hashem Khan in design, Zunabul Islam,
Samarjit Roy Choudhury and Abul Barq Alvi in illustration. 46
Quamrul Hassan is another powerful artist from Bangladesh. An
enthusiast in different aspects of graphic design, he showed
uniqueness in cover design and illustration (fig. 4.17). It can be said
in the context of Bangladesh, his role is that of a pioneer in
illustration. Quamrul Hassan got his art education from Calcutta
Government Art School and after partition, he came back to Dhaka and helped Zainul
Abedin set up an art institution. In the 50s and 60s, using the limited scope of printing
in the age of the block, he created amazing covers and illustrations. Numerous
examples of his sketches and drawings are scattered in periodicals. We find samples
of his work in Badruddin Umar’s Purba Banglay Sangskritik Sankat, Abdul Gani
Hajari’s Samanyo Dhon, Habibur Rahman’s Upatto, Akhtaruzzaman Elias’
Dudhebhate Utpat and a few books of rhymes by Faiz Ahmad. The principal
characteristic of Quamrul Hassan’s cover and
illustration design is the use of lines and
primary colors. The close contact with local art
seen in his paintings is also reflected in his
covers and illustrations. His very own
fig. 4.17 (top) Quamrul technique of line drawing and faithfulness to
Hassan, illustration from indigenous art gave a new dimension to cover
the book The Prince of and illustration art.
Peace published from For more than half a century, the person who
Burma, 1957
kept the publication industry of Bangladesh
moving with innovative illustration and cover
fig. 4.18 (bottom)
Qayyum Chowdhury, design, through the sole identity of a book
book cover illustrator, is Qayyum Chowdhury (fig. 4.18).

GRAPHIC DESIGN 213


He is one of the artists of the early stages of the Government Institute
of Art in Dhaka (present day Institute of Fine Art, University of
Dhaka). He became involved with the publication industry inspired by
Zainul Abedin and Quamrul Hassan as well as being driven by
financial need. Since the 50s until today (2005) his multi faceted
techniques, mastery in application of color, uniqueness in drawing and
illustration have kept on amazing us. Monochrome, bi-color, using
multi colors, from block engraving to offset printing, from color
separation through drawing to modern day computer graphics, he is
comfortable and spontaneous in every medium. The history of our book
illustration and Qayyum Chowdhury can be said to be synonymous. He
is the cover artist of more than five thousand books. The credit for
understanding the temperament of a book and representing it definitely
goes to Qayyum Chowdhury as a cover designer. Every single work of
Qayyum Chowdhury is self-sufficient, charming, appreciated, aesthetic
and satisfying. He has sometimes worked in watercolor, sometimes in
gouache or pen and ink. He is equally adept in using texture and screen.
His cover designs carry the trace of his innovation (pl. 4.12).
The most significant cover designs of Qayyum Chowdhury on books of poetry are fig. 4.19 Samar
Abu Zafar Obaidullah’s Brishti O Shahoshi Purusher Jonyo Prarthona, Abul Hasan’s Majumdar, book cover
Raja Ashe Raja Jai, Prithok Palonko, Al Mahmud’s Sonali Kabin, Shahid Kadri’s
Uttoradhikar, Shamsur Rahman’s Adigonto Nogno Pododhoni etc. Among his works
on stories and novels we can name Al Mahmud’s Pankourir Rokto, Syed Shamsul
Haq’s Khelaram Khele Ja, Zahir Raihan’s Shesh Bikeler Meye, Humayun Ahmed’s
Nondito Noroke, Hasan Azizul Haq’s Namhin Gotrohin etc. and on themes of the
Liberation War : Ekattorer Dinguli, Smriti:71 etc. Considering the number and variety
of his work, in the context of the history of graphic design (certainly the history of
cover design and illustration) in Bangladesh Qayyum Chowdhury has reached the
stature of a legend. In both Bengals he is referred to as the most prominent cover and
illustration artist after Satyajit Ray.
Most of the famous and prominent artists of Bangladesh have occasionally designed
covers. For example, Mohammad Kibria did the cover of Haramoni’s fourth volume
and Aminul Islam did the cover of the first issue of Ekushey. But we must mention
A.K.M. Abdur Rouf, another cover artist who created the extraordinary covers of
Suryadighal Bari, Lal Salu, Samsaptak etc. Other than these, there are not many
covers designed by him.
In the publication industry of Bangladesh the most dedicated artist in children’s book
illustration is Hashem Khan. His various qualities made illustration in children’s
literature attractive and dynamic. Even a few years ago Hashem Khan did the cover
and illustration of most of the textbooks in Bangladesh. Children’s literature has
always been ignored in our country. It can be said that it was given a new dimension

214 ART AND CRAFTS


in the hands of Hashem Khan. The prominent feature of his work is the use of bright,
primary colors. The use of typography to make it more accessible to children is
another feature of his work. We can name Asad Chowdhury’s Ekka Dokka or Lutfar
Rahman Riton’s Hijibiji as examples.
Hashem Khan’s illustration is very unique. His drawing is easily recognizable. He has
illustrated hundreds of books in his unique drawing style. A few examples of his
numerous works of 35 years are Agdum Bagdum, Chhoray Chhoray Chhanda, Ek je
Chhilo Nengti, Hattima Tim Tim, Bhije Beral, Talpatar Sepai, Shishu Barshiki,
Rajakarer Chhara etc. He made his country, people, environment, nature and history
easy and accessible to children through his cover and illustration.
He showed his excellence not only in children’s books but also in illustrating books
for adults. Sojon Bandiyar Ghat or Nakshi Kanthar Math can be referred to in this
regard. Apart from this, the covers of stories, novels or essays published from Bangla
Academy or Muktodhara feature his originality. The use of screen, simple drawing and
lively lettering in spontaneous brush strokes make the covers captivating. From the era
of block up until the era of computer technology of today, he continues to work on
innovative book illustration.
Rafiqun Nabi is another prolific cover and illustration artist (pl. 4.13). He is famous
for his cartoons and satire, especially for the character Tokai. The cover and
illustrations he has done with powerful drawings and skilled application of
transparent watercolor is easily appreciated. He did cover designs and illustrations of
books for adults as well as children. The significant feature of his work is the
prominence he gave in the expression of the figures, especially for books of stories
and rhymes for children. For example, we find in an illustration of Ahsan Habib’s
Chhutir Din Dupure a young boy and a girl running, the nut vendor’s nuts falling,
squirrel sitting on a tree and looking around. The movement of the running children
and the expression of the nut vendor display Rafiqun Nabi’s strength in drawing. He
did illustration in his own unique style, sometimes in brush, sometimes in nibs, at
other times with a mixture of both and also in watercolor wash. A few names among
his numerous works are mentioned here: Ahsan Habib’s Brishti Pore Tapur Tupur,
Belal Chowdhury’s Shaptoratner Kandokarkhana, Shamsur Rahman’s Golap Phote
Khukir Hate, Rafiqul Huq’s Panta Bhate Ghee, Bulbon Osman’s Kanamama,
Ekhlasuddin Ahmed’s Hotath Rajar Khamkheyali, etc. Among essays, satire or
illustrated books for adults we find Rafiqun Nabi’s covers in books like Satyababu
Mara Gechhen, Modhyarater Ashyarohi, Hyenar Khanchay Odommyo Jibon, China
Kabita, Alef Miyar Dhaka Darshan etc.
We can mention Pranesh Mandal, Mohammad Idris, Samarjit Roy Choudhury, Kalam
Mahmud, Syed Enayet Hossain, Ashish Chowdhury, Golam Sarwar, and Abul Barq
Alvi as book illustrators of the 60s. Many names can be added to this list. All of them
have done a number of very good covers and illustrations in their unique styles.

GRAPHIC DESIGN 215


During the three decades after liberation, there has been a host of cover design artists
who have also showed their skills in illustration. Among them Kazi Hasan Habib who
died an early death, demands special mention (pl. 4.14). He did a lot of work within a
limited period. He left the mark of his creativity in the illustration of novels, essays,
articles and children’s literature. He took care in designing covers that were pleasing
and soothing and showed special taste in selection of colors. He did numerous covers
deserving mention. Among these are Humayun Ahmed’s Eishob Din Ratri, Kothao
Keu Nei, Abu Bakar Siddique’s Jalrakhhosh, Imdadul Haque Milon’s Nirbachito
Premer Galpo, Poradhinota, Selina Hossain’s Mogno Chaitonye Shish. Kazi Hasan
Habib was the regular cover artist of many volumes of compiled articles published
from Bangla Academy.
As an illustrator, Afzal Hossain appeared with great strength. He has executed some
memorable covers. He was the pioneer of a distinct style. He is now totally inactive in
the field although he did much work at one time. His uniqueness in drawing and
lettering is still remembered today. Some of his significant works are Achin Jadukor,
Chita Rohoshyo, Bohubrihi, Bawannogolir Ekgoli, Nayok etc.
Khalid Ahsan also created a distinct style in cover and illustration art (pl. 4.15). His
use of abstraction and various colors in the cover and illustration of books of poetry
signals originality. In Omanush, 1971, Achinpur, Hey Anonter Pakhi, Collective Works
of Rudra Mohammad Shahidullah, Helal Hafiz’s Je Jole Agun Jole etc. we find
expression of his unique, original and diverse taste.
Asem Ansari, Masuk Helal, Mamun Kaiser, Yusuf Hasan, Biren Shome, Abdur Rouf
Sarkar, Chandra Shekhar Dey, Farida Zaman, Showkatuzzaman, Dhali Al Mamoon,
Ainul Huq Munna, Khalid Hossain, Ahsan Habib, Ragib Ahsan, Ashok Karmaker,
Hironmoy Chanda, Shuvashish Majumdar, Abhijit Chowdhury, Najib Tareq, Rafi
Haque, Uttam Sen, Mominuddin Khaled, Alokesh Ghosh and others have designed
some good covers. Shishir Bhattacharjee has also created some good covers. Farida
Zaman showed excellence in illustration of children’s books. As a student, she
illustrated Bonmoroger Basa. Naima Haque is another significant illustration artist.
Maksudur Rahman has evidenced his excellence in the illustration and cover design
of magazines. The arrival of two cover artists in the 90s was an important event in the
world of book illustration of Bangladesh. They are Samar Majumdar and Dhrubo Esh.
Samar Majumdar is a busy and famous illustrator of contemporary times. He is
spontaneous in each of the media of collage, photography, computer graphics and
drawing. His most memorable work is the cover of Shawkat Ali’s Prodoshe
Prakritojon and Akhtaruzzaman Elias’ Chilekothar Sepai. Samar Majumdar had more
success in illustration of essays and novels (fig. 4.16). He has amazed us many times
with innovations in subject and presentation.
The most famous contemporary book cover designer is Dhrubo Esh. He acheived
success at a very early age and did a great number of work (pl. 4.17). In the last one
decade he has designed the covers of a significant quantity of books standing around
4000 in terms of numbers. He has the rare quality of recreating himself. Possibly for

216 ART AND CRAFTS


this reason we always find his work innovative. He is continuing his work and
maintaining a balance between the aesthetic value and commercial success of a book.
Different motifs and design have become the major element in his work. He has used
some elements in cover design which were never seen before. The subtle and
sophisticated use of computer graphics gave Dhrubo’s work a new dimension.
However, in illustration for children’s books or magazines, he has been successful in
using his very individual style of drawing. The publication industry of Bangladesh
experienced a combination of variation and modern outlook through his cover and
illustration. Possibly, there has not been such an influential and multi-faceted book
illustrator like Dhrubo Esh after Qayyum Chowdhury.
In the latter half of the 90s and in the first half of the new century, the few artists who
announced their presence through their work are Anisuzzaman Sohel, Kanak Aditya,
Sabyasachi Hajra, Ronni Ahmmed, and Shawon Akand among others. They are all
working in their individual styles.
The total production and appearance of books and the cover designs and illustrations
have changed with the evolution of the printing media in Bangladesh. The period until
the mid 70s can be called the era of block printing. The designers did illustrations
considering the limitations of the media. At the end of the 70s, the widespread
popularity of the offset press in the publication industry had a positive effect on cover
design and illustration. Again, in the beginning of the 90s the massive use of computer
technology brought about a groundbreaking change in the look of Bengali books.
Even though the cover and illustrations are printed in bright multi-colors, not all the
works are high quality. Yet, we can say without doubt that in more than 50 years the
cover and illustration art of Bangladesh has reached a respectable position.
4. Calligraphy and Typography
fig. 4.20 Examples of There is a close relationship between calligraphy and typography although there is a
types used in Bengali subtle difference between the two. In general, calligraphy means beautiful
books from 1778-1799 handwriting. Nandalal Bose came up with a wonderful Bengali synonym of
calligraphy, lekhangkan. Since Charyapada, the earliest example
47
of Bengali language to the manuscripts of the Pala era and other
books in the subsequent years, we find samples of Bengali
calligraphy. But Bengali typography originated in the later half of
the 18th century (1778) (fig. 4.20). The reason behind this is that
whenever the alphabet of a language is either written or engraved (as
it happened with copper plate, stone or metal coins), it is important
to maintain the distinctiveness of the alphabets. They take different
forms in different areas and different people. But whenever a
language is printed, the alphabets must have a particular shape. This
is why and how typography originated.
Nathaniel Brassey Halhed’s A Grammar of the Bengal Language
was published from Hooghly in 1778. Charles Wilkins, an employee
of the East India Company is given the credit of making the lettering

GRAPHIC DESIGN 217


for this book. However, he had help from a Bengali called Panchanan Karmakar.
‘Movable Type’ was first used in this book. It is believed that this is where modern
typography originated. Researchers believe that these letters were made keeping in
mind the Bengali alphabet evolved from the manuscripts of Srikrishnakirtana and
using the handwriting of Kalikumar Ray, a teacher of Bengali handwriting at Fort
William College and Khushmat Munshi from Hooghly as source. Undoubtedly, the
48
transformation of modified Bengali alphabets can be detected in earlier punthis,
documents, letters and even in coins, stone inscriptions, or copper plates. These
printed alphabets gradually developed to take the shape of Vidyasagar type. Ishwar
Chandra Vidyasagar proposed a revised alphabet in 1855 through his publication of
Barna Porichoy part one and two. Later some other styles of alphabets were created
49
such as Pyka, Pyka Adhunika, Pyka Antique, Bharati, Purabi etc. (fig. 4.21). 50
In the last half of the19th century (1886), the invention of linotype was a remarkable
event. Because of this, it was possible to make a complete single line of ‘type’ by
casting metal. When hundreds of ‘types’ were required for a specific group of letters,
linotype made it easier to get as many as one needs from some dies of the letters. Thus,
many innovations became easier. In 1935, the Bengali linotype was introduced first
through Anandabazar newspaper with the initiative of Sureshchandra Majumdar.
Rajshekhar Bose helped Sureshchandra to invent linotype. Sushilkumar Bhattacharya
drew the shapes of the original Bengali letters under the supervision of artist
Jatindrakumar Sen. In Bangladesh (the then East Pakistan) linotype was introduced
51
in around the 60s.
However, a big change occurred in terms of typesetting in the 80s of the 20th century,
when photocompose or photo type was invented as an alternative of linotype. It had a
far-reaching influence in the world of typography. There used to be a gap between the
letters made of lead and this problem was solved after the invention of photocompose.
A negative and a lens are the main components of any photocomposing machine.
Beside this, an artificial ray of light is required. This ray of light is passed through the
lens on the transparent part of the negative onto the photographic paper. By using this
ray of light the gaps between the letters can be avoided in photocompose. The
52
progress in computer technology has simplified the complexities related to type. Now
we have a few thousand types.
Along with the progress of the printing media, there has been much development in fig. 4.21 Head title of
Bengali letters. The interesting part is that Bengali typography was once designed by Sangbad Prabhakar
using calligraphy or handwriting as a source. Although
Bengali letters have been organized and structured
through this process, it has been seen later on that the
beauty of the Bengali alphabets are to be discovered in
unorganized handwriting. Entirely for functional
purposes, beautification or to clarify a specific subject,

218 ART AND CRAFTS


people combine handwriting or calligraphy with typography. We see this combination
in book covers, posters, certificates, illustration of magazines and many other areas.
However, the person who has really given thought to Bengali typography, whose
talent and merit has lead to the development of typography is Satyajit Ray. He has
experimented with the different possibilities of Bengali typography. We can see the
reflections and implementations of his ideas regarding typography in many book
covers, title design of films, posters, or in booklets. However, before this, Bengali
alphabets achieved a special dimension through Rabindrabath Tagore. Rabindranath’s
disciple Benode Behari also worked on Bengali typography.
When the printing industry began in Bangladesh, the ‘type’s were imported from
Kolkata. It continued before the partition and even after that. The direct result of the
movement of 1952 is the Bangla Academy. It has kept on experimenting in order to
improve Bengali typography. Bangla Academy has collected different specimens from
different artists but they have not been published yet.
Qayyum Chowdhury is foremost among those artists who showed their excellence in
creating different types of hand-written calligraphic typography in Bangladesh. There
were also other artists who invented their own typography i.e., Hashem Khan, Rafiqun
Nabi, Kazi Hasan Habib, Golam Sarwar, Afzal Hossain, Anwar Faruk, Masuk Helal,
Maksudur Rahman, Dhrubo Esh etc. Nowadays, many advertising firms are making
noteworthy contributions in terms of developing new calligraphic typography. The use
of artistic typography has increased in everything that has the slightest connection
with the printing media in Bangladesh, for example- from invitation cards to posters,
from book covers to visiting cards, hoardings, and billboards—the touch of
calligraphic typography is everywhere. Technological improvement is one of the main
reasons behind the development of typography in Bangladesh in the last few
decades. Any kind of ‘type’ can be made and used for printing purposes very quickly
just because of this technological development. This was quite impossible at the
beginning of the printing industry.
5. Monogram, Logo
The briefest identity of any institution is focused in the monogram. A successful
monogram easily shows the name, characteristics, specialty etc. of that institution.
Therefore, the monogram is considered very important and necessary for an
fig. 4.22 Logo of
Calcutta School Book organization in the modern era.
Society Printmakers as well as other artists had a custom of designing and using an abridged
form of their name at the corner of the picture prior to the introduction
of the printing press. It is assumed that the monogram originated from
this tradition. Yet again, many think that monograms of different
organizations were introduced to avoid piracy.
Before independence of Bangladesh, there was a common practice to
design monograms by organizing some words inside a circle or a
triangle or a square (fig. 4.22). After independence, notable changes

GRAPHIC DESIGN 219


and development in monograms are observable. Quamrul Hassan, Qayyum
Chowdhury, Abdul Muqtadir, Samarjit Roy Choudhury and others are the significant
monogram designers of our country. For example, we can mention the two
monograms of ‘Bangladesh Parjatan Corporation’ (pl.4.18) and ‘Bangladesh Biman’
done by Quamrul Hassan. Beside these, he also designed the monograms of
Bangladesh Bank and Muktijoddha Kalyan Trust. The design for the symbol of the
53
Government of the Peoples’ Republic of Bangladesh was his as well.
Qayyum Chowdhury designed a notable number of monograms. Radio Bangladesh,
Bangladesh Television, Sandhani Prakashani, Ganashasthya Kendra, Navana Traders
etc. are some of the monograms that he designed. Qayyum Chowdhury and Samarjit
Roy Choudhury designed the logo of Dhaka University jointly under the supervision
of Zainul Abedin. Abdul Muqtadir designed the monogram of Shilpakala Academy.
Nitun Kundu designed the monogram of Theatre.
Monogram is a pictorial language that can easily represent an organization through a
simple symbol or sign. Apart for some rare exceptions, monograms are not usually
drastically changed. If a monogram is designed not only for the purpose of identifying
a specific organization but rather for introducing a product or a festival—we can call
it a logo. A logo might not exist indefinitely like a monogram. However, it may not
always be short-lived. The graphic designers of Bangladesh have created beautiful
logos for local cosmetics, medicines or festivals. For example, we can mention the
logos of Cute, Aromatic, Tibet, etc. The logo of Asian Art Biennale by Syed Jahangir
or the logo of SAF Games by Maksudur Rahman may be pointed out in this context.
6. Packaging:
The first condition of marketing a product is providing beautiful packaging. The
packaging or cover may be different depending on the characteristics of that product
or the class of the consumer. Simultaneously, printing technology and the availability
of the packaging material have an important role in the quality and distinction of the
packaging. In Bangladesh, there were some package-designs done before fig. 4.23 Package
design, Lux, reflecting
independence but it has improved greatly after liberation, especially in the later part foreign influence,
of the 70s, the enhanced technology of the printing media made a great change in the photograph Athahar
world of packaging. It achieved a different dimension in the 90s. Nowadays, Hossain Surjo
photogravure method is mainly applied to design the packages
of different products. Beside this, the offset method and screen
print are very much in use.
In the Pakistan period and even in Bangladesh in the 70s,
models were not frequently used in package designing. This
started mainly from the 80s. Modeling became popular as a
profession, its popularity increased in the 90s, and now models
are extensively used in package designing. For instance, the
packet of the beauty soap Lux of Unilever uses photographs of
stars all over the world (fig. 4.23). Bangladesh is also no

220 ART AND CRAFTS


exception. Apart from Lux, Cosco, Haque, Meril, Keya, Aromatic, Tibet, Ponds etc.
also use pictures of models in the packets of their cosmetic products. Then again, the
photographs or hand done drawings of the product or the materials related to it are also
used on the covers of particular products.
7. Painted Banner, Hoarding, Neon Sign, etc.
In Bangladesh, banner painting developed mainly after the partition with the rise of
the film industry. Especially, when the construction of permanent cinema halls and
commercial film screening started, banner painting grew and developed to publicize
films. The golden age for cinema banner painting is considered to be between the 50s
to the early 80s. It started to decline gradually from the 80s. Nowadays, digital prints
are being used in place of painted cinema banners and other banners, which appear to
be a threat for the hand painted banner painters. Just like cinema banners, hoarding
culture also started its journey from the 50s. Apart from the purpose of publicity of
films, hoardings are used for the campaign of different products or social welfare
works. Hoarding plays an important role in decorating cities.
In the 50s and 60s, there were separate organizations assigned for hoardings, such as—
Neptune, Evergreen, Rupayan, etc. Presently quite a number of organizations work on
hoardings. They sometimes work directly or make exact copies of designs according to
the needs of the advertising agencies and place the hoardings in assigned spots.
As nowadays mostly the publicity of important organizations are done through
advertising agencies, we can see uniformity in the advertisements on TV and those in
magazines. These also have a great impact on the hoardings. The designs of these
hoardings slightly change the advertisement of the magazines, exactly reprint the same
or adapt the main concept of the TV advertisement. Like the magazines, hoardings also
began to use models mainly from the 80s (pl. 4.21). The presence of stars as models is
noteworthy. Because of the multinational companies, the presence of stars from
neighboring countries is not rare anymore. In most of these designs it is hard to
discover Bangladesh. Then again, the artistic representation of Bangladesh is also
present in some designs. Positive impact of the competitive advertising of several cell
phone companies are also found in the hoardings. The hoardings of real estate agencies
are almost all of the same type. However, to make them more artistic and attractive,
many techniques are additionally applied to create aesthetic designs for hoardings.
Apart from these purposes, hoardings are being used as a very efficient medium for
government and non-government organizations to campaign for community welfare.
For example, hoardings can be seen on plantation programs or the dangers of different
ailments such as AIDS awareness or the hazards of smoking or literacy programs to
build social awareness among people. The statement is naturally the most important
part of these kinds of hoarding designs. In some cases, photographs as well as
drawings are used.
These days, many advertisements are observable on double-decker and ordinary
buses. There are both commercial and social awareness-building advertisements

GRAPHIC DESIGN 221




















among them. It will not be wrong if we specify them as mobile hoardings. In Dhaka fig. 4.24 Advertisement
city (pl. 4.20), the many advertisements seen on the over-bridges can be considered as of a cigarette company
a kind of hoarding. Among these over-bridge hoardings, the advertisements of as signboard of a store,
Grameen Phone are undoubtedly the most artistic and attractive. photograph Athahar
The use of the neon sign in Bangladesh commenced comparatively later, from the 80s. Hossain Surjo
Most neon signs belong to the multinational companies. There is a striking quality in
their design and presentation. Nevertheless, the main concepts of these designs for
neon signs, hoardings or the advertisements of magazines come from abroad (pl.
4.19). As for our country, the regional offices of South Asia or South-East Asia decide
on the guidelines, patterns, colors, materials etc. of the designs and they send some
samples for these. The advertising agencies of those companies in Bangladesh follow
the instructions and guidelines laid down by those organizations and sometimes make
minor changes if necessary while preparing the designs. Therefore, an artist or a
designer does not have much scope to show creativity through these designs. If we
notice we will see that the advertisements of these companies look-alike in all the
countries of a particular region of the world (fig. 4.24), for example, the advertisement
of Coca Cola, Lux, Pepsi, etc. We can definitely raise questions about the credits and
contributions of Bangladeshi graphic designers in these designs.
For the last two decades there has been a major change in signboard designing and
these multinational companies are more or less actively responsible for this as well.
There is a class of artists in Bangladesh known as ‘signboard artists.’ They do other
minor works besides painting signboards for shops or institutions. For instance, they
paint text-based banners or festoons on fabric for different occasions. Some also
endeavor to paint pictures due to economic requirements or according to their own
urges. Not long ago, most signboards were painted by these commercial artists. This
trend is not completely lost yet. Although the number of artists have decreased in
Dhaka city, outside Dhaka, in the small towns, they are the ones who still do all the
signboard paintings (interestingly, in the small towns outside Dhaka they are the ones
who people identify as artists, even today). They work on various signboards; they are

222 ART AND CRAFTS


particularly adept at copying any style of writing on the strength of the education
transferred from master to disciple. In some cases they show their talent through
personal creativity.
However, for the past two decades, advertising agencies and institutional graphic
designers have concentration on signboard designs which has lead to great changes in
this field. In the signboards, usually the typography and the logo of the organization are
given importance. Images are also used if necessary. Some of them are undoubtedly
quite aesthetic and tasteful. However, the greatest change in signboards is the use of
signboards in shops for advertising by multinational companies. Therefore, the
advertisements of different products are more visible than the names of the shops (fig.
4.24). It is needless to say that the credit of creating the advertisement goes to the
advertising agency assigned by the company. Multinational companies dominate the
world of advertising, and for that matter, the field of graphic design as well.
The festoon is closely related to banners and signboards. It was introduced to
Bangladesh primarily in the 50s. The festoon is a popular medium in advertising a
product, program, meeting, festival, or conveying a message (pl. 4.22). Festoons are
more efficacious for short-term or temporary campaigns. They are generally used by
the roadside or important places where there are public gatherings. Sometimes,
festoons are hung on the walls of organizations. The signboard artists who have been
discussed previously write festoons all over the country. However, the students
educated from the Institute of Fine Art have set the trend of writing festoons in
different forms. Attractive calligraphy and use of alpana are the two main
characteristics of these festoons. Later, non-institutionalized artists also followed this
trend. From the 90s, screen print was introduced to festoon design. Screen print helps
in creating many festoons in the same design. At this point, it also became possible to
add the picture of the product in the design. Recently festoons are made digitally for
commercial purposes. By using higher technology, it is now possible to design more
beautiful and aesthetic festoons. Different advertising agencies design these festoons
with the approval of the advertisers. Sometimes non-institutionalized artists execute
festoons from layouts of the advertising agencies.
8. Leaflet and booklet
The exact time of introduction of the leaflet in Bangladesh is not known. Although the
use of the leaflet was there before the printing industry was introduced, we do not
know what its look and nature was. Usually a leaflet or handbill gives information or
statements about any product or institution, printed on a piece of paper that is
distributed from person to person. Most probably, it was first introduced to this
subcontinent from the British era. As far as we know, for the sake of publicity of a
drama or film, the summary of the drama or the film was published on one side of the
paper and distributed among the people. 54
If we do not count the folk palagan (narrative song) and jatra (open air drama) as the
beginning of the Bengali theatre, that were in practice for a long time, then the Bengali

GRAPHIC DESIGN 223


theatre commenced with a Russian named Gerasim Stepanovich Lebedev in 1795. At
55
the beginning of the 19th century, the Bengalis who knew English became interested in
English theatre and started to view them. However, the 50s of the 19th century has been
marked as the starting of the Bengali theatre in Kolkata. Moreover, the first theatre
stage for the inhabitants of Kolkata was established later in 1872 (National Theatre). 56
More professional theatre groups were gradually formed afterwards. Therefore, to
publicize the theatres, the practice of distributing leaflets started in the last half of the
18th century or sometime in the 19th century in this subcontinent. It can be mentioned
in this reference that the printing press was established by this time in the second half
of the 18th century (1777/78). The numbers of printing presses increased gradually. It
is known that the engravers of Bat-tala worked to make the big wooden letters or
carved blocks for the handbills and posters. In that case, it is very likely that the
57
leaflets and the handbills were printed from these presses.
Muntasir Mamun thinks that probably the theatre in Dhaka started in around 1860. 58
There are debates regarding the establishment of the first theatre hall in Dhaka though.
However, we can say that by the 6os of the 19th century the first theatre hall was
established. Moreover, we can also guess that during this time, for the sake of
59
publicity of dramas, the use of the leaflet in Dhaka might have started. We know that
more than one printing press was established by 1860.
Amazing information is found from Hakim Habibur Rahman. He mentions that at the
end of the 19th century (1894/95), on 1st January in Shahbag, at a festival arranged by
the Nawabs, there was a group of Sang from the Mahuttuli area and ‘...they had a
printed copy in English of a testimonial that they distributed. Strangely, I still have a
copy of that though it happened at least 51 years ago.’ [Trans.] Therefore, the
60
practice of distributing leaflets in Dhaka started in the 19th century. This statement of
Hakim Habibur Rahman is strong evidence in support of this view, and it is known
that for not only dramas, handbills or leaflets were distributed also for other occasions.
It can be mentioned in this regard that the inhabitants of Dhaka were introduced to the
film at the end of the19th century (1898). In addition, the first permanent cinema hall
61
was made in the 20s of the 20th century and named Picture House (Shabistan). By
62
the 30s and 40s, more cinema halls were made in and outside Dhaka. For marketing
purposes and for publicity, the cinema halls took some steps and distributing leaflets
and handbills was one of them. Until the partition and even after that, in the 50s and
60s, these handbills and leaflets were not very attractive. Usually the summary of the
film, names of the heroes and heroines, other actors and actresses, directors and
producers were supplied in those leaflets.
After independence, the leaflets of Bangladesh were quite ordinary. They were made
on 1/8th (8´´× 5.5´´) of a sheet of newsprint paper and the purpose was given
importance rather than making it artistically presentable. Naturally, these leaflets
were based on writings.
Leaflets are used for advertisement of different products, publicity of drama or film,
conference or meeting, electoral campaign or political opinion. However, most of all

224 ART AND CRAFTS


they are used for the publicity of Eunani or
Ayurvedic medicine. Sometimes
photographs of the actors and actresses in
one color were used in leaflets of cinemas.
There is no change in the political
pamphlets or the leaflets of Eunani
medicine or of meetings and conferences.
However, the photograph of the election
nominee has been added to the leaflets for
electoral campaigning –which was not
used before.
However, in the last few decades extensive
changes in the tradition of leaflet design
can be noticed. With the development of
technology, leaflets are now sometimes
beautifully designed and printed in four
fig. 4.25 Film colors on glossy papers. Leaflets advertising different products use excellent graphics.
advertisement published These leaflets, designed by advertising firms or the creative teams of different
from Kolkata companies, are distributed in the posh shopping malls or in houses of consumers
through the newspaper hawkers.
The booklet or small books were introduced for the sake of publicity, as usual.
However, apart from the publicity of film and drama, booklets are used for advertising
different products, institutions or people. From the evidence and information that we
have in our hands, it can be seen that the booklets related to films were introduced in
the 30s of the 20th century. 63
In the black and white leaflet printed on the occasion of screening the silent feature
film on the life of Gautama Buddha, Prem Sanyas (1926, Director: Franz Austin,
Himangshu Ray), it was seen that beside the summary of the film there were some still
photos of the film. Most probably it was done for the distributors and the owners of the
cinema halls, not for the audience. In the 30s, when it became possible to add music
to films, the lyrics of the songs were added in the booklet. They were used as the pre-
campaigning program of the film before release. Sometimes, in small cities or suburbs,
the owners of the cinema halls reprinted these books themselves and made them
available to the mass people. These were usually sold in front of the cinema halls.
We cannot say for sure if there were any booklets published from Dhaka before the
partition. Most of the booklets of the films that were available in Dhaka in the 50s
and 60s came from Bombay, Lahore, Karachi or Kolkata (fig. 4.25). These Urdu,
Bengali or Hindi booklets had summary, lyrics, photographs etc. The covers of these
were usually hand-painted. Naturally, either the photographs of the actors and
actresses or scenes from the film were used on the cover. Stylistically, it can be
identified as an extended version of European realistic painting and the style created
by Raja Ravi Varma. 64

GRAPHIC DESIGN 225


Even after the 50s and still later, film booklets fig. 4.26 (top) Leaflet
were published and designed from organizations for promotion of a film,
called Jupiter Publicity, Kamart, Evergreen etc. published from
from Dhaka. For instance, Jupiter did the design Bangladesh, designer
of the booklet of the film Ghar Ki Laj directed Azizur Rahman
by S.M.Salim. Kamart designed the booklet of fig. 4.27 (bottom) The
the film Sagar directed by Ehtesham. Kamart title page of a famous
also did everything regarding publicity for the panjika published from
first noteworthy film of Bangladesh, Mukh O Serampore Chandradoy
Mukhosh. On the other hand, many artists who Press
65
got formal education also designed booklets.
For example, artist Imdad Hossain designed the
cover of the booklet of the film Molua. 66
However, from comparative analysis we can say
that the quality of the booklets published locally
was not good. It is assumable that the lack of
quality printing technology was an obstacle for
good designing and printing (fig. 4.26).
The gradual development of the printing
industry brought a positive change in booklet
design as well. Nowadays, booklets are
published and publicized on many occasions
besides cinema publicity. Apart from the plain description of different kinds of
products, various designed booklets are published from several
organizations. Different kinds of images, artistic typography,
photography of different models, manual drawing etc. are used for
booklet design (fig. 4.23). A designer is comparatively more free in
this kind of work. Since the last two decades booklet design in
Bangladesh achieved a respectable position due to the touch of
technology and the creative mind of the artist.
9. Different kinds of almanacs, diaries and calendars:
Almanac, diary and calendar are very important media for yearlong
advertisement for a product or an organization. In the early years of
the printing industry of undivided Bengal an almanac of the year
1778 AD was published from Kolkata. The name is, Calender for the
Year of our Lord MDCCLXXVIII . Even though it is called a calendar,
it is actually an almanac in book form. The credit for printing it is
given to John Augustus Hickey. 67
The almanac was popular in Bangladesh before the era of the printing
press. But they were hand-written. The Brahmin pundits used to
disseminate these hand-written almanacs (panjikas). Some of them

226 ART AND CRAFTS


were also sold. However, after the origin of the printing industry, according to
Chittaranjan Bandopadhyaya, the first Bengali almanac was published in 1818. In this
almanac there was only one picture. If we observe closely, we will find that the
68
Bengali almanac derived its content from two sources. The first one is the traditional
hand-written almanac consisting of days, hours, lunar days, stars, astronomy etc. The
second one is the English almanac consisting of dates and years as well as information
on ebb and tide, government offices, market price, list of officials etc. Postal charges,
railway fare, agriculture, major diseases and the remedies were also found in these
almanacs. These served as a kind of encyclopedia for daily use for the householder
Bengali. Even though there was no interest in illustrating these almanacs in the
beginning, eventually pictures were added to make them attractive. Notun Panjika
published from Serampore Chandradoy Press is an ideal for this kind of almanacs (fig.
4.27). The founder of Chadradoy Press is Manohar Karmakar—son-in-law of
Panchanan Karmaker. Notun Panjika was published with illustrations of gods and
goddesses engraved by his son Krishnachandra Karmakar. Many Bengali almanacs
took the pictures of gods and goddesses published in Chandradoy Press as an ideal.
Many half almanacs or pocket-almanacs were published with illustrations. Other than
these, there were Christian almanacs, Mohammedan almanacs, full almanacs,
directory almanacs etc. Another feature of these almanacs was that they published
advertisements of books, some of which were illustrated. The role of Bat-tala’s
engraving artists in the publication and illustration of Bengali almanacs other than
Chandradoy Press of Serampore is undeniable. A dozen different types of Bengali
almanacs were sent in the international exhibition in Paris in 1867. 69
Although a large number of almanacs were published from Kolkata, no significant
publication can be found from Dhaka or East Bengal compared to that. Muntasir
Mamun assumes that as almanacs published from Kolkata dominated the market, it
was not feasible to publish them from East Bengal. 70
But Satyanarayan Sukul’s Naba Diary published from Sherpur deserves special
mention. It is mentioned in the Bengal Library catalogue, ‘This is a blank diary with
both English and Bengali dates; perhaps the first publication of its kind in Bengali’. 71
These days, different government and private organizations publish different types of
diaries. Besides days, dates and other important information, we cannot ignore their
aesthetic value. Usually on the cover of the diary published for an organization, we
find the year and the name of the organization mentioned. In some diaries, there are
maps and photographs of important architecture, archaeological sites or places worth
seeing. Some other diaries are designed based on a concept or theme. Some use prints
of paintings and drawings.
The concept of the calendar that first comes to our mind is the wall calendar. The exact
date of its inception is not known but it can be assumed that there is a close connection
between the popular trend of prints in the middle of the 19th century and wall
calendars. The Bat-tala prints, poster size prints of Annada Bagchi’s Calcutta Art

GRAPHIC DESIGN 227


Studio and other organizations similar to this and Raja Ravi Varma’s oleographs were
highly appreciated by both the rural and urban populations. These prints were
primarily used for home decoration. Sometimes considering the popularity of these
prints, they were also used for the publicity of an organization. For example, a
lithograph named Kali was used for the advertisement of Kali cigarette (pl. 4.9). In
this poster, we can see that almost all of it is an artwork based on the religious story
of Kali and Shiva. It was written above, ‘A present with greetings from A.H.Zahar’
and below ‘Kali cigarette’, ‘Genuinely local’ etc. People used to collect these and
decorate their house or workplace with them attracted by their inherent aesthetic
quality. Following the convention of giving importance to artwork (it could be based
72
on gods and goddesses, sages or religious/mythical stories), wall calendars were
printed with days and dates below the pictures, or sometimes with dates and the name
of the organization on separate paper and later attaching it to the artwork. This kind of
one page wall calendar was very popular in Bangladesh even a few years ago and the
trend is not extinct yet.
During the Pakistani regime, local calendars featured flowers, plant-life or
landscapes, other than the trend mentioned above. It can be said that after liberation,
there was a significant change in calendar design, especially exemplified by the trend
of calendar design using artworks of several artists which began in the first half of the
70s. The calendar of BTC (1972-73) based on Nitun Kundu’s painting or the 12-page
calendar published by BTC in 1974 on the theme of the War of Liberation featured
works of Quamrul Hassan, Aminul Islam, Kazi Abdul Baset, Qayyum Chowdhury
and others. Besides these, BTC published calendars with paintings of artists on
several other occasions. Philips, Singer, United Insurance, Sonali Bank, Uttara Bank
and other organizations published calendars with paintings or theme-based paintings
by artists.
Several calendars were published in Bangladesh on subjects like archaeological and
historical sites, birds, handicrafts, boats etc. Drawings and photographs were also used
in these subject-specific calendars. Calendars were designed using portraits of
prominent sages. Until now, the trend of calendar design with gods and goddesses,
great people or religious themes exists. This kind of calendar is more popular in rural
areas and small towns. The use of the model in the advertising industry had its
influence on calendar design as well. Around the 80s, photographs of models were used
in calendars. The presence of female models is comparatively more prominent.
For publicizing social welfare causes, for example, contraceptive products, orsaline
etc. calendars were designed with photographs of products. The development of
printing technology and computer graphics made calendar design more attractive.
Other than wall calendars, every year a significant number of desk calendars are
published on behalf of several organizations. These desk calendars are designed
selecting subjects like photographs of landscapes, prints of paintings etc. In some of
these, we find the combination of intelligence and aesthetic sense.

228 ART AND CRAFTS


fig. 4.28 Hanging 10. Hanging mobile, bunting, dangler, replica etc.
mobile advertising Hanging mobiles on threads are exhibited in front of different stores. It is a very
product, photograph innovative method of product advertisement. The principal feature of the hanging
Athahar Hossain Surjo
mobile is that, here the product is given more importance than writing. Since these are
printed on both sides, they are always active in advertising the product (fig. 4.28).
In the 80s, these kinds of advertisement were of
circular, quadrangular or triangular shapes. Now it is
possible to design shapes other than these geometric
and convenient ones because of the development of die-
cut technology. Since the 90s, hanging mobiles are
being widely used.
In various focal points of the city, the publicity of
different products is done by attaching printed papers at
a regular distance, on threads. This method of publicity
is known as bunting. The notion of the bunting is
derived from the ancient practice of decorating any
festival with small triangular colored flags attached to
thread, on an open field or elsewhere. The same design is repeated in buntings.
Buntings look attractive and beautiful with the designs in bright colors.
Buntings have been in use in Bangladesh since the 70s but the form and presentation
was different. Since the 90s, buntings became attractive with the development of
technology. These days, the design of the bunting is given special importance.
Compared to the past, the design has changed greatly. For example, the use of model
with products or spray work is mentionable. In our country, the bunting is generally
used during the initial stages of marketing a product or on special occasions.
Two other methods are used for advertisement – the dangler and replica. The replica
of a product or its package manufactured on a larger than actual scale, is exhibited
attractively in front of stores. This is a dangler. This arrangement is used to allure
customers. The replica is almost the same thing but in this case, the product or the
packet of the product is made in a much larger scale. Usually on launching a product
in the market, humungous replicas are made and exhibited in important spots of the
city to draw the attention of customers.
11. Cartoon, caricature, comic strip, etc.
The scrolled patas long in currency in rural Bengal may be considered the indigenous
form of comic strips, and definitely, the ancient form. Cartoons are used in many
different ways in the various fields of graphic design. Editorial cartoons are published
with great importance on the front page of newspapers. These are generally black and
white but nowadays they are also printed in four colors. Moreover, news cartoons or
pocket cartoons are circulated in daily newspapers, which are also the prime attraction.
In the weekly or monthly magazine, the cartoon is generally printed in the inner page
usually after the printer’s line. Of course, cartoon based drawings are used on the

GRAPHIC DESIGN 229


cover of weekly and monthly magazines. fig. 4.29 Cartoon on
Jayjaydin regularly has drawings on its cover of magazine by
cover (fig. 4.29). Saptahik 2000 Maksudur Rahman
occasionally uses Ranabi’s cartoons on their
covers. However, almost all children’s
magazines have drawing based cover
designs. The use of cartoons in advertising
is growing continuously. Various companies
publicize their products through advertising
in magazines, leaflets, booklets or large-
scale designs by using cartoon type
drawings which will easily attract the
attention of buyers. Government and
private organizations use cartoons to
publicize various social development
projects. The cartoon may be used as an
effective medium to increase public
consciousness. The comic strip or panel
cartoon has not really flourished in our country. However, panel cartoons can easily
communicate with people for educational campaigns.
12. Stamp
The first stamp of the world was published from England on May 1, 1840. The stamp,
popularly known as ‘Penny Black’, had a portrait of Queen Victoria. A few years
73
after this, around 1851, the stamp was introduced in the British colony of India.
However, it is learnt from several sources that the postal service was in use in the sub-
continent since the Sultani era. After partition in 1947, changes occurred in stamp
design in both the states of India and Pakistan. During the Pakistani regime (1947-71),
portraits of personalities, architectural or archaeological sites (for example,
Kamalapur rail station, Paharpur or Mainamati) became subjects of stamps. It is
notable that the theme and design of stamps changed with the shift of political power.
Moreover, possibly for this reason, stamp designs of Bangladesh went through a
striking transformation after liberation.
The first stamp was published in Bangladesh on July 29, 1971 during the Liberation
War. In order to raise worldwide public support and compassion in favor of the
Liberation War in Bangladesh, Format International Printing Press of England
published 8 stamps on behalf of the Government of Bangladesh. Biman Mallik
designed these stamps (fig. 4.30). The geographical location of Bangladesh, the
massacre of Dhaka University, 7 crore citizens, the flag of Bangladesh, the election
result of 1970, declaration of the independent government of Bangladesh on April 10,
1971, portrait of Sheikh Mujibur Rahman etc. were the subjects of these first 8 stamps.
Here the name of Bangladesh is printed–Bangla Desh. 74 After liberation, from
December 20, 1971, the activities of the Bangladesh Postal Department commenced.

230 ART AND CRAFTS


On the three stamps among eight
published by the Government of
Mujibnagar, there was an overprint
of the phrase ‘Bangladesh
Liberated’. However, the first stamp
to be published in Bangladesh after
liberation was on the 20th
anniversary of the Language
Movement on February 21, 1972.
B.P.Chitnish of India was its
designer and it was printed from the
Security Printing Press of India. The
subject of this first memorial stamp
of independent Bangladesh was the
central Shaheed Minar of Dhaka. 75
After independence, naturally, the
subject matter of stamps printed
from Bangladesh gave preference to
the glorious tales of the
independence war, portraits of
fig. 4.30 First published renowned personalities, and themes that represent the country. In the last three decades
stamps of Bangladesh, we observe some significant changes in stamp design never seen before. Firstly,
collection A.T.M portraits of great people (political personalities, intellectuals, artist, poets, etc.) found
Anwarul Kadir their place on stamps. This is not something new, but when it is discovered that during
the Pakistani regime there had been no portraits of any Bengali featured on stamps
other than Kazi Nazrul Islam and after liberation there are numerous portraits of
successful Bengalis on the stamps, the change seems quite obvious. In this context, we
can mention the stamps of the martyred intellectual series.
Secondly, subjects representing the country, for example architectural and
archaeological sites were also seen in stamps during the British and Pakistani regimes.
However, we find some new subjects representing the country and its people depicted
in stamps of Bangladesh after liberation: for example, nakshi kantha, national flower,
national fruit, tea garden, scenes of collecting date sap from date palm, rivers and
boats, farmers, fishermen, weavers etc. added a new dimension to stamp design.
Among those who showed excellence in stamp designing in Bangladesh K.G.Mostafa,
Ahmed F. Karim, Pranesh Kumar Mandal, Mahbub Akand, Manzare Shamim, Nitun
Kundu, Anwar Hossain, Muslim Mia, Shamsuddoha, Mrinal Chakrabarty and others
are important names.
With the development of technology, some strategic changes occurred in stamp
design. In the past, all the designs were done by hand but nowadays computer graphics
are used. The use of photographs is a significant addition in recent stamp design.

GRAPHIC DESIGN 231


13. Currency
In different eras since ancient times, different kinds of coins were used in Bangladesh,
in other words in the Indian subcontinent. Until now, according to archaeological
evidence, the earliest example of coins within the geographic boundary of Bangladesh
was found from Wari Bateshwar (4th century BC) in the district of Narsingdi, although
its political identity has not been ascertained yet. A large number of coins were found
76
from Mahasthangarh in the district of Bogra and other archaeological sites. The design
and shape of coins varied to some extent with the change of political regime. But from
Maurya rule until the Mughal Empire (3rd century BC-17th century AD) in almost two
thousand years, there is a notable similarity among coins used. Usually we find
portraits of rulers and other symbols on the coins which altered with the change of
political power.
Printed-paper currency was introduced in India during the British period. Due to the
direct relationship between the currency system and the ruling structure, the
convention of changes in currency-design with changes in the power structure
continues in Bangladesh as it always has from the British colonial era through the
Pakistani regime. The portrait of Queen Victoria was printed on the currency in the
British colonial era. Mohammad Ali Jinnah took her place during the Pakistani
regime. New currency and new designs were required when independent Bangladesh
was born through the Independence War. New currency in independent Bangladesh
started its journey on 4th of March in 1972 with notes of 1 taka and 10 taka. Later,
paper notes of 5 and 100 taka were introduced. K.G. Mostafa (1943- ) was the first
77
designer of the currency of independent Bangladesh. He possessed long experience
78
since he had been working in Pakistan Security Press during the Pakistani regime. His
designs created in the light of his previous experience, were printed from two security
presses of England. He designed notes of 1 taka, 5 taka, 10 taka and 100 taka. These
79
notes had the map of Bangladesh, portrait of Bangabandhu Sheikh Mujibur Rahman
(which was removed afterwards), flowering plants, village scenery with river, drying
jute by the river etc. More paper currency was printed later with new designs and
valuation. Lotus, Chitra (or the spotted deer), the national bird Doel (magpie robin), fig. 4.31 Currency,
central Shaheed Minar, peasants harvesting paddy, Kaptai dam, National Parliament courtesy Banglapedia
building, Supreme Court etc. were part
of these designs. 80
K.G. Mostafa also designed some
metal coins of relatively lower
valuation. Some of them had the lotus,
hilsa fish, plough etc. They were made
in East Germany in 1973. However,
most of the coins are now made in
Bangladesh. The design of paper notes
and coins have undergone many

232 ART AND CRAFTS


changes later on. Generally speaking, the elements that represent the country and the
people of our country have found a place in the coins. Various archaeological
evidence, architectural works, birds and animals are important among them. In each
and every coin the national symbol of Bangladesh is inevitably present. On the paper
currency, the monogram of the Bangladesh Bank is printed without fail. Other than
these, some memorial coins have also been printed on different occasions (fig. 4.31).
B. Other media, not related to printing
There are some other media that are not related to printing but enhance the prospect
of graphic design of Bangladesh. We will discuss them here.
1. Cinema slide
From the 40s, it was customary to show cinema slides in the various cinema halls of
Bangladesh. Usually different products, advertisements, or welfare activities are
shown through these slides.
From the commencement until the 70s, the slides were made using an interesting
method. A blue solution was applied on a glass that was the same size as the slide was.
After it dried up the glass became light resistant. Then the designer scratched the
surface with a fine needle to illuminate the lettering and design as necessary to create
the design. After finishing the design, this glass was covered with another glass and
was given final shape by sticking black tape at the sides. At the end of the 70s films
took the place of cinema slides. At present panchromide system films are used in
cameras for these still advertisements. At the end of the 80s it was possible to add
sound with the slide presentation. In any cinema hall the use of slides for
advertisements before or after or during the break is still very popular.
2. TV telop
The still advertisements of television are known as ‘TV telop’. Technically, there are
basic differences between cinema and television and for this reason the medium and
the technique of still advertisement for television is different. There is a specific
measurement of the TV telop (3”x2.25”) and the design for advertisements have to be
made according to this measurement. These TV telops were created by being hand-
written directly or by making bromides until the 80s. They did not need to be shot in
films or celluloid like the cinema.
As soon as moving advertisements started to be shown on TV in the 80s, the
appearance of TV telops changed. For example, pictures of the products or models
were added to the design. In the 90s, latest computer technology and editing machines
were used to produce still advertisements for the TV screen which were varied and
striking. For example, movement of letters with changing background or the moving
background has brought a new dimension to the TV telop.
3. Television advertisements or TVC
Television is a very important media used to present the qualities of a product to all
classes of people. Televisions have now reached almost every part of Bangladesh -

GRAPHIC DESIGN 233


town, port or village. Thus, the owners of different products place immense
importance to television advertising.
We cannot find any significant moving advertisement on television before the 80s. It
may be said that moving advertisements commenced from the 80s and became more
refined and artistic in the 90s.
Graphic design plays an important role in the gradual steps to making a TVC.
Different types of graphic cards are used in combination with the name, title and the
logo of the product or subject and without these graphic cards advertisements would
remain incomplete. The scope of the graphic design quality depends on the planning
of an advertisement.
There were not many good advertisements produced in the 80s, rather a kind of
monotony prevailed apart from a few rare exceptions. Many advertisements from the
90s onwards gained popularity. Television advertisements also focus different public
welfare activities as well as the advertisement of different products and organizations;
For example, there are beautiful TVCs on prevention of diarrhea and blindness, family
planning, plantation, importance of increasing literacy, etc.
4. Web design
The last addition in the history of graphic design is web design. It started its journey
in our country at the latter part of the nineties. Right after the establishment of the first
ever ISP (Internet Service Provider organization Bangla.net established: 1996/1997?),
more ISP companies like Agni Online, Bd.com Online, Grameencyber.Net etc. began
their journey. This satellite-based internet media is gaining importance due to the
introduction of the internet service and its facility in communication, its uses and
utilization is gradually on the increase. As a consequence of this unprecedented
development of information technology, diverse websites are recently being made. A
graphic designer can play a very important role in designing these websites.
However, there are some basic differences between print-based graphic design and
website design. For example, for designing a poster or book cover, a designer has to
develop the whole design within a definite frame. But a webpage designer has to think
of several different frames because all websites are usually interactive. This means
there are several link pages with a home page and each of them contains its own
design. In the print media, there is no opportunity to change a book-cover once it is
printed but any web design is changeable. We cannot think of any static, unchangeable
web design. Because, a website might need some changes, editing, correcting and
adding from time to time according to the needs of the person or product or
organization to which the website belongs. In that case, the design of the previous
website is sometimes changed slightly and sometimes extensively. In addition, not
necessarily the same designer would make the changes. If a new designer is involved
in updating the previous design, the design is then transformed. Thus, the design of the
website of an organization that we are seeing today may not stay the same after one
month. It is difficult to say that a particular designer designs the website of a particular

234 ART AND CRAFTS


organization. This ever-changing process of web design makes it different from other
branches of graphic design.
Moreover, the way a graphic designer measures size for the print media is quite
different from the web-designer. A web designer needs to think about the size of the
image and text files, which is at the same time an advantage and a disadvantage.
Web design has been introduced quite recently in our country and high standard web-
designs have not yet been created. Most of the web-designers in our country are
related to the large ISP organizations. Besides, there are some other organizations
involved in web designing. BdcomOnline, Daffodil, Unax Soft, Bangladesh Info.
Tiger IT, Colors of Bangladesh are some of the important institutions who work for
themselves and for other organizations.
Another important information about web-design is that there are many organizations
which work for foreign companies and their concepts and layouts come from abroad
as well. They are just implemented here. In these cases, there is not much opportunity
for our designers to show their creativity. Moreover, most of the people of our country
are still deprived of various facilities of modern information technology. With the
development and increased use of information technology, we can hope that there will
be higher quality websites designed.

Translated by Razima Selim Chowdhury, Lecturer, Department of English, Stamford University, Dhaka

Note and References
1. Sarasi Kumar Saraswati, Palyuger Chitrakala, (Calcutta 1978), 129.
2. Soumyen Pal, “Bangla Boiyer Prochchhod Brittanto”, Drubopod, Prasanga Drishwaroop, (2002), 20;
Radhaprasad Gupta, ‘Chapakhana Cheen Theke Chinsura’, in Chittaranjan Bandopadhaya (ed.), Dui
Shataker Bangla Mudran O Prokashan, (Calcutta 1981), 13.
3. Muntasir Mamun, Unish Shotoke Purbobanger Mudron O Prokashana 1847-1900, (Dhaka 2006), 18.
4. Loc.cit.; Sreepantho, ‘Talowar Bonam Kolom: Prothom Shotoborshe’, in C. Bandopadhaya (ed.),
op.cit., 129; Nikhil Sarkar, ‘Printing and the Spirit of Calcutta’, in Sukanta Chaudhuri (ed.) Calcutta
The Living City, Vol.1, The Past, (New Delhi 1990), 128-129; Graham Shaw writes, ‘It remains an
interesting fact that printing was introduced into Calcutta in 1777 only on the whim of a bankrupt
businessman who whilst in prison resorted to his former calling of printing simply as a convenient
means of paying of some of his debts.’
5. Muntasir Mamun, Dhakar Hariye Jawa Boier Khnje, (Dhaka 2006); 9-10; M. Mamun, op.cit., (Dhaka
2006), 31; G. W. Shaw, ‘Printing and Publishing in Dhaka 1849-1900’, in Sharif uddin Ahmed (ed.) Dhaka
Past Present Future, (Dhaka 1991), 90; Researchers stated, an octavo shaped forty page booklet was found
in India Office Library in London. The name is The First report on East Bengal Missionary Society
MDCCXLVIII, with an appendix & c. ‘Dacca: Printed at the Kattra Press 1849’is written in the credit page.
6. Kamal Sarkar, ‘Bangla Boiyer Chhobi 1816-1916,’ in C. Bandopadhaya (ed.), op.cit., 313.
7. Loc.cit., 313; Raghunath Goswami, ‘Dui Shotoker Gronthochitron’, C. Bandapadhaya (ed.), ibid., 333;
although there had been no practice of printing engravings on paper , there used to be a practice of making
seals by metal engraving or the use of wood blocks for printing textiles. It is believed that the wood
engraving artists mastered this trade through the generations. It cannot be denied that many artists learnt
techniques of wood and metal engraving from the Europeans.
8. K. Sarkar, ibid, 320-321; R.P. Gupta, ‘Art in Old Calcutta: Indian Style’, in S. Chaudhuri (ed.), op.cit, 144.
9. K. Sarkar, ibid., 328.

GRAPHIC DESIGN 235


10. Interview: Azizur Rahman (Dhaka: June 16, 2005), Nitun Kundu (Dhaka: June 17, 2005), Bidesh Kumar
Dhar (Dhaka: December 31, 2005).
11. Nikhil Sarkar, op.cit., 129.
12. Ibid., 132; Debipada Bhattacharya, ‘Bangla Shamoyikpatra’, in C. Bandopadhhaya (ed.), op.cit., 283-285.
13. Kamal Sarkar, Bharater Bhaskor O Chitroshilpi, (Calcutta 1981), 5.
14. Naznin Ara Begum, ‘Bangladesher Graphic Design: ’71 Theke Bortoman’, M.F.A. dissertation
(unpublished), Institute of Fine Art Library, University of Dhaka, (1989), 2.
15. Loc.cit.
16. Conversation between Qayyum Chowdhury and the author, March 2006.
17. Md. Shafiqul Islam, Bangladesher Patro-Patrikai Bigyapon Biborton O Uttoron, M.F.A. dissertation
(unpublished), Institute of Fine Art Library, University of Dhaka, (1990), 23.
18. Ibid., 23.
19. Ibid., 24.
20. Kamal Sarkar, ‘Bangla Boiyer Chhabi 1816-1916,’ in C. Bandopadhaya (ed.) op.cit., 323-327.
21. Naznin Ara Begum, ibid., 82.
22. Loc.cit.
23. Aminul Islam, Bangladesher Shilpa Andoloner Ponchash Bochhor, (Dhaka 2003), 31; Lala Rukh Selim,
“50 Years of the Fine Art Institute”, in Lala Rukh Selim (ed.), ART (Oct-Dec 1998), 7; ibid,, “Conversation
with Aminul Islam”, 30.
24. A. Islam, ibid., 41; L. R. Selim, ibid., 31.
25. Interview: Azizur Rahman (Dhaka: June 16, 2005), Nitun Kundu (Dhaka: June 17, 2005), Bidesh Kumar
Dhar (Dhaka: December 31, 2005.)
26. N. Sarkar, op.cit., 129; S. Pal, op.cit., 20.
27. N. Sarkar, loc.cit., S. Pal, loc.cit.
28. Sukumar Sen, Bat-talar Chhapa O Chhobi, (Calcutta 1981), 21-22; but Sukumar Sen informed that there
is no mention of Gangakishore Bhattacharya in the book published.
29. S. Pal, op.cit., 24; K. Sarkar, op.cit., (1981), 328; R. Gupta, op.cit., 143.
30. S. Sen, op.cit., 25.
31. Sovon Som, Openti Bioscope, (Calcutta 1993), 60; Sreepantho, Bat-tala, (Calcutta 1997), 87.
32. Mohammad Abdul Qaiyum, Chawkbazarer Ketabpatti, (Dhaka 1990), 13-14.
33. K. Sarkar, op.cit., (1981), 321; R. Gupta, op.cit.,144; referring to Brajendranath Bandopadhaya
(Sangbadpotrer Shekaler Katha, 1st Vol. Sahitya Bibhag) Sarkar says, “In the 20s in ‘Samachar Darpan’
another organization is mentioned called Shura Lithographic Press (1829). This press took the initiative of
publishing a book with 15 pictures of humans and animals at the price of four taka.” It is surmised that
‘lithographic’ was translated in Bengali as ‘pathuria’. However, authors have referred to it as ‘Shura
Pathuria Press’.
34. K. Sarkar, ibid., (1981), 324.
35. S. Pal, op.cit., 26.
36. S. Pal, ibid., 27-28; K. Sarkar, op.cit., (1981), 322-323.
37. K. Sarkar, ibid., 322.
38. Ibid., 323.
39. Partha Mitter, Art and Nationalims, in Colonial India 1850-1922, (Cambridge 1994), 127; K. Sarkar, ibid.,
(1981), 327; Raghunath Goswami, op.cit., (1981), 337; Kamalkumar Majumdar, Bangiya Shilpadhara O
Anyanya Prabandha, (Kolkata 1405 Bengali Year), 78; Kamalkumar also mention the names of the
following artists: Priyo Gopal, Arabindo Das, Kunjabihari Pal and Hemendra Chandra Gangopadhyay.
40. S. Pal, op.cit., 34.
41. S. Pal, ibid., 34; P. Mitter, op.cit., 122.
42. R.Goswami, op.cit., 337.
43. S. Pal, op.cit, 37.
44. Ibid., 59
45. Abul Ahsan Chowdhury, “Shilpacharyer Grantha Alangkaran Prashange”, Abul Hasnat (ed.), Kali O
Kalam, Year 1, Issue 11, December (2004), 93-94.
46. A.K.M Abdur Rouf, ‘Shilpi Jiboner Smritikatha’, Matlub Ali (ed.), Rupbandha, (Dhaka 1998), 195.

236 ART AND CRAFTS


47. Shubhendu Dashmunsi, “Lekhangkan Theke Harafsajya”, op.cit., Dhrubopad, 329.
48. Ibid., 313; Maksudur Rahman, Typography O Er Jothajotho Byabohar, M.F.A. dissertation,
(unpublished) Institute of Fine Art Library, University of Dhaka, 1990, 16; Shishir Kumar Dash,
‘Shahebder Thakur’, in C. Bandapadhhaya (ed.), op.cit., 75; Though Shishir Kumar Dash has stated
that the handwriting of Khushmat Munshi of Hooghly was considered the ideal for Halhed’s book
while Kalikumar Ray’s for Serampore press.
49. Barunkumar Mukhopadhyay, ‘Bangla Mudraner Charjug’, in C. Bandopadhyaya (ed.), op.cit., 100.
50. Maksudur Rahman, op.cit.,16.
51. B. Mukhopadhyay, op.cit., 102.
52. Dipankar Sen, ‘Bhabikaler Mudran’, in C. Bandopadhyay(ed.), op.cit.,387.
53. Syed Azizul Huq, Quamrul Hassan Jibon O Karma, (Dhaka 1998), 107.
54. Rachel Dwyer and Divia Patel, Cinema India,The Visual Culture of Hindi Film, (New Delhi 2002), 102.
55. Kiron Raha, ‘Calcutta Theatre 1835-1944’, in S.Chaudhuri (ed.) op.cit.,(New Delhi 1990), 187.
56. Ibid., 188.
57. Sreepantha, Bat-tala, op.cit., 78.
58. Anupam Hayat, Purano Dhakar Sangskritik Prasanga, (Dhaka:2001), 27; Muntasir Mamun, Unish
Shatake Dhakar Theater, (Dhaka:1979), 9-10; M. Mamun wrote, “The drama ‘Nildarpan’ was staged first
in Dhaka after being published from Dhaka as well. In 1860… even before ‘Nildarpan’, there had been
some acting in Dhaka. But it was done as a hobby. On the basis of the little information we have we can
only say that the theatre in Dhaka started its journey around 1860.”
59. A. Hayat, loc.cit.
60. Hakim Habibur Rahman, Dhaka Panchaash Bachhar Agey, translation: Dr. Md. Rezaul Karim,
(Dhaka:2005), 97
61. Anupam Hayat, op.cit., (Dhaka 2001), 69.
62. A. Hayat, Bangladesher Chalachchitrer Itihas, (Dhaka 1987), 6.
63. R. Dwyer and D. Patel, op.cit., 102.
64. The writer had an opportunity to go through some cinema booklets from the personal collection of former
cinema banner painter (now a film director), Azizur Rahman. Although the production houses were
mentioned there, the date or year was not. He said that these were from the 50s.
65. Subhash Dutta, Tomar Janya Bhalobasa, (Dhaka 2005),22.
66. Quite a number of cinema or song booklets from the Pakistan period are in the collection of Bangladesh
Film Archive.
67. Sreepantha, ‘Talowar Bonam Kolom: Prothom Shotoborshe’, in C. Bandopadhyaya (ed.), op.cit.,129;
Nikhil Sarkar, ‘Printing and the Spirit of Calcutta’, in S. Chaudhuri (ed.) op.cit.,128-129.
68. Sreepantha, Bat-tala, op.cit., 23.
69. Ibid., (Calcutta: 1997), 23-24.
70. Muntasir Mamun, op.cit., (2006), 111.
71. Loc.cit.
72. Partha Mitter, op.cit., 192. He put forward that there could be some hidden political message in this
lithograph. It might be a reason behind the posters being so popular.
73. A.T.M. Anwarul Kadir, “Daktikit Sangraher Khutinati”, The Daily Ittefaq, October 4, (2003).
74. Loc.cit., I the opportunity to see many stamps including these 8 from the collection of A.T.M. Anwarul
Kadir.
75. Loc.cit.
76. Muhammad Habibullah Pathan, Protnotattik Nidarshan: Wari-Bateshwar, (Narsingdi, 1989), 21-27;Shah
Sufi Mustafizur Rahman, “ Wari-Bateshwarey Prapto Kacher Punthi: Ekti Pratnatattik Samikkha”,
Protnotatta, Jahangirnagar University, Volume 9, June (2003), 2.
77. Khondoker Mahmudul Hasan, Mudra Itihas O Sangraha, (Dhaka 2002), 173.
78. An Interview with K.G.Mostafa, (Dhaka, December 17, 2005).
79. Ibid.
80. Khondoker Mahmudul Hasan, op.cit., 173-184.

GRAPHIC DESIGN 237


pl. 4.1 (top left)
Colored lithograph of
Bat-tala, Yugalrupa,
Chorebagan Art Studio
pl. 4.2 (top right)
Dwarkanath Tagore,
lithograph, Calcutta Art
Studio

pl. 4.3 (bottom left)
Poster for commercial
film, designed by
Anowar Faruk,
photograph Athahar
Hossain Surjo
pl. 4.4 (bottom right)
Theater poster designed
by Anowar Faruk,
photograph Athahar
Hossain Surjo

238 ART AND CRAFTS




















pl. 4.5 (top left) Theater poster by Tariq Shujat, photograph Athahar Hossain Surjo

pl. 4.6 (top right) Poster for an international film festival, photograph Athahar Hossain Surjo

pl. 4.7 (bottom left) Poster of Bangladesh Parjatan Corporation, photograph Athahar Hossain Surjo
pl. 4.8 (bottom right) Poster on Liberation War published by the Bangladesh Government in
exile, photograph Athahar Hossain Surjo



240 ART AND CRAFTS


pl. 4.13 (top left)
Rafiqun Nabi, book cover

pl. 4.14 (top right) Kazi
Hasan Habib, book cover

pl. 4.15 (bottom left)
Khalid Ahsan, book cover

pl. 4.16 (bottom right)
Samar Majumdar, book
cover

GRAPHIC DESIGN 241


pl. 4.17 (top left)
Dhrubo Esh, book cover

pl. 4.18 (top right)
Quamrul Hassan, logo,
Bangladesh Parjatan
Corporation
pl. 4.19 (bottom left)
Roadside advertisement
featuring foreign star,
photograph Athahar
Hossain Surjo
pl. 4.20 (bottom right)
Advertisement on
transport, photograph
Athahar Hossain Surjo

242 ART AND CRAFTS











































pl. 4.21 (top) Roadside
billboard/hoarding,
digital print, photograph
Athahar Hossain Surjo

pl. 4.22 (bottom left)
Festoon, photograph
Athahar Hossain Surjo

pl. 4.23 (bottom right)
Leaflet in the
contemporary trend,
photograph Athahar
Hossain Surjo

5




CARTOON AND CARICATURE

Mahmudul Hossain

The practice of cartoons, in the formal sense, is not very old among the Bengali
speaking people. Our urban civilization and all its attributes have developed through
the courtesy of the European colonizers. Even Bengali prose developed in this manner.
As a continuation of this process, the publication of newspapers started in this sub-
continent in the 19th century under the direct supervision of English colonizers.
Naturally, the first cartoons appeared in print on those newspapers.
Nevertheless, there was no shortage of humor, banter and sarcasm in the social life of
Bengal. The source of the word ‘maskari’ which is widely used in the same sense as
fun and banter proves, according to historian Dineshchandra Sen, that, ‘Since the age fig. 5.1 Bat-tala print
of Buddha we know of a group of people whose business it was to
show pictures to people to educate them. They had the title of
“Maskari”…. Thus the utterances they made to make the audience and
viewers laugh has come to be known by their name. Even now people
use the word “thatta-maskari” (fun and banter).’ [Trans.] There is an
1
age old tradition of mockery and oblique comments about
contemporary issues, social taboos and traditions in folk-songs,
rhymes and in the making of folk dolls. The Bolan songs of Radha
(western part of Bengal) which were sung at the market place or in the
courtyard of the very landlord against whom the complaints were
lodged, the Gambhira of North Bengal, the Gajan songs or the songs
of the sang (clowns) sung in the month of Chaitra bear the examples
of such tradition. Folk dolls were made on different village festivals
with oblique references or satire about the landlord, the marriage of
rich old men with young girls and the sloppy moral characters of the
widowed daughters of the Brahmins. On the other hand, the children’s
rhymes of Bengal contained, along with innocent humor, very sharp
social comments intermingled with them, the visual expression of
which was also very strong.
The tradition of sarcasm and humor in Bengali prose was already
present. ‘The cartoons inherited an earlier tradition of literary
parodies; they were pictorial equivalent of Naba Babu Bilas, Naba

244 ART AND CRAFTS


Bibi Bilas, Kali Prasanna Sinha’s brilliant Hutam Penchar
Naksha and similar satirical works.’ As an exact continuation
2
of this tradition, the practice of caricature drawing in Kolkata
started in the 19th century (fig. 5.1). Small drawings were done
which centered around the neat lines in the tradition of Bengali
folk art and European compositions. The rich Bengali Babus or
the Englishmen of Kolkata used to commission and collect
these works. Although obscenity was the main subject of these
drawings, one could find the sarcasm and humor about the lives
of Bengali gentlemen living in Kolkata. The drunken condition
of Bengali Babus in the brothel, Bengali Babus becoming
laughing stocks by trying hard to join the Englishmen for meals,
on the other hand, Englishmen getting harassed by trying to
participate in various native programs- sometimes these sort of
issues were depicted in these drawings. These were not cartoons
in the exact sense, but one can identify this period as the prelude
to the practice of cartoons in Bengal. The pata painting of
Kalighat belongs to this category (fig.5.2). Fish eating by the
Vaishnava, quarrel between the two wives of a man, the man
beaten up by the wife or the mistress- the pata-paintings done
on these subjects were mainly bought by the foreigners.
Bengalis preferred to hang pata paintings of the divinities.
Delhi Sketch Book was the first magazine to publish the cartoon in the Indian
subcontinent. That happened before the Sepoy Mutiny (The First Independence
Movement of India). After that, Indian Punch was published from Delhi in 1859. In
the same year, Indian Charivari was published in Kolkata in November. These
magazines published cartoons etched on copper plates.
The first cartoon was published in the Amritabazar Patrika, famed for its cartoons on
28 February 1872. Prannath Datta
published a magazine named Basantak
in 1874 which printed cartoons in
wood block. Girindrakumar Datta did
cartoons for this magazine (fig. 5.3).
The blacksmiths and goldsmiths of
Chitpore would make cartoons in
wood engraving and supply to
fig. 5.2 (top) Kalighat magazines and papers. There were no
pata
signatures under the pictures. Such
fig. 5.3 (bottom) caricature-drawings were also
Girindrakumar Datta, published in the almanacs. During the
Society for the later part of the 19th century, the
Prevention of Obscenity, humor and sarcasm of prints of Bat-
Basantak tala became extremely popular.

CARTOON AND CARICATURE 245


Perhaps the first true cartoonist of fig. 5.4 (top)
Bengal was Gaganendranath Tagore of Gaganendranath Tagore,
the Jorashanko Tagore family. The The University Machine,
political and social contradictions of lithograph
the first three decades of the last fig. 5.5 (bottom)
century were depicted very Cartoon by Piciel
successfully through his cartoons (fig.
5.4). Gaganendranath did cartoons
about the unjust rule of the English.
The Viceroy was compelled to see his
cartoon on the massacre of
Jalianwalabagh in the annual art
exhibition of that year. He did many
cartoons on the contradictions between
the works and words of Indian
politicians. Gandhiji had given his
word that India would win
independence on 31 December 1921. It
did not happen. Gaganendranath did a
cartoon on this issue. On the other
hand, he became vocal through his cartoons against social injustice. A girl named
Snehalata committed suicide because she could not stand the sorrow of her father
caused by her dowry. Gaganendranath did a sharp cartoon on this heartbreaking issue.
Other cartoonists contemporary of Gaganendranath were Dineshranjan Das and Charu
Roy. In the 40s Binoy Bose was the most successful cartoonist in making oblique
comments and sarcasm about Bengali middle-class life. Upendrakishore
Raychoudhuri and Sukumar Ray played most prominent roles in popularizing cartoon-
like illustrations in children’s literature (figs. 5.6, 5.7).
Before the partition in 1947, a
proficient historian of East Bengal
made his name as a cartoonist in
Kolkata and all India (fig. 5.5). He was
Prafullachandra Lahiri, well known as
Piciel in the world of cartoon. He used
the nib instead of brush. His lines were
always angular. The originality of his
drawing and his knowledge of the
world political order put him in a
special place in the world of cartoon.
Before and after the partition Piciel
made his name as one of the best

246 ART AND CRAFTS


cartoonists of India. He had inspired many of the first generation
cartoonists of Bangladesh through his works. But it was not only the
works of Piciel, as we come to know through a conversation with one
of the first generation cartoonists of our country, Rafiqun Nabi, that
inspired them when they had become very involved with cartoons in
the 60s. Indian cartoonists such as Abu Abraham, Kutti, Laxman,
Shanker had also inspired them immensely (figs. 5.9, 5.10). One of
the reasons for this was the availability of Indian publications at that
time and seeing the works of these cartoonists in those publications.
The other reason was the similar social and political scenarios of both
the countries. As cartoons are mainly based on political and social
issues, the identical situation made the flow of ideas meaningful.
The partition of 1947 created a new political geography. An
opportunity of politics, cultural activities and urban life centering
around Dhaka was created. On the other hand, a state born based on
religion and the conservative and reactionary stand of the helmsmen
of that state gave birth to a peculiar cultural-political chemistry. In
this perspective, a socio-political artwork like cartoon began its
journey through a period of ‘fertile hostility’. Fertility came through
the process of new thoughts of life for a people in a new city. On the other hand, the
hostility of the political order created new challenges for the creativity of the artist. In
this scenario cartoon began its journey in Bangladesh in the 50s.
One of the torchbearers of fine arts in this country, Quamrul Hassan, had done cartoons
in Kolkata before the partition. He used the pseudonym ‘Bhimrul’as a cartoonist before
1947. He continued to do cartoons in the same name until the 70s. Then there was artist
Kazi Abul Kasem. This self-taught artist had made a place for himself as a cartoonist
in Kolkata before partition. The first political cartoon in this country came into being
as a result of the first major political happening after the partition- the Language
Movement. In 1952, Kazi Abul Kasem’s
cartoon ‘Movement to drive away letters’ was
published in the Bengali daily Sainik. The
cartoon showed the Urdu-speaking noblemen
rushing brandishing swords in a threatening
fig. 5.6 (top) manner towards the Bengali letters. Along
Upendrakishore with the letters, the Bengali people were also
Raychoudhuri, under attack by them (fig. 5.8). It may be
children’s book mentioned here that Kazi Abul Kasem did
illustration
cartoons using the pseudonym ‘Dopeaza’. He
was active as a cartoonist starting from the
fig. 5.7 (bottom)
Sukumar Ray, `Khuror pre-partition period to the 70s of the last
Kal’ from Abol Tabol century. Cartoons became widespread in

CARTOON AND CARICATURE 247


banners and festoons on the Language Movement. Artists like Murtaja Baseer, Bijan
Chowdhury, Aminul Islam, Qayyum Chowdhury, Abdur Razzaque, and Imdad Hossain
were involved in the Language Movement. They did cartoon like illustrations on
posters and festoons with slogans.
In the sixties the publication of dailies and other periodicals began to increase and
gradually the institutional practice of cartoons also increased. The point that we need to
note is that in the first two decades the cartoons were largely making comments on
social issues. This means that cartoon strips or caricature drawings for pure fun were not
done at that time. This happened much later in our country. Although the cartoons of the
initial period were done from socially conscious angles, these dealt more with unjust
and contradictory social issues rather than completely political issues. It should be
remembered that for almost the entire Pakistani period the country was under martial
law and it did not allow for the development of an environment of democratic criticism.
Under such circumstances it was, perhaps, not very easy to do political cartoons. But
those who had done cartoons in the sixties, especially the student of the Art College or
those who had just completed their courses from it, did direct political cartoons on
smaller, less circulated little magazines. It is known from a discussion with artist
Rafiqun Nabi that those cartoons sometimes presented direct comments on specific
political issues. One could not even think of publishing such cartoons in well-
established, widely circulated daily newspapers.
From the early sixties Purbodesh- the Bengali daily of the Observer Group, started to
publish cartoons. Initially artist Kalam Mahmud and after that artist Rafiqun Nabi did
cartoons there under the pseudonym ‘Ranabi’. In this decade, Ranabi did cartoons in
Purbodesh for the column titled ‘The Diary of Black Owl’ by Abdul Gani Hazari. At
that time cartoonist Aziz from Karachi did cartoons for the English daily Morning News.
He followed the school of western political cartoons. However, one must mention that
Morning News supported the government. Naturally, the political cartoons published in
this paper were not very sharp despite the form they took. The Bengali weekly that fig. 5.8 Kazi Abul
published cartoons in large numbers in the sixties was Sachitra Sandhani. Initially two Kasem, cartoon on
cartoonists named Zamir and Mizan did cartoons for this magazine. Filmmaker Subhash Language Movement


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