Panchanan Karmakar’s creation led to the printing of the first Bengali language book, and his legacy will soon be showcased to Kolkata.
Hidden inside the labyrinthine lanes of Serampore is a 200-year-old legacy associated with the creation of the first Bengali type face, which led to the printing of the first Bengali language book, A Grammar of the Bengal Language in 1778.
The Vidyasagar, Panchanan and Carey Bhavans are located on a narrow lane diverting from GT Road in Serampore’s Battala area. Neither of them are historical buildings but rather modern day apartments, named such on the insistence of the landowners, who were related to Panchanan Karmakar. While the name Vidyasagar needs no introduction, Carey refers to William Carey, the Christian missionary who lived in Serampore and translated the Bible into Bengali. Panchannan is perhaps the least known of the three names and refers to Panchanan Karmakar, who is considered as the father of Bengali typography.
The creation of the Bengali typeface
The story begins in the late 18th century with the East India Company and a family of blacksmiths — the Karmakars — based in Tribeni in Hooghly. The Karmakars specialised in calligraphy and were known for inscribing names and decorations on copper plates, weapons, metal pots, etc. One of Panchanan Karmakar’s ancestors was known for carving designs on swords, shields and armours for one of the nawabs of Bengal, Alivardi Khan, who awarded him the title Mullick.
Hidden inside the labyrinthine lanes of Serampore is a 200-year-old legacy associated with the creation of the first Bengali type face, which led to the printing of the first Bengali language book, A Grammar of the Bengal Language in 1778.
The creation of the Bengali typeface
The story begins in the late 18th century with the East India Company and a family of blacksmiths — the Karmakars — based in Tribeni in Hooghly. The Karmakars specialised in calligraphy and were known for inscribing names and decorations on copper plates, weapons, metal pots, etc. One of Panchanan Karmakar’s ancestors was known for carving designs on swords, shields and armours for one of the nawabs of Bengal, Alivardi Khan, who awarded him the title Mullick.
In the late 18th century when the British were making inroads in India, they felt the need to master local languages including Bengali. Few East India Company officials like English Orientalist and philologist Nathaniel Brassey Halhedhad already mastered the language, but there was a need for books to teach Bengali grammar to the masses. Halhed came up with a book on Bengali grammar, but it could not be printed since the Bengali typeface was not available.
Enter Charles Wilkins, English typographer, Orientalist, and a founding member of the Asiatic Society. He initially took the initiative of making the Bengali typeface in England, but the endeavour proved too expensive and the end result was not up to the mark.
After a long search he got in touch with Panchanan Karmakar, the blacksmith who has already mastered the art of Bengali calligraphy on metal. Panchanan created the Bengali typeface for the presses, which finally resulted in the printing of Halhead’s book A Grammar of the Bengal Language.
Later, Panchanan also helped William Carey with printing the Bengali translation of the Bible from Serampore. He also went on to develop the typeface for several other Indian and foreign languages.
The continuing legacy of the Karmakars
Panchanan was assisted in his work by his brother Gadadhar Karmakar. After Panchanan’s death in 1804, his son-in-law Monohar Karmakar (Mullick) and Gadadhar’s son Adhar Chandra Karmakar (Mullick) continued their legacy. Adhar later joined Vidyasagar in developing a simplified typeface of Bengali alphabets.
According to Gadadhar’s descendent Priyanka Mullick, the family press remained operational till the early 1990s and followed a traditional method of printing. “My father Biman Mullick was forced to discontinue due to the advent of new technology,” she said, adding, “Today, only the mansion constructed by Adhar Chandra Mullick survives. The adjoining land was sold on the condition that the apartments coming up in the plot will be named after Vidyasagar, Carey and Panchanan.”
Priyanka’s family inherited the printing machines along with a large collection of typefaces, which after her father’s passing in 2022 were passed on to her.
Gutenberg and the Bengali typeface
German blacksmith, goldsmith, printer and publisher Johannes Gutenberg’s invention of the printing press and mechanical movable type printing in 1439 played an important role in the European Renaissance.
The Gutenberg process involved creating the typeface for a language by making a hard metal punch known as a mother type. The alphabets created on the mother type, which were mirror images of the original lettering, were then hammered into a soft copper bar creating an imprint of the actual alphabet. This is known as a matrix, which operates as a mould for the final typeface, known as movable type, which is made with a lighter alloy.
A single matrix can be used to make thousands of movable types, which in turn are arranged in the required sequence, inked, and printed on paper.
The English language follows a fixed set of 26 alphabets, but on the other hand, Indian languages like Bengali have a combination of alphabets that can run into thousands making the job of creating a matrix extremely difficult. Moreover, Bengali alphabets have more intricacies and carving them out of hard metal is a challenge. This is where the skill and artistry of Panchanan Karmakar came in. More than 200 years ago he accomplished an almost impossible task.
Showcasing a legacy to Kolkata
Today, Priyanka Mullick shuttles between Mumbai and Serampore to maintain her professional commitments, and while the family is no longer in the printing business, a part of the two-century history lives with Priyanka through the large collection of Bengali and other language typeface and several typing machines. She wants to showcase this legacy to Kolkata now.
“These have been out of reach of the general public and we are planning an exhibition at Khelat Ghosh house in north Kolkata in mid-April,” she said, adding that these kinds of exhibitions help create awareness about forgotten legacies in Bengal’s history.
source/content: telegraphindia.com (headline edited)