Md. Abdul Aziz

Associate Professor, Department of Oriental Art
University of Dhaka

Abstract

Calligraphy has long been revered as an ancient art form throughout the history of art. Predominantly practiced in China, Japan, and Muslim countries, calligraphy saw a resurgence in the 19th and 20th centuries and continued to expand. The Arabs notably established calligraphy as a distinct art form. In contemporary times, calligraphy has gained popularity not only in religious contexts but also in the industrial sector. In recent years, Bangladesh has joined other countries in fostering new ideas about the practice of calligraphy. The legacy of calligraphy in Bengali fine arts is rooted in the tradition of Mughal miniatures. In the 1970s, calligraphy was incorporated into the curriculum of the Oriental Arts department of fine arts, along with manuscript illustration (Malaybala, 2018 p. 286). Additionally, the Graphic Design department includes calligraphy in its syllabus. Today, calligraphy is widely used in book covers, illustrations, and various forms of written art. Renowned artist Qayyum Chowdhury, a professor in the Department of Graphic Design, pioneered calligraphic style writing on book covers. The brushstrokes of artist Hashem Khan, a professor in the Department of Oriental Arts, reflect rural diversity on book covers and posters. Over time, the practice and application of calligraphy have evolved. Currently, many artists engage in the art of calligraphy, which is seen in invitations for various events, handwritten logo designs, religious images, announcements, memorials, testimonials, birth and death certificates, maps, and other forms of writing. Consequently, the practice of calligraphy in both institutional and non-institutional settings is widespread and significant. This article, therefore, explores the practice of calligraphy in the arts of Bangladesh.

Keywords

logo design, brand identity, graphic design, Bangladesh

References

Ibn Gholam Samad (1973), Islami Shilpokola, Bangla Academy, Dhaka.
Shah Muhammad Shafiqullah (2012), Calligraphic Art in Sultanate
Architecture, Dhaka.

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