Have You Heard of the Man Who Created Bengali Typography? Meet Panchanan Karmakar

We often think Kolkata’s history and culture revolve around just a handful of renowned figures, iconic memorial buildings, or grand old zamindar houses. But every time you believe you’ve heard it all, there’s always a hidden gem we tend to overlook—one that deserves our full attention. Today, let us introduce you to an almost unseen hero of Kolkata and Bengal, the Father of Bengali Typography, Panchanan Karmakar. We bet this name hasn’t crossed your ears before, yet his contribution is woven deeply into the fabric of Bengal’s cultural and historical identity. His work marks a monumental transformation in the printing and literary world of Bengal, influencing generations of language and culture lovers. This story, shared intimately by his granddaughter through an insightful interview, reveals the human behind the historic legacy and why it matters to us even now.

Untold Story of The Father of Bengali Typography

Born in the mid-18th century in Tribeni, Hooghly, Panchanan Karmakar came from a lineage of skilled artisans and calligraphers. His ancestors carved names and intricate designs on swords, shields, copper plates, and metal pots—a craft so refined that one of his forebears earned the title ‘Mullick’ from Nawab Alivardi Khan himself. This blend of artistry and metalwork laid the foundation for Panchanan’s groundbreaking role in Bengal’s history. The turning point came when the British East India Company wanted to print Nathaniel Brassey Halhed's seminal work, A Grammar of the Bengal Language (1778). The challenge? No Bengali typeface existed for printing. Charles Wilkins, an English typographer who had struggled to design Bengali letters in England, enlisted Panchanan Karmakar’s expertise. Using his mastery of metal engraving, Panchanan created the first Bengali movable typeface, forever changing the face of Bengali printing.

In 1779, Panchanan moved to Kolkata to join Wilkins’ new printing press. Later, at Serampore Mission Press, under the leadership of British missionary William Carey, he developed typefaces for 40 languages, including Arabic, Persian, Marathi, Telugu, Burmese, and even Chinese. His Bengali typeface was used extensively until Ishwar Chandra Vidyasagar proposed a simplified version. Remarkably, Panchanan also created the first Devanagari typeface in India by 1803. His craftsmanship not only revolutionised the Bengali Renaissance era but also laid the foundation for vernacular printing across Asia.

Panchanan Karmakar was a visionary and dedicated craftsman. Despite passing away at a young age, his legacy endured through students, relatives like his nephew Adhar Chandra Karmakar (Mullick) and Manohar Karmakar, and many others who carried forward the art of typeface creation. His work enabled the spread of literature, education, and journalism, empowering generations of Bengalis and Indians.

His great-granddaughter, Priyanka Mullick, has taken up the mantle of preserving his legacy. Sitting in her over 200-year-old ancestral home in Serampore, Priyanka fondly recalls how, as a child, her home felt like a small museum. Historians, journalists, typographers, and curious students regularly visited—not to meet them, but to see the relics of the artefacts and stories of Panchanan. I didn't understand their antique value at the time," she fondly added, "but I knew these were no ordinary things. They were part of a precious collection handed down through generations." Among the many fascinating objects, Priyanka's personal favourite is the 'punch'—She describes "It's a tiny metal tool used to carve mirror images of Bengali and Devanagari characters. This little object, no longer than 4cm, symbolises the brilliant craftsmanship of Indian artisans like Panchanan Karmakar. The technique, inspired by Gutenberg's invention, fused mechanical innovation with artistic precision. To me, it’s a beautiful example of art-led invention.”

She recalls, “In my childhood, my father, Sri Biman Mullick, would often lay out the artefacts and literature for regular maintenance and hygienic cleaning. He used to host visitors for hours, sometimes even at the cost of his own work. I’d mostly accompany him during the cleaning—almost forcefully, you could say,” she laughs. “He would often insist that I listen carefully and understand our family’s history during guest visits.” “Honestly, I didn’t quite understand the value of these antiques earlier,” she admits. “But as I started working on this exhibition, I truly began to understand both their importance and thakurda better—as an artist and as a person.” "His work spoke louder than his words, yet he never had any appetite for fame."

The HARAF

The driving force behind the HARAF exhibition was Priyanka’s late father, Sri Biman Mullick, who devoted his life to preserving this heritage. After the printing press was demolished in 2003, he shifted the remaining artefacts to their home, meticulously documenting every detail. His sudden demise in 2024 made Priyanka determined to carry the legacy forward. “This is my tribute to two silent heroes—my great-grandfather who created history, and my father who silently protected it.”

Putting together HARAF has given Priyanka unexpected insights into her family’s past. “It gives me immense joy to know that I belong to a family wherein for generations my ancestors were in the business of arts,” she says. “Hailing from a lineage of sculptors and blacksmiths, awarded and recognised by Nawab Aliwardi Khan, Panchanan Karmakar furthered our family’s name at a national and global scale.”

As she explored her great-grandfather’s legacy, Priyanka discovered that his brother, Gadadhar Karmakar, and nephew, Adhar Chandra Karmakar (Mullick), had also played vital roles in Bengal’s printing economy. Her own path—from a childhood passion for painting and calligraphy to a diploma in fine art—reveals how closely she feels connected to Panchanan’s craft. “For the past four generations, my family has been associated with printing – and I tried to continue that tradition by studying Journalism and Communications,” she explains. “Although I had known our family history for some time, preparing this exhibition helped me rediscover it through a completely new lens.”

As the youngest member of her family, Priyanka realises the responsibility now rests on her shoulders. “Over the past fifty years, most of our relatives left Serampore for opportunities elsewhere in Bengal. My father, the youngest son, stayed on here to run the family business. Sadly, this legacy has no one beyond me to carry it forward—at least, not yet.” Still, she remains optimistic. “I hope HARAF will spark curiosity in other young people and encourage them to revive these historic inventions. That, to me, is the most important outcome.”

The Legacy Lives On

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In a world racing toward digital, it's easy to forget the quiet revolutions that once reshaped how we read, learn, and express. And Priyanka Mullick carries forward not just her great-grandfather’s legacy, but also the hopes of preserving Bengal’s deep-rooted literary heritage. When asked what Panchanan Karmakar might have felt seeing the exhibition today, she replies with a soft smile, "If he is looking down from a parallel universe with my father next to him. I think he would be a little embarrassed to see such a celebration around him, but he would be secretly proud and happy that his life’s work is being celebrated—and saved for future generations."   

The journey of HARAF doesn’t end here. The dream now is to bring the exhibition back to Kolkata—where it all began—and make it accessible to more people, especially students, writers, and cultural enthusiasts. “ The exhibition is gearing up to return to Kolkata for longer, but at first, it was self-funded and assisted by a few. From there, we hope to tour literature festivals, galleries and college campuses across India. To truly safeguard every tiny punch and plate, we need a little funding for digitisation and cataloguing—and, one day, to build a small museum in Serampore where these relics can rest under professional care." So, If you’re curious about Kolkata’s untold stories, don’t miss HARAF.