The Origin of Non-representational Printmaking in Bangladesh

Printmaking is a practice that typically allows artists to make multiple original works of art. In 1948, by the hand of artist Zainul Abedin, Dhaka Art collage was established and their printmaking remained a segment compulsory. Printmaking is a technique of art where the revolution has come out spontaneously. Initially, objects were favored as natural procedures, as artists’ preferences were to choose realistic forms or figures meanwhile, their perceptions remained clear. But in later, many changes in forms and concepts have been arisen through the hands of Artist Safiuddin Ahmed and Artist Mohammad Kibria. They fetched up a new way of flow in the style of printmaking in Bangladesh. They wanted to reveal their perceptions using the forms of none appearance. This style has been named after Non-representational Printmaking. For Bangladesh, this new path has emerged with the contribution of some legendary artists. At the same time, the artists are still practicing to spread out this language. Their non-representative themes and philosophical treatments have contributed to the spread of this artistic language, which has become a revolution in aesthetic value and the Art history of Bangladesh, especially in the field of Printmaking. A new way of seeing in Printmaking style has arisen by them. Moreover, this style helped to turn art, especially printmaking, into modernity, which is still practiced profoundly, with new philosophies and strategies. The main aim of this research is to focus, on the origin of this unrecognized style in printmaking, establishment, and practice to date.

• Supervision