Framing An Era : Bichitra Covers by Amanul Huq

The genesis of this book was entirely unplanned. With Shahitya Prakash having already published key works of Amanul Huq, I had no intention of adding another volume to his bibliography. Yet, as I was organizing the Weekly Bichitra covers, an idea began to take shape. In the art world, there exists a tradition of creating catalog raisonnés - detailed, annotated compilations of an artist's complete works. Having lived with Amanul in our Elephant Road flat from 1984 to 1999 during the zenith of his career, I realized I possessed something invaluable: firsthand knowledge of the stories behind these photographs. Some I witnessed being created; others I heard recounted directly from the artist himself. Now in my late forties, I find myself in a unique position. Many of Amanul's friends, contemporaries, and even his junior colleagues have passed away. The memories, untold stories, andcreative processes behind these iconicimages riskfading into obscurityunless documented. My focus on Weekly Bichitra covers stems from three considerations. First, Bichitra published many of Amanul's most iconic works. Second, as one of the most influential and progressive magazines of its time, Bichitra played a pivotal role in defining the cultural landscape of an entire generation. Finally, with Bichitra's finite run from 1972 to 1997, cataloging its special issue covers presented a manageable scope for thorough documentation. In writing the annotations, I've strived to make these images accessible to audiences beyond Bangladesh's borders, providing cultural context where necessary. Personal memories and behind-the-scenes accounts have been woven in wherever possible, offering glimpses into the creative process that brought these images to life. The project has not been without its challenges. Despite extensive efforts, I've only managed to locate about half of Amanul's Bichitra covers. While the completist in me yearns for the full collection, I've come to accept that a partial record is preferable to none at all. This book would not exist without several key individuals. I am deeply indebted to my mother, Dr. Ayesha Begum, and my cousin Rokeya Minakshi Hossain, whose foresight in preserving old copies of Bichitra made this project possible. Special thanks go to Syed Rezaur Rahman and Momen Almazi for sharing their memories of Amanul and insights into his photographic process. What follows is not just a catalog of magazine covers, but a window into a remarkable period of Bangladesh's cultural history, seen through the lens of one of its most gifted photographers. Ahmed Arup Kamal Dhaka, 2025