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Ol Chiki script
Ol Chiki script
Ol Chiki script
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  • Ol Chiki
  • ᱚᱞ ᱪᱤᱠᱤ

Script type
Alphabet
CreatorRaghunath Murmu
Period
1925–present
DirectionLeft-to-right Edit this on Wikidata
LanguagesSantali language
ISO 15924
ISO 15924Olck (261), ​Ol Chiki (Ol Cemet’, Ol, Santali)
Unicode
Unicode alias
Ol Chiki
U+1C50–U+1C7F
 This article contains phonetic transcriptions in the International Phonetic Alphabet (IPA). For an introductory guide on IPA symbols, see Help:IPA. For the distinction between [ ], / / and ⟨ ⟩, see IPA § Brackets and transcription delimiters.
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The Ol Chiki (ᱚᱞ ᱪᱤᱠᱤ, Santali pronunciation: [ɔl tʃiki], ɔl 'writing', tʃiki 'symbol') script, also known as Ol Chemetʼ (ᱚᱞ ᱪᱮᱢᱮᱫ, ol 'writing', chemetʼ 'learning'), Ol Ciki, Ol, and Santali alphabet is the official writing system for Santali, an Austroasiatic language recognized as an official regional language in India. It was invented by Pandit Raghunath Murmu in 1925. It has 30 letters, the design of which is intended to evoke natural shapes. The script is written from left to right, and has two styles (the print Chapa style and cursive Usara style). Unicode does not maintain a distinction between these two, as is typical for print and cursive variants of a script. In both styles, the script is unicameral (that is, it does not have separate sets of uppercase and lowercase letters).

The shapes of the letters are not arbitrary, but reflect the names for the letters, which are words, usually the names of objects or actions representing conventionalized form in the pictorial shape of the characters.

— Norman Zide, A portal for Santals[1][self-published source?]

History

[edit]

The Ol Chiki script was created in 1925 by Raghunath Murmu for the Santali language, and publicized first in 1939 at a Mayurbhanj State exhibition.[2] Unlike most Indic scripts, Ol Chiki is not an abugida, but is a true alphabet: giving the vowels equal representation with the consonants.

Raghunath Murmu, Creator of Ol Chiki script

Before the invention of Ol Chiki script, Santali was written in Bangla, Devanagari, Kalinga and Latin script. However, Santali is not an Indo-Aryan language and Indic scripts did not have letters for all of Santal's phonemes, especially its stop consonants and vowels, which make it difficult to write the language accurately in an unmodified Indic script.

For example, when missionary and linguist Paul Olaf Bodding, a Norwegian, studied the Santali language and needed to decide how to transcribe it (in producing his widely followed and widely respected reference books such as A Santal Dictionary), he decided to transcribe Santhali in the Roman alphabet: despite his observation that Roman script lacks many of the advantages of the Indic scripts, he concluded that the Indic scripts could not adequately serve the Santali language because the Indic scripts lack a way to indicate important features of Santali pronunciation (such as glottalization, combined glottalization and nasalization, and checked plosives, which can be more easily represented in the Roman alphabet through the use of diacritics.[3]

The phonology of the Santali language had also been similarly analyzed by various other authors, including Byomkes Chakrabarti in Comparative Study of Santali and Bengali and Baghrai Charan Hembram in A Glimpse of Santali Grammar. However, the Ol Chiki alphabet is considered (by many Santali) to be even more appropriate for the language, because its letter-shapes are derived from the sounds of common Santali words and other frequent Santali morphemes:[a] nouns, demonstratives, adjectives, and verb roots in the Santali language.[4] In other words, each Santali letter's name is, or is derived from, a common word or other element of the Santali language, and each letter's shape is derive from a simple drawing of the meaning of that word or other element. For example, the Santali letter “ol” (representing the sound /l/) is written with a shape originally derived from a simplified outline drawing of a hand holding a pen, because the name of this letter is also the Santali word for “writing.”

[edit]
The image shows Ol Chiki Chapa/print and Usara/cursive styles, with the chapa style of each letter written in the first row, and the corresponding usara style in the second row

The existence of these two styles of Ol Chiki was mentioned by the script's creator: Guru Gonke Pandit Raghunath Murmu (also known as Pandit Murmu) in his book Ol Chemed[5] which explains and teaches the Ol Chiki script.[b] Chhapa (Santali for 'print') is used for publication, while usaraà (Santali for 'quick') is used for handwriting.

Chhapa hand

[edit]

Ol Chiki chhapa, or print style, is the more common style for digital fonts, and is used in the printing of books and newspapers.

Usaraà hand

[edit]

Usaraà or usaraà ol is the cursive style, and is largely limited to pen and paper, though there are digital usaraà typefaces. Differences include the diacritic ahad, which in print style is used with ᱜ, ᱡ, ᱦ, ᱫ, and ᱵ, all of which can form ligatures with ᱽ in cursive.[6] Further, cursive usaraà seldom uses several letter-shapes which are formed by combining the letter ᱦ and the four semi-consonants ᱜ, ᱡ, ᱫ, and ᱵ with ahad; instead, these are generally written in a shorter form, as ᱷ.

Letters

[edit]

The values of the Ol Chiki letters are as follows:

Letter Name IPA[7] Transliteration Shape[1]
ALA-LC[8] Zide[7] Deva.[6] Beng.[6] Odia[6]
ᱚ la /ɔ/ a ọ अ অ ଅ burning fire
ᱟ laa /a/ ā a आ আ ଆ working in the field with a spade
ᱤ li /i/ i i इ ই ଇ bending tree
ᱩ lu /u/ u u उ উ ଉ vessel used for preparing food
ᱮ le /e/ e e ए এ ଏ overflowing rivers changing course
ᱳ lo /o/ o o ओ ও ଓ a mouth when sounding this letter
ᱶ ov /w̃/ ṅ w̃ ङ ঙ ଙ୍ nasalized
ᱠ aak /k/ k k क ক କ୍ bird (sound of a swan)
ᱜ ag /kʼ/, /g/ g kʼ ग গ ଗ୍ vomiting mouth, which produces the same sound as the name of the letter
ᱝ ang /ŋ/ ṃ ṅ ं ং ଂ blowing air
ᱪ uch /c/ c c च চ ଚ୍ peak of a mountain which is usually high
ᱡ aaj /cʼ/, /ɟ/ j cʼ ज জ ଜ୍ person pointing towards a third person with the right hand (saying “he”)
ᱧ iny /ɲ/ ñ ñ ञ ঞ ଞ୍ person pointing towards himself/herself with the left hand
ᱴ ott /ʈ/ ṭ ṭ ट ট ଟ୍ camel hump
ᱰ edd /ɖ/ ḍ ḍ ड ড ଡ୍ a man with two legs stretching towards his chest and mouth
ᱬ unn /ɳ/ ṇ ṇ ण ণ ଣ୍ picture of a flying bee (which Is described by Santali speakers as making this sound)
ᱛ at /t/ t t त ত ତ୍ the Earth
ᱫ ud /tʼ/, /d/ d tʼ द দ ଦ୍ mushroom or umbrella
ᱱ en /n/ n n न ন ନ୍ threshing grains with two legs
ᱯ ep /p/ p p प প ପ୍ person receiving with both hands
ᱵ ob /pʼ/, /b/ b pʼ ब ব ବ୍ curly hair
ᱢ aam /m/ m m म ম ମ୍ person pointing towards a second person with the left hand (saying “you”)
ᱭ uy /j/ y y य য় ୟ୍ a man bending towards the ground to cut something
ᱞ al /l/ l l ल ল ଲ୍ writing
ᱨ ir /r/ r r र র ର୍ sickle used for cutting or reaping
ᱣ aaw /w/, /v/ w w व ওয় ୱ୍ opening lips
ᱥ is /s/ s s स স ସ୍ plow
ᱦ ih /ʔ/, /h/ ẖ h ह হ ହ୍ hands up
ᱲ err /ɽ/ ṛ ṛ ड़ ড় ଡ଼୍ a path that turns to avoid an obstruction or a danger
ᱷ oh /ʰ/ h (C)h ह হ ହ୍ a man throwing something with one hand

Aspirated consonants are written as digraphs with the letter ᱷ:[9][6] ᱛᱷ /tʰ/, ᱜᱷ /gʱ/, ᱠᱷ /kʰ/, ᱡᱷ /jʱ/, ᱪᱷ /cʰ/, ᱫᱷ /dʱ/, ᱯᱷ /pʰ/, ᱰᱷ /ɖʱ/, ᱲᱷ /ɽʱ/, ᱴᱷ /ʈʰ/, and ᱵᱷ /bʱ/.

Other marks

[edit]

Ol Chiki employs several marks which are placed after the letter they modify (there are no combining characters):

Mark Name Description
ᱹ găhlă ṭuḍăg This baseline dot is used to extend three vowel letters for the Santal Parganas dialect of Santali:[9] ᱚᱹ ŏ /ɔ/, ᱟᱹ ă /ə/, and ᱮᱹ ĕ /ɛ/. The phonetic difference between ᱚ and ᱚᱹ is not clearly defined and there may be only a marginal phonemic difference between the two. ᱚᱹ is rarely used. ALA-LC transliterates ᱟᱹ as "ạ̄".[8]
ᱸ mũ ṭuḍăg This raised dot indicates nasalization of the preceding vowel: ᱚᱸ /ɔ̃/, ᱟᱸ /ã/, ᱤᱸ /ĩ/, ᱩᱸ /ũ/, ᱮᱸ /ẽ/, and ᱳᱸ /õ/. ALA-LC transliteration uses "m̐" after the affected vowel.[8]
ᱺ mũ găhlă ṭuḍăg This colon-like mark is used to mark a nasalized extended vowel. It is a combination of mũ ṭuḍăg and găhlă ṭuḍăg: ᱚᱺ /ɔ̃/, ᱟᱺ /ə̃/, and ᱮᱺ /ɛ̃/.
ᱻ relā This tilde-like mark indicates the prolongation of any oral or nasalized vowel. Compare ᱮ /e/ with ᱮᱻ /eː/. It comes after the găhlă ṭuḍăg for extended vowels: ᱮᱹᱻ /ɛː/. It is omitted in ALA-LC transliteration.[8]
ᱽ ahad This special letter indicates the deglottalization of a consonant in the word-final position. It preserves the morphophonemic relationship between the glottalized (ejective) and voiced equivalents of consonants.[9] For example, ᱜ represents a voiced /g/ when word initial but an ejective /kʼ/ when in the word-final position. A voiced /g/ in the word-final position is written as ᱜᱽ. The ahad is used with ᱜ, ᱡ, ᱦ, ᱫ, and ᱵ which can form cursive ligatures with ᱽ in handwriting (but not usually in printed text).[6] ALA-LC transliteration uses an apostrophe (ʼ) to represent an ahad.[8]
ᱼ phārkā This hyphen-like mark serves as a glottal protector (the opposite function as the ahad.) It preserves the ejective sound, even in the word-initial position. Compare ᱜᱚ /gɔ/ with ᱜᱼᱚ /kʼɔ/. The phārkā is only used with ᱜ, ᱡ, ᱫ, and ᱵ. It is omitted in ALA-LC transliteration.[8]

Numerals

[edit]

Ol Chiki has its own numerals:

Hindu-Arabic numerals 0 1 2 3 4 5 6 7 8 9
Ol Chiki ᱐ ᱑ ᱒ ᱓ ᱔ ᱕ ᱖ ᱗ ᱘ ᱙

Punctuation

[edit]

Some Western-style punctuation marks are used with Ol Chiki: the comma (,), exclamation mark (!), question mark (?), and quotation marks (“ and ”).

The period/fullstop (.) is not used, because it is visually confusible with the găhlă ṭuḍăg mark (ᱹ).;[6] therefore, instead of periods, the script uses single or two Ol Chiki short dandas:

  • ᱾ (mucăd) marks a minor break
  • ᱿ (double mucăd) marks a major break

Computing

[edit]

Unicode

[edit]
Main article: Ol Chiki (Unicode block)

Ol Chiki script was added to the Unicode Standard in April, 2008 with the release of version 5.1.

The Unicode block for Ol Chiki is U+1C50–U+1C7F:

Ol Chiki[1]
Official Unicode Consortium code chart (PDF)
  0 1 2 3 4 5 6 7 8 9 A B C D E F
U+1C5x ᱐ ᱑ ᱒ ᱓ ᱔ ᱕ ᱖ ᱗ ᱘ ᱙ ᱚ ᱛ ᱜ ᱝ ᱞ ᱟ
U+1C6x ᱠ ᱡ ᱢ ᱣ ᱤ ᱥ ᱦ ᱧ ᱨ ᱩ ᱪ ᱫ ᱬ ᱭ ᱮ ᱯ
U+1C7x ᱰ ᱱ ᱲ ᱳ ᱴ ᱵ ᱶ ᱷ ᱸ ᱹ ᱺ ᱻ ᱼ ᱽ ᱾ ᱿
Notes
1.^ As of Unicode version 17.0

Fonts

[edit]

Mixing the two letter styles

[edit]

Although Ol Chiki (Chapa) and Ol Chiki (Usara) are normally never mixed, and the original inventor never mentioned mixing these letter styles, there have been some works that mix both forms, using them like English capital and small letters. However, this innovation is yet to be accepted officially.[12]

The invention of a lower case for Ol Chiki

[edit]

Since 2017, Santali graphic designer, typographer, and film producer Sudip Iglesias Murmu has been working on design principles to provide a lowercase alphabet form for Ol Chiki, which would permit Ol Chiki writing and keyboarding to use a two-case, or bicameral, format (Using both uppercase and lowercase), as is done in many other written languages, including the Roman-alphabet languages such as English (all of which were once unicameral scripts, but evolved into a bicameral stage over time). As the development of a lowercase form is contributed to developing a standardized cursive form (in those writing systems which use one), the evolution of lowercase is likely to allow standardizing cursive to the point of making it type able alongside more rigid "block" printed letterforms forms So far, only Ol Chiki (Chapa) letters are used in keyboarding, typesetting, and publishing (in effect, producing capitals-only text for the entirety of all printed or keyboarded documents). In writing quickly by hand, Ol Chiki (Usara) is used: but, despite Ol Usara's potential for reaching high speed, the circulation of Ol Usara documents is negligible, and Ol Usara is yet to receive Unicode standardization, thus leaving it still neglected.

In hopes to remedy this situation and to harmonize the two scripts, Sudip Iglesias Murmu has innovated by creating a series of lowercase letters, which he has integrated with the already existing font of Ol Chiki. According to him, providing lowercase letters increases the efficiency of keyboarding, both for Ol Chiki (Chapa) and for Ol Chiki (Usara), and allows keyboarding to reach the same speed that can be obtained when typing Santali in Roman-alphabet letters, which are likewise case-sensitive. However, his work is yet to be accepted officially.[13]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ol Chiki script

View on Grokipedia
from Grokipedia
The Ol Chiki script (ᱚᱞ ᱪᱤᱠᱤ), also known as Ol Cemet' or the , is a left-to-right designed specifically for the , an Austroasiatic Munda language spoken by approximately 7.6 million people primarily in the Indian states of , , , and , as well as in neighboring and . Invented in 1925 by Pandit , a Santali educator and writer from in , the script aimed to provide an indigenous alternative to the Latin, , Bengali, and Odia scripts previously used for Santali, which often inadequately represented its . The script features 30 distinct letters: 24 and 6 , with letter forms inspired by natural shapes such as body parts, plants, and animals to aid and cultural among Santali speakers. are represented by standalone glyphs (e.g., ᱛ for /aʔ/), while appear as independent letters (e.g., ᱹ for /ə/) or in digraphs for additional sounds; voiced stops in syllable-final position use a special modifier called ahlad (ᱽ) to indicate retention of voicing, and aspiration is indicated by combining with a dedicated aspiration mark. Unlike abugidas, Ol Chiki functions as a true without inherent vowel diacritics, though it includes five basic diacritics for , length, and other modifications, and employs unique punctuation like the mucaad (᱾) for pauses. The canonical letter order is arranged in a 6x5 table reflecting phonetic categories, facilitating systematic learning. Ol Chiki gained gradual official recognition, starting with adoption in Odisha's education system in the 1970s and full acceptance by in 2001 for official and educational purposes; Santali's inclusion as one of India's 22 scheduled languages in 2003 further promoted the script, leading to its endorsement by the in 2004. It was encoded in the Standard (block U+1C50–U+1C7F) with version 5.1 in 2008, enabling digital support across platforms, and now includes 48 characters encompassing letters, digits, and punctuation. Today, Ol Chiki is used mainly for the southern of Santali in , newspapers, and education in tribal regions, though adoption remains limited outside dedicated communities due to the dominance of other scripts; efforts like the 2022 of India's into Ol Chiki, year-long centenary celebrations in 2025, and support in since October 2024 underscore its growing cultural and digital significance.

History

Invention and early development

The Santali language, spoken by millions across eastern India, historically lacked a dedicated writing system and relied on non-native scripts such as Devanagari, Bengali-Assamese, Odia, Latin, and the earlier Ol Nagri script. These scripts proved inadequate for capturing the unique phonological features of Santali, including its distinct consonants and vowels, which led to inconsistencies in representation and hindered the language's literary and cultural expression. Raghunath Murmu, born on May 5, 1905, in Dandbese village, (now in ), was a Santali writer, educator, and cultural activist who recognized these limitations during his early life and teaching career. Inspired by the natural shapes observed in his surroundings and the phonetic needs of Santali, Murmu began developing a new script around 1920–1925, aiming to create a system that reflected the language's sounds while drawing from Santali cultural motifs. He finalized the Ol Chiki script in 1925, designing it with 30 letters for precise phonetic accuracy, written from left to right without forms to simplify learning and usage, and incorporating symbols evocative of Santali heritage, such as forms resembling arrows, birds, and other natural elements. The script received its first public demonstration in 1939 at the exhibition, where showcased its potential through printed materials and explanations. Early publications in Ol Chiki followed soon after, with 's Horh Sereng—a collection of songs—appearing in 1936 as one of the initial printed works, followed by his play Bidu Chandan in 1942, which helped propagate the script within Santali communities during the 1930s and 1940s. These efforts marked the script's nascent phase, emphasizing its role in fostering Santali literacy independent of external scripts.

Adoption and official recognition

Following India's independence in 1947, efforts to promote the Ol Chiki script gained momentum through grassroots movements in Santal communities, particularly the Ol Chiki movement in , , during the 1970s, where local educators and activists organized workshops to teach the script and resist the dominance of borrowed scripts like and Bengali used for Santali. This period saw the formation of script committees, such as those under the All India Santali Writers' Association, which advocated for Ol Chiki's standardization amid opposition from proponents of alternative scripts, including Romanized forms favored by Christian missionaries. By the late 1970s, the approved Ol Chiki as the official script for Santali primary education, marking an early institutional push despite logistical hurdles like limited printing resources. Key milestones in official recognition followed in the early 2000s, with providing full acceptance for official purposes, including , in after sustained . The inclusion of Santali in the Eighth Schedule of the Indian Constitution in 2003 further elevated the language's status, implicitly supporting Ol Chiki as its primary script and facilitating federal funding for its promotion across states like , , and . This led to efforts to integrate the script into in states such as and , though adoption varied, with experimental programs in Odisha facing challenges and other scripts remaining prevalent in Jharkhand. Educational integration accelerated from the , with Ol Chiki introduced in primary schools in and , where Santali-medium classes using the script began to address linguistic barriers for students. From 1983 to 1992, over 59,600 copies of Ol Chiki were published and distributed for primary education in , covering subjects up to Class III (and mathematics up to Class IV), supporting the growth of Santali to include hundreds of titles in genres like novels, , and . This expansion fostered cultural preservation, though challenges persisted, including shortages of trained teachers and interruptions in supply due to issues in the mid-. Recent developments from 2020 to 2025 have emphasized digital adoption, accelerated by the , with initiatives like Unicode's full support for Ol Chiki enabling online Santali resources for remote in and . Government programs, including teacher training workshops in Ol Chiki pedagogy, have been rolled out in states like to bridge digital divides, alongside the 2022 translation of India's into the script to promote . In December 2024, the Odisha government announced plans to provide in Santali using the Ol Chiki script from to postgraduate levels. In August 2025, introduced Santali lessons in the Ol Chiki script across schools. The year 2025 also commemorates the 100th anniversary of the script's invention, with initiatives like 'Mission Ol-Chiki 2025' promoting its use. Persistent challenges include the historical scarcity of typewriters for Ol Chiki until the , which delayed printing, and ongoing competition from Romanized Santali in online spaces, where transliteration tools dominate due to easier on non-specialized devices.

Script design and characteristics

Phonetic principles

The Ol Chiki script functions as a phonemic alphabet specifically designed to capture the sounds of the , diverging from the syllabic nature of traditional like . Created to provide an accurate and unambiguous representation of Santali phonemes, it assigns a unique symbol to each distinct sound, ensuring that the script reflects the language's phonological inventory without the ambiguities introduced by adapting non-native scripts. Santali , as encoded in Ol Chiki, features six basic s—typically /a/, /i/, /u/, /e/, /o/, and /ɔ/—along with 24 consonants that include retroflex sounds, aspirated stops, glottalized consonants, and a , many of which lack direct equivalents in . These consonants encompass a range of articulatory positions, such as labials, dentals, retroflexes, and velars, with additional distinctions for unreleased stops and voiceless /h/. The script accommodates dialectal variations, such as the Orissa Mayurbhanj dialect's six vowels, while using modifiers to represent , length, and additional vowel qualities in other dialects that may have up to nine vowels. The core structure of Ol Chiki is a true alphabetic system in which are indicated by dedicated letters, appearing independently, before, or after consonants. There is no inherent vowel; standalone consonants may be realized with an vowel approximating a nearby vowel or /ə/. Syllables are formed by combining a (or cluster) with a following letter or digraph, maintaining a linear sequence without reordering or special forms for consonant clusters. The script's 30 basic letters are organized in a 6x5 matrix, with the first column dedicated to vowels and the remaining columns grouping consonants by articulatory features, such as place and , to facilitate phonetic learning and recall. Key innovations in Ol Chiki include the absence of ligatures or conjunct characters, unlike that require complex combinations for clusters, allowing for straightforward rendering of Santali's 24 consonants and avoidance of representational gaps for sounds like glottalized stops. Instead of vertical stacking, the script employs horizontal placement of vowel letters or digraphs, such as the "" diacritic for deglottalization to link related like /k'/ and /g/. Written from left to right in horizontal lines, it promotes clarity in formation—typically consonant-vowel (CV) or consonant-vowel-consonant (CVC)—and supports the language's five diphthongs through precise mapping, ensuring no loss of phonetic nuance.

Letter inventory

The Ol Chiki alphabet comprises 30 core letters, consisting of 24 and 6 independent vowels, each representing a single in the . This alphabetic structure ensures vowels have equal status to , unlike abugidas common in other Indian scripts. The letters are arranged in a traditional 6×5 matrix, with vowels in the first column and filling the remaining positions, reflecting the script's systematic design. The six vowel letters are used independently at the start of syllables or in isolation, while diacritics (covered separately) attach to consonants for vowels in other positions. Their basic uppercase print forms, along with transliterations and International Phonetic Alphabet (IPA) values, are as follows:
GlyphNameTransliterationIPA
ᱚLAa/ɔ/
ᱟLAAā/a/
ᱤLIi/i/
ᱩLUu/u/
ᱮLEe/e/
ᱳLOo/o/
These vowels capture the essential short vowel sounds of Santali, with length distinctions typically indicated by or context rather than separate letters. The 24 consonant letters are grouped by for phonetic organization, covering stops, nasals, , , and laterals. Each has a distinct uppercase print form, name from the standard, , and IPA value. Special letters include the sibilant IS for /s/, and IH, which denotes the /ʔ/ (common word-initially or intervocalically) or the glottal /h/ (often word-finally). The consonants are: Labials (bilabial sounds):
GlyphNameTransliterationIPA
ᱯEPp/p/
ᱵOBb/p̚, b/
ᱢAAMm/m/
ᱣAAWw/w, v/
ᱶOVv/ʋ/
Alveolars (dental/alveolar sounds):
GlyphNameTransliterationIPA
ᱛATt/t/
ᱫUDd/t̚, d/
ᱥISs/s/
ᱱENn/n/
ᱞALl/l/
ᱨIRr/r/
Palatals (palatal sounds):
GlyphNameTransliterationIPA
ᱪUCc/t͡ɕ/
ᱡAAJj/ɟ, t͡ɕ̚/
ᱧINYñ/ɲ/
ᱭUYy/j/
Retroflex (retroflex sounds):
GlyphNameTransliterationIPA
ᱴOTTṭ/ʈ/
ᱰEDDḍ/ɖ/
ᱬUNNṇ/ɳ/
ᱲERRṛ/ɽ/
Velars (velar sounds):
GlyphNameTransliterationIPA
ᱠAAKk/k/
ᱜAGg/ɡ, k̚/
ᱝANGṃ/ŋ/
Glottals (glottal sounds):
GlyphNameTransliterationIPA
ᱦIHh/ʔ, h/
ᱷOHh/h/
All consonants represent single phonemes, with aspiration or handled via diacritics in specific dialects, though the core forms are unaspirated and plain. For instance, the Santali word for "flower" or "Baha ," baha, is rendered as ᱵᱟᱦᱟ, combining the labial stop ᱵ (/b/), ᱟ (/a/), glottal ᱦ (/h/), and another ᱟ (/a/). This exemplifies how the letters combine linearly to form syllables without inherent vowels.

Graphical styles

The print style of the Ol Chiki script, known as Chhapa hand, takes its name from the Santali term chhapa meaning "print," and is characterized by block-like, angular forms optimized for clarity in and formal publications. Developed as the primary variant by inventor in 1925, Chhapa employs straight lines and geometric shapes inspired by natural and cultural elements familiar to the Santali community, such as tools and environmental forms, to create distinct, non-joining glyphs. This design ensures uniform height across letters, with no serifs or curves that could complicate reproduction, making it ideal for mechanical printing processes. The script is unicameral, lacking a distinction between uppercase and lowercase forms, which contributes to its consistent glyph appearance. Key features of Chhapa include its alphabetic structure adapted for Santali , where each of the core letters represents a or sound, often modified by diacritics for tones or nasality, all rendered in a rigid, non-cursive manner. For example, the letter ᱛ (for the sound /t/) adopts a form resembling the shape of the , while ᱚ (for /o/) uses a simple looped evoking burning fire. These angular constructions prioritize legibility over fluidity, distinguishing Chhapa from the more flowing Usaraà hand used in . Historically, Chhapa has been the dominant form since the script's early adoption, appearing in the first Ol Chiki book, Horh Sereng (Song of the Sun), published in 1936, and subsequent works by Murmu, who produced over 150 titles in the script by the mid-20th century. Its use expanded in the 1940s through printed materials in Santali communities across eastern India, including educational texts and cultural documents, and it remains standard in modern newspapers and books for its compatibility with metal type and offset printing. The advantages of Chhapa lie in its simplicity and robustness, facilitating easy readability at a distance and efficient production on early printing presses, which helped promote Santali despite limited resources. This style's geometric precision also supports seamless digital rendering today, though its original intent was to empower printed dissemination of Santali literature and identity.
LetterPrint Form (Chhapa)SoundInspiration
ᱚᱚ/o/Shape of burning fire
ᱛᱛ/t/Shape of the Earth
ᱥᱥ/s/Plough form

Cursive style (Usaraà hand)

The cursive style of the Ol Chiki script, known as Usaraà hand or Usara ol, refers to the flowing, connected form designed for rapid handwriting in the Santali language. In Santali, "Usara" translates to "quick" or "running," emphasizing its purpose for efficient personal writing, while "ol" denotes writing, distinguishing it from the more rigid print style. This variant maintains the script's core 30-letter inventory—six vowels and 24 consonants—but adapts them with rounded, interconnected strokes to facilitate speed and natural flow. Key features of Usaraà hand include curved lines that join letters within words through ligatures, allowing for seamless transitions between characters, and variations in slant and loop sizes to accommodate individual habits. These elements enable the formation of fluid word shapes, such as the connected rendering of "baha" (ᱵᱟᱦᱟ), where the initial ᱵ flows into ᱟ via a gentle , followed by ᱦ and ᱟ linked by a descending loop, contrasting the discrete forms in print. The style also incorporates diacritics like the gaahlaa ttuddaag for extended vowels, positioned dynamically to preserve readability in motion. Developed alongside the print style (Chhapa hand) by in the 1920s, Usaraà hand emerged to support everyday documentation and artistic applications in Santali communities, gaining popularity in , signage, and handwritten . Its integration into Santali cultural expression, including and novels, reflects Murmu's vision of a script rooted in natural shapes from the environment, such as the rounded ᱟ evoking or the looped ᱢ suggesting a . Among its advantages, Usaraà hand promotes economical handwriting by minimizing lifts of the pen, mirroring the natural rhythm of hand movement and reducing fatigue during extended writing sessions. It is primarily taught in informal settings, such as community workshops and , fostering for non-formal learners in regions where Santali is spoken by over six million people across , , and . This style's emphasis on fluidity has also influenced modern font designs, like the Ol Chiki Usara variant, adapting traditional forms for contemporary use.

Orthographic elements

Diacritics and other marks

The Ol Chiki script utilizes a set of modifier letters that serve as diacritics to convey phonological modifications, such as , lengthening, and the creation of additional qualities. Unlike combining diacritics in scripts, these modifiers are independent spacing characters placed immediately after the base or letter they affect, ensuring clear structure in this alphabetic system. There are six primary modifiers, all encoded in the for Ol Chiki (U+1C50–U+1C7F). The mu ttuddag (ᱸ, U+1C78) indicates of the preceding , functioning similarly to an in other Indic scripts but as a distinct letter. It is applied post- in syllables requiring nasal resonance, such as in Santali words where vowels assimilate to following nasals. The g aahl aa ttuddaag (ᱹ, U+1C79) modifies select base vowels to produce three additional sounds, particularly for the Santal Parganas variant; for instance, it transforms certain short vowels into mid or extended forms when appended. Their yields the mu-g aahl aa ttuddaag (ᱺ, U+1C7A), a precomposed mark for nasalized versions of these extended vowels, as seen in examples like ᱚᱺ (/ɔ̃ː/) or ᱟᱺ (/ə̃ː/). Vowel lengthening is marked by the relaa (ᱻ, U+1C7B), positioned after the vowel to denote prolonged duration, which is phonemically significant in Santali for distinguishing meaning. The ph aark aa (ᱼ, U+1C7C) acts as a glottal protector or separator, preventing unintended glottalization in consonant clusters or marking brief glottal stops. Finally, the ahad (ᱽ, U+1C7D) deglottalizes consonants, removing any inherent or contextual glottal features to represent plain stops accurately. These modifiers attach only to core letters (vowels or consonants) and do not apply to numerals or punctuation. In usage, stacking follows a fixed order to avoid ambiguity: quality modifiers like g aahl aa ttuddaag precede nasalization (mu ttuddag), ensuring logical phonetic rendering in complex syllables. Since Ol Chiki lacks an inherent vowel, all syllables explicitly include a vowel letter, with no matras or dependent forms; modifiers thus enhance explicit representations rather than substituting for vowels. For example, the syllable "ba" (/ba/) is ᱵᱟ (letter b + a), while nasalized "bã" becomes ᱵᱟᱸ, and lengthened with additional quality "bāə" (extended form) is ᱟᱹᱻ. This system supports the script's phonetic precision for Santali's six base vowels and derived forms.

Numerals

The Ol Chiki script includes a dedicated set of ten native digits, encoded in Unicode as U+1C50 to U+1C59, representing the values 0 through 9. These digits are ᱐ (zero), ᱑ (one), ᱒ (two), ᱓ (three), ᱔ (four), ᱕ (five), ᱖ (six), ᱗ (seven), ᱘ (eight), and ᱙ (nine). Designed by Pandit Raghunath Murmu alongside the script's letters in 1925, the numerals feature angular lines and geometric forms that harmonize with the overall aesthetic of the Ol Chiki alphabet, which draws inspiration from natural shapes and everyday objects to evoke cultural resonance. The digits follow the standard decimal and are used in print (Chhapa hand) and basic (Usaraà hand) variants, aligning with the script's dual stylistic forms for formal and faster . In print style, the digits maintain blocky, distinct outlines suitable for , while variants adopt slanted, narrower proportions to facilitate fluid writing, though encoding treats them uniformly without glyph distinctions. These forms ensure readability in both contexts, supporting the script's left-to-right direction. Introduced concurrently with the script's invention, the numerals have been integral to Santali and documentation since the early 20th century, appearing in educational materials and publications from regions like . In contemporary usage, they denote dates, quantities, and lists within Santali texts, such as enumerations on digital platforms like the Santali . For instance, the year 2025 is written as ᱒᱐᱒᱕. Ol Chiki digits are compatible with in mixed-language documents, allowing seamless integration in bilingual contexts without altering positional values.
ValueOl Chiki DigitSantali Name (example)
0᱐-
1᱑ᱚᱠ (okē)
2᱒ᱵᱟᱨ (bar)
3᱓ᱯᱮ (pe)
4᱔ᱯᱩᱱ (pun)
5᱕ᱢᱚᱬᱮ (môṇe)
6᱖ᱯᱚᱯ (pop)
7᱗ᱮᱱᱟᱜ (eṅaṛ)
8᱘ᱮᱛᱟᱜ (eṭaṛ)
9᱙ᱚᱭᱚ (oye)

Punctuation

The Ol Chiki script employs a combination of native punctuation marks and borrowed elements from the to indicate pauses, sentence boundaries, and other syntactic functions in Santali texts. The core native marks are the mucaad (᱾) and double mucaad (᱿), which serve as delimiters analogous to the and double danda in scripts. The mucaad, a single vertical bar-like (U+1C7E), primarily marks the end of a sentence or a minor break, functioning similarly to a while avoiding the Latin period (.) to prevent confusion with the mu ttuddag (ᱹ). The double mucaad (U+1C7F), consisting of two such bars, denotes a major break, such as at the end of a or section, or in poetic verse to indicate stanza divisions. For shorter pauses and clause separations, Ol Chiki adapts the Latin comma (,), which aligns with Santali's syntactic structure emphasizing post-positions and clause chaining without altering word order significantly. Other borrowed Latin marks include the exclamation mark (!) for emphasis, the question mark (?)—often used in a hybrid form combining Ol Chiki elements with the Latin curve for interrogative sentences—and quotation marks (“ ” and ‘ ’) for direct speech or citations. Colon (:) and semicolon (;) are occasionally employed from Latin for lists or complex clauses, though their use remains less standardized in traditional Santali prose. These conventions reflect an adaptation to Santali's agglutinative grammar, where punctuation highlights relational morphemes and discourse flow rather than strict Indo-European sentence isolation. Punctuation practices in Ol Chiki evolved from early 20th-century manuscripts by inventor , who initially favored simple vertical lines akin to the Latin pipe (|), termed "muchad" in Santali. Standardization occurred in the 2000s through encoding (version 5.1, 2008), which introduced native glyphs for mucaad and double mucaad to ensure cultural distinctiveness in print and . In handwriting, variations persist, such as elongated or stylized mucaad forms in cursive Usaraà style, though print Chhapa style adheres closely to norms. Representative examples illustrate these roles. A simple declarative sentence might end with mucaad: ᱨᱮᱱ ᱵᱚᱸ ᱦᱚᱨ ᱟᱹᱜᱤᱫ ᱾ (Ren bôn hor ângìt mucaad, meaning "The sun rises."). For questions, the hybrid mark combines with Latin: ᱦᱚᱨ ᱟᱹᱜᱤᱫ ᱵᱚ? (Hor ângìt bo?, "Does the sun rise?"). In poetry, double mucaad separates stanzas: ᱨᱮᱱ ᱵᱚᱸ ᱦᱚᱨ ᱟᱹᱜᱤᱫ᱾ᱱᱚ ᱢᱮᱱᱟᱜ ᱞᱚᱠᱟᱜ ᱿ (Ren bôn hor ângìt; nomaeng lokâg double mucaad, "The sun rises; the bird flies.").

Computing and digital use

Unicode encoding

The Ol Chiki , designated U+1C50–U+1C7F, was added to the Standard in version 5.1.0, released in 2008, providing 48 code points for the script's core elements. This allocation supports the Santali language's by including dedicated ranges for digits, letters, modifier letters, and , ensuring comprehensive representation within the Basic Multilingual Plane. The block's specific assignments are as follows: digits occupy U+1C50 to U+1C59 (OL CHIKI DIGIT ZERO to OL CHIKI DIGIT NINE); letters span U+1C5A to U+1C77, encompassing 30 characters such as consonants (e.g., U+1C5A OL CHIKI LETTER LA) and vowels (U+1C60 OL CHIKI LETTER A to U+1C65 OL CHIKI LETTER II); modifier letters for diacritics and other marks range from U+1C78 OL CHIKI MU TTUDDAG () to U+1C7D OL CHIKI AHAD; and punctuation consists of U+1C7E OL CHIKI PUNCTUATION MUCAAD and U+1C7F OL CHIKI PUNCTUATION DOUBLE MUCAAD. No substantive modifications have been made to the block since its introduction, with its structure preserved through subsequent versions, including Unicode 17.0 released in September 2025. Ol Chiki employs spacing characters throughout, with modifier letters functioning as non-combining marks placed adjacently to the base letters they modify, such as for vowel alteration or ; consequently, no stacking occurs, and Unicode normalization forms like NFC are not required for canonical equivalence. The encoding aligns fully with ISO/IEC 10646, facilitating international standardization. Representative hex code examples include U+1C60 for the vowel letter A (ᱠ) and U+1C78 for the mu ttuddag nasalization mark (ᱸ).

Fonts and typography

The development of fonts for the Ol Chiki script has focused on supporting its unique letterforms, which draw inspiration from natural shapes, while addressing the needs of users for both print and digital . Major typefaces include Noto Sans Ol Chiki, a design by with multiple weights (regular, medium, semibold, bold) and 55 glyphs, released under the and suitable for body text in unmodulated styles. Typotheque offers professional Ol Chiki support in families like and , developed from 2016 onward for high-legibility applications in headlines and extended reading, with rounded terminals for approachable . Free options include the Uniol font, an open-source Unicode-compliant available on , and Ol Chiki Biren, a font for desktop and mobile use in Santali writing. Design considerations for Ol Chiki fonts emphasize accurate rendering of its 30 letters and 6 diacritics, such as the and phaarka marks, which require precise placement to maintain without combining characters. adjustments are critical for elements like the mucaad , often refined through native speaker feedback to optimize spacing around diacritics and ensure natural flow. Glyph spacing varies between print (upright, monothick forms) and simulations of the Usaraà hand, which features slanted, narrower strokes and ligated diacritics like ahad for faster emulation. Variable fonts, as in Noto Sans Ol Chiki, allow between weights to support stylistic flexibility without multiple static files. Recent developments from 2020 to 2025 include open-source contributions on , such as the olchiki-fontfamily project, which advances a libre with regular, bold, and italic variants commissioned for broader accessibility. Typotheque's ongoing refinements, highlighted in 2023 research, incorporate community input for minority scripts like Ol Chiki, enhancing support in signage and digital interfaces. These efforts build on the 2014–2016 CIS-A2K project, which produced an initial Unicode-compliant family under SIL OFL, including italic styles derived from handwritten samples. Prior to 2010, font coverage for Ol Chiki was severely limited, with few Unicode-compliant options and reliance on non-standard encodings that hindered digital adoption. challenges persist in line-breaking rules for Santali words, which follow Unicode's left-to-right horizontal algorithm with space-separated terms, but require custom handling in complex layouts to avoid awkward breaks around diacritics or punctuation. Rendered examples in Noto Sans Ol Chiki show crisp, even spacing for text like "ᱚᱞ ᱪᱤᱠᱤ" (Ol Chiki), with diacritics aligning seamlessly above baselines, while Typotheque's renders the same phrase with softer curves for warmer, headline-appropriate aesthetics. In free fonts like Uniol, the script appears monospaced and uniform, ideal for basic digital documents but less refined for professional .

Input methods and software support

Input methods for the Ol Chiki script, used primarily for the , include standardized keyboard layouts and phonetic transliteration tools that facilitate typing on various devices. The layout, developed as the official Indian standard for Indic scripts, provides a direct mapping for Ol Chiki characters on keyboards, allowing users to input the script's 30 letters, diacritics, and numerals through specific key combinations. Phonetic input methods, which transliterate Roman letters into Ol Chiki glyphs based on pronunciation, are widely available through tools like PramukhIME, enabling users to type English-like spellings that convert to the native script. On mobile devices, apps such as the Ol Chiki Basic keyboard from Keyman offer phonetic and direct input options, supporting swipe gestures for efficient typing on Android and iOS platforms. Software support for Ol Chiki has expanded with Unicode integration, allowing input in major applications. Microsoft Windows provides native keyboard and font support for Ol Chiki starting from , using the Nirmala UI font and keyboard identifier 000D0C00 for seamless text entry in programs like and . supports Ol Chiki through its Unicode compatibility and recent locale additions for Santali, with community-driven extensions enhancing spell-checking and hyphenation for the script. Web-based editors, such as , enable Ol Chiki input via browser extensions or integrated tools like Gboard's Santali keyboard, which handles Unicode rendering without additional setup. Recent developments from 2020 to 2025 have improved accessibility, particularly through AI-enhanced tools. added official support for Ol Chiki in 2024, incorporating AI-driven translation that assists users in generating and verifying Santali text by translating from English or other languages, effectively aiding typing workflows. Android keyboards like Olchiki Keyboard and Keyman now include swipe input for Ol Chiki, allowing fluid word formation by gliding over phonetic keys, while support via Keyman extends to dictation features for voice-to-text conversion in the script. These advances build on standardization to promote digital adoption among Santali speakers. Despite progress, challenges persist in input ecosystems. Legacy systems using ASCII-based encodings for Ol Chiki require conversion tools to , as older software often fails to render or input correctly, leading to compatibility issues on pre-2010 platforms. User training remains a barrier, with many learners needing manuals to master phonetic mappings or InScript layouts, though resources like Keyman's documentation help mitigate this. For example, using a phonetic method in tools like Lexilogos or PramukhIME, the Santali word "sermaa" (meaning "sky") is typed as follows: enter "s" for ᱥ, "e" for ᱮ, "r" for ᱨ, "m" for ᱢ, "aa" for ᱟ with length mark, then apply space or conversion to yield ᱥᱮᱨᱢᱟ. This approach simplifies entry for non-experts while preserving the script's phonetic accuracy.

Extensions and variations

Development of lowercase forms

The Ol Chiki script, originally designed as a unicameral system by in 1925 without distinction between uppercase and lowercase forms, saw proposals for lowercase variants emerge in the to address limitations in digital adaptability and stylistic flexibility. These extensions aimed to emulate the bicameral structure of the , facilitating mixed-language texts and enhancing readability in bilingual contexts involving Santali. Santali graphic designer, typographer, and film producer Sudip Iglesias Murmu led the development starting in 2017, conducting extensive research into the script's print (chapa) and cursive (Ol Usara) styles to create complementary lowercase forms. Murmu's work involved designing simplified, smaller versions of the 30 uppercase letters, resulting in 30 lowercase variants that integrate seamlessly with existing fonts for dual-case usage. These forms were experimentally added after iterating through thousands of character designs, prioritizing aesthetic harmony with the script's natural-inspired shapes. The lowercase variants are not part of the original Ol Chiki design and remain non-standardized, lacking official encoding beyond the uppercase block (U+1C50–U+1C7F). As of 2025, they are primarily employed in experimental digital , casual online writing, and select print materials like children's educational resources or Santali texts, such as font-based transliterations of religious works. This innovation promotes easier keyboarding on layouts and improves visual flow in sentences, though adoption is limited due to the script's traditional unicameral emphasis on phonetic purity.

Mixing print and cursive styles

The Ol Chiki script has two primary graphical styles: the print style (Chhapa hand) and the style (Usaraà hand). While these styles are distinct and normally not mixed, the style incorporates ligatures, such as those joining certain consonants with the AHAD modifier (ᱷ), to facilitate quicker . Zide (1996), as referenced in proposals, notes the efficiency of such AHAD ligatures in enhancing writing for Santali. In digital contexts, the (ZWJ) can be used to force specific ligatures, such as those involving , in fonts supporting forms. Although the original inventor did not mention mixing Chhapa and Usaraà styles, limited experimental hybrid forms have appeared in some digital prototypes and artistic works, often simulated via variable fonts to interpolate between styles for educational or media purposes. However, inconsistent software rendering and lack of standardization pose challenges, and such mixing remains rare outside dedicated communities.

References

  1. https://www.omniglot.com/writing/santali.htm
  2. https://www.unicode.org/L2/L2005/05243r-n2984-ol-chiki.pdf
  3. https://scriptsource.org/scr/Olck
  4. https://r12a.github.io/scripts/olck/sat.html
  5. https://www.unicode.org/charts/PDF/U1C50.pdf
  6. https://magazines.odisha.gov.in/Orissareview/2022/Feb-March/engpdf/page40-43.pdf
  7. https://www.aljazeera.com/news/2022/5/26/translating-indias-constitution-into-a-tribal-language
  8. https://www.newkerala.com/news/o/odisha-cm-announces-year-long-celebrations-mark-centenary-ol-chiki-374
  9. https://www.facebook.com/olitunofficial/posts/google-translate-has-officially-added-support-for-the-ol-chiki-script-making-it-/572479265288371/
  10. https://www.omniglot.com/writing/olchiki.htm
  11. https://www.researchgate.net/publication/383661725_Ol-Chiki_Movement_is_the_symbol_of_renaissance_of_Santal_Community
  12. https://www.academia.edu/14621750/Invention_of_Alchiki_Script_for_Santali_Language_An_attempt_to_Preserve_an_Endangered_Tribal_Dialect
  13. https://www.researchgate.net/publication/348398626_The_Politics_of_Difference_Ol-Chiki_and_Santal_Identity_in_Eastern_India
  14. https://core.ac.uk/download/pdf/13322115.pdf
  15. http://krepublishers.com/02-Journals/JSS/JSS-08-0-000-000-2004-Web/JSS-08-2-085-178-2004-Abst-PDF/JSS-08-2-129-142-2004-Lotz/JSS-08-2-129-142-2004-Lotz.pdf
  16. https://www.unicode.org/L2/L2002/02456-ol-chiki-comment.pdf
  17. https://www.dandc.eu/en/article/why-special-alphabet-minoritys-language-controversial-india
  18. https://www.drishtiias.com/daily-news-analysis/translation-of-indias-constitution-into-ol-chiki-script
  19. https://www.unicode.org/L2/L2002/02443-anti-santali.pdf
  20. https://ijrar.org/papers/IJRAR1903087.pdf
  21. https://www.researchgate.net/publication/321218234_Promoting_Tribal_Languages_in_Education_A_Case_Study_of_Santali_in_Orissa
  22. https://www.ptinews.com/story/national/odisha-government-plans-education-in-santali-language-from-kg-to-pg-majhi/2098775
  23. https://sambadenglish.com/latest-news/odisha-mulling-introduction-of-santali-in-classroom-teaching-8448117
  24. https://www.cambridge.org/core/journals/signs-and-society/article/from-transcript-to-transscript-romanized-santali-across-semiotic-media/81DA4E239A356AC307BFDD27AAD14A07
  25. https://wesanthals.tripod.com/id45.html
  26. https://www.unicode.org/L2/L2002/02422-n2505-olchiki.pdf
  27. https://www.typotheque.com/research/tracing-meitei-mayek-and-ol-chiki
  28. https://www.jetir.org/papers/JETIR2506337.pdf
  29. https://www.youtube.com/watch?v=O7tv8Bqjgwc
  30. https://scriptsource.org/cms/scripts/page.php?item_id=script_detail&key=Olck
  31. https://commons.wikimedia.org/wiki/File:Ol_chiki_cursive.png
  32. https://www.cambridge.org/core/services/aop-cambridge-core/content/view/81DA4E239A356AC307BFDD27AAD14A07/S2326448900001537a.pdf/from_transcript_to_transscript_romanized_santali_across_semiotic_media.pdf
  33. https://www.typoday.in/2016/spk_papers/Pooja_Saxena_Shubhasis%20Panigrahi_TypographyDay-2016.pdf
  34. https://www.unicode.org/versions/Unicode17.0.0/
  35. https://www.typotheque.com/fonts/ol-chiki
  36. https://github.com/mitradranirban/font-uniol
  37. https://santaliwiki.blogspot.com/p/download-santali-ol-chiki-fonts.html
  38. https://github.com/prtksxna/olchiki-fontfamily
  39. http://www.unicode.org/reports/tr14/
  40. https://www.typotheque.com/fonts/october/ol-chiki
  41. https://www.pramukhime.com/santali/windows-application
  42. https://keyman.com/keyboards/basic_kbdolch
  43. https://learn.microsoft.com/en-us/globalization/fonts-layout/font-support
  44. https://listarchives.libreoffice.org/global/l10n/2022/msg00026.html
  45. https://support.google.com/websearch/thread/306216393/need-some-changes-in-santali-ol-chiki-keyboard?hl=en
  46. https://translate.google.com/
  47. https://play.google.com/store/apps/details?id=mon.android.olchikikeyboard&hl=en_US
  48. https://theofdn.org/openspeaks/language-resources/santali-unicode-converter-release/
  49. https://help.keyman.com/keyboard/basic_kbdolch/current-version
  50. https://www.lexilogos.com/keyboard/santali.htm
  51. https://en.bharatpedia.org/wiki/Ol_Chiki_script
  52. https://www.prlog.org/12881008-ol-chiki-lower-case-letters-invented-by-sudip-iglesias-murmu.html
  53. https://ajantahc.com/ol-chiki-moulded-into-perfection-by-invention-of-lowercase-letters
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