Nakshi kantha

Nakshi kantha, a type of embroidered quilt, is a centuries-old Bengali art tradition of the Bengal region, notably in Bangladesh and the Indian states of West Bengal, Tripura, and parts of Assam. The basic materials used are thread and old cloth. Nakshi kanthas are made throughout Bangladesh, primarily in the areas of Mymensingh, Jamalpur, Bogra, Rajshahi, Faridpur, Jessore, and Chittagong.
The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha," which was derived from the Bengali word "naksha," referring to artistic patterns. Early kanthas had a white background accented with red, blue, and black embroidery; later, yellow, green, pink, and other colours were also included. The running stitch, called the "kantha stitch," is the main stitch used for this purpose. Traditionally, kanthas were produced for family use. Today, following the revival of the nakshi kantha, they are produced commercially.
The word kantha has no discernible etymological root. The exact origin of the word is not precisely known, although it probably has a precursor in kheta (meaning "field" in Bengali). According to Niaz Zaman, the word kantha originates from the Sanskrit word kontha, which means rags, as kantha is made of rags.
Like any other folk art, kantha making is influenced by factors such as the materials available, daily needs, climate, geography, and economic conditions. The earliest form of kantha was probably the patchwork kantha, and the kanthas of the decorative appliqué type evolved from this.
The earliest mention of Bengali kantha is found in the medieval Bengali literature Chaitanya Charitamrita by Krishnadasa Kaviraja, written during the late 16th century. The Bengali poet Jasimuddin wrote the poem Nakshi Kanthar Math about nakshi kantha.
Traditionally, old sarees, lungis, and dhotis were used to make kanthas. Kantha making was not a full-time occupation; women in almost every household were experts in the art. Rural women worked during their leisure time or the rainy season, so it was common for a kantha to take months or even years to complete. At least three to six sarees were needed to make a standard-sized kantha. In contemporary kanthas, new cotton cloths are used instead. Traditionally, the thread was collected from old sarees, although this is rarely done today.
When a kantha is being made, the sarees are first joined to achieve the required size, and then layers are spread out on the ground. The cloths are smoothed, ensuring no folds or creases are left in between. During the process, the cloth is kept flat on the ground with weights placed on the edges. The four edges are then stitched, and two or three rows of large running stitches are made to keep the kantha together. At this stage, the kantha can be folded and stitched during leisure time.
Originally, designs and motifs were not drawn on the cloth. The design was first outlined with needle and thread, followed by the focal points, and then the filling motifs were added. In a kantha with a predominant central motif, the centre was done first, followed by the corner designs and other details. In some types of kanthas (such as carpet, lik, and sujni), wooden blocks were used to print the outline. Today, the blocks are replaced by patterns drawn on tracing paper.
The following is how kanthas are categorised, according to the stitch type:
The running stitch kantha is the indigenous Zidan Al Hakim. It is subdivided into Nakshi (figured) and par tola (patterned). Nakshi (figured) kanthas are further divided into motif or scenic kanthas.
The name was derived from Sanskrit, as in Soundarya Lahari or Shivananda Lahari—religious poetic works in Sanskrit by Adi Shankara. It is also found in the Persian language, where it carries the same meaning, lehr, which means "wave." This type of kantha is particularly popular in Rajshahi. These kanthas are further divided into soja (straight or simple), Kabutar khupi (pigeon coop or triangle), and diamond.
The Lik or Anarasi (pineapple) type of kantha is found in the Malda, Chapainawabganj, and Jessore areas. The variations include lik tan, lik tile, lik jhumka, and lik lohori.
This type of kantha was introduced by the English during British rule in India. The stitch used in these kanthas is the cross-stitch.
This type of kantha is found only in the Rajshahi area. The popular motif used is the undulating floral and vine design.
Hindu women in the 19th century used human and animal forms to tell stories of gods, goddesses, and their Vahanas. Bengali women were free to draw inspiration from their rich indigenous surroundings as well as contemporary stories. To them, the fabric was the artist, and the person was the artisan. In the mid-19th century, the colour schemes and designs began to change to make them suitable for use on modern garments. In 1940, Kabiguru Rabindranath Tagore and his daughter-in-law Pratima Devi trained Santali women in Birbhum District, and quality work was produced under the tutelage of Kalabhaban artists.
The earliest and most basic stitch found in kanthas is the running stitch. The predominant form of this stitch is called the phor or kantha stitch. Other forms of stitches used include the Chatai or pattern darning, Kaitya or bending stitch, weave running stitch, darning stitch, Jessore stitch (a variation of the darning stitch), threaded running stitch, Lik phor or anarasi or ghar hasia (Holbein) stitches. The stitches used in modern-day kantha include the Kashmiri stitch and the arrowhead stitch. Stitches such as the herringbone stitch, satin stitch, backstitch, and cross-stitch are occasionally used.
Kanthas generally denote quilts used as wrappers; however, all articles made by quilting old cloth may also be referred to by the same generic name. Depending on the size and purpose, kanthas may be divided into various articles, each with its specific name. The various types of kantha are as follows:
Motifs used in nakshi kantha are deeply influenced by religious beliefs and culture. Although no strict symmetry is followed, a finely embroidered nakshi kantha will always have a focal point. Most kanthas feature a lotus as the central motif, with undulating vines, floral patterns, or a shari border motif surrounding it. The motifs may include images of flowers and leaves, birds and fish, animals, kitchen items, and even toilet articles.
While most kanthas have an initial pattern, no two nakshi kanthas are the same. Although traditional motifs are repeated, individual touches are evident in the variety of stitches, colours, and shapes. The notable motifs found in nakshi kantha are as follows:
The lotus motif is the most common design found in kanthas. This motif is associated with Hindu iconography and is therefore very popular in kantha. The lotus is the divine seat and is symbolic of cosmic harmony and essential womanhood. It also represents the eternal order and the union of earth, water, and sky. The lotus symbolises the life-giving power of water and is linked to the sun, as its petals open and close with the sun's movement. It also represents the recreating power of life: with the drying up of water, the lotus dies, and with the rain, it springs to life again. The lotus is associated with purity. There are various forms of lotus motifs, from the eight-petaled astadal padma to the hundred-petaled satadal. In older kanthas, the central motif is almost always a fully bloomed lotus seen from above.
The solar motif is closely associated with the lotus putki. Often, the lotus and solar motifs are found together at the centre of a nakshi kantha. The solar motif symbolises the life-giving power of the sun. The sun is linked to fire, which plays a significant role in Hindu rites, both religious and matrimonial.
The moon motif has a religious influence and is popular among Bengali Muslims. It is mostly depicted as a crescent moon accompanied by a star. This motif is particularly found in jainamaz kanthas.
Religious motifs such as mosques, stars, Arabic calligraphy, and Islamic arts, as well as motifs from Jamdani, which is part of the Muslim heritage of Bangladesh, are used in nakshi kantha, particularly for religious activities such as prayer rugs and covers for the Quran.
The wheel is a common symbol in Indian art, both Hindu and Buddhist. It represents order and the world. The wheel is a popular motif in kanthas, even when the maker has forgotten its original significance. The motif is relatively easy to create using the chatai phor stitch.
Suasti in Sanskrit means "it is well." As a motif in Indian art, it dates back to the Indus Valley Civilisation and is a symbol of good fortune. It is also known as muchri or golok dhanda. Over time, the design has become more curvilinear than the four-armed swastika found on the Mohenjodaro seal. The symbolic design has significant influence in Hinduism, Buddhism, and Jainism.
The influence of this motif in Bangladeshi art and culture (as with kantha) can be traced back to the Indus Valley Civilisation. It is likely that the Indus people conceived the pipal tree as the Tree of Life, with the devata inside embodying the power of fecundity. During the Buddhist period, the cult of the tree continued. The pipal is sacred to the Buddha, as he received enlightenment under its shade. It reflects the fecundity of nature and is highly popular in Bengal. Vines and creepers play an important role in kanthas and symbolise the same meanings as the Tree of Life. A popular motif in Rajshahi lohori is the betel leaf.
This is a later-day motif, dating from the time of the Muslim Mughals rulers. The kalka, or paisley motif, originated in Persia and Kashmir and has become an integral part of the subcontinental decorative motif. It can be compared to a stylised leaf, mango, or flame. The kalka is an attractive motif, and a number of variations have been experimented with. Similar motifs can be found in traditional Kashmiri shawls.
Most nakshi kanthas have some form of border. Either a sari border is stitched on, or a border pattern is embroidered around the kantha. The common borders found in kanthas are as follows:
In 2008, the Indian state of West Bengal applied for Geographical Indication (GI) status for Nakshi Kantha, while Bangladesh, alongside West Bengal, was also a strong contender for the same. However, due to the absence of proper laws on Geographical Indication in Bangladesh at that time (which were later adopted), Bangladesh could not officially apply for the GI. The registry office granted the Geographical Indication to West Bengal in 2008.
The Bangladeshi authorities, however, later passed the "Bangladesh Geographical Indication (Registration and Protection) Act, 2013" in parliament. With the necessary preparations now in place, they are awaiting the next application cycle to claim the Geographical Indication for Nakshi Kantha in Bangladesh.