| Nakshi Kantha | |
|---|---|
| Geographical indication | |
 Traditional nakshi kantha | |
| Alternative names | নকশি কাঁথা |
| Description | A traditional embroidery art ofBangladesh,West Bengal,Tripura andBarak Valley region |
| Country | Bangladesh andIndia |
| Material | Cloth, usually cotton |
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Nakshi kantha, a type of embroidered quilt, is a centuries-oldBengali art tradition of the Bengal region, notably inBangladesh and theIndian states ofWest Bengal,Tripura, and parts ofAssam.[1][2][3] The basic materials used are thread and old cloth.[4] Nakshi kanthas are made throughout Bangladesh, primarily in the areas ofMymensingh,Jamalpur,Bogra,Rajshahi,Faridpur,Jessore, andChittagong.[5]
The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha,"[6] which was derived from theBengali word "naksha," referring to artistic patterns.[7] Early kanthas had a white background accented with red, blue, and black embroidery; later, yellow, green, pink, and other colours were also included. Therunning stitch, called the "kantha stitch," is the main stitch used for this purpose.[8] Traditionally, kanthas were produced for family use. Today, following the revival of the nakshi kantha, they are produced commercially.[9]
The wordkantha has no discernible etymological root.[10] The exact origin of the word is not precisely known, although it probably has a precursor inkheta (meaning "field" inBengali).[11] According toNiaz Zaman, the wordkantha originates from theSanskrit wordkontha, which means rags, askantha is made of rags.[12]
Like any other folk art, kantha making is influenced by factors such as the materials available, daily needs, climate, geography, and economic conditions.[13] The earliest form of kantha was probably thepatchwork kantha, and the kanthas of the decorativeappliqué type evolved from this.[14]
The earliest mention of Bengali kantha is found in the medieval Bengali literatureChaitanya Charitamrita byKrishnadasa Kaviraja, written during the late 16th century. The Bengali poetJasimuddin wrote the poemNakshi Kanthar Math about nakshi kantha.[3]
Traditionally, oldsarees,lungis, anddhotis 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:[13]
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,[15] as inSoundarya Lahari orShivananda Lahari—religious poetic works in Sanskrit byAdi 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 inRajshahi. 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 theMalda,Chapainawabganj, andJessore areas. The variations include lik tan, lik tile, lik jhumka, and lik lohori.
This type of kantha was introduced by the English duringBritish rule in India.[16] The stitch used in these kanthas is thecross-stitch.
This type of kantha is found only in theRajshahi 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 theirVahanas. 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-lawPratima Devi trainedSantali women inBirbhum District, and quality work was produced under the tutelage of Kalabhaban artists.
The earliest and most basic stitch found in kanthas is therunning stitch. The predominant form of this stitch is called thephor or kantha stitch.[17] Other forms of stitches used include the Chatai or pattern darning, Kaitya orbending 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 thearrowhead stitch. Stitches such as theherringbone stitch,satin stitch,backstitch, andcross-stitch are occasionally used.[13]
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:[18]
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 alotus 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-petaledastadal padma to the hundred-petaledsatadal. 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 amongBengali Muslims. It is mostly depicted as a crescent moon accompanied by a star. This motif is particularly found injainamaz kanthas.
Religious motifs such as mosques, stars, Arabic calligraphy, andIslamic arts, as well as motifs fromJamdani, which is part of theMuslim heritage of Bangladesh, are used in nakshi kantha, particularly for religious activities such asprayer rugs and covers for theQuran.
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 inSanskrit means "it is well." As a motif in Indian art, it dates back to theIndus Valley Civilisation and is a symbol of good fortune. It is also known asmuchri orgolok dhanda. Over time, the design has become more curvilinear than the four-armed swastika found on theMohenjodaro 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 theIndus Valley Civilisation. It is likely that the Indus people conceived the pipal tree as theTree of Life, with the devata inside embodying the power of fecundity.[19] During the Buddhist period, the cult of the tree continued. Thepipal 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 inRajshahilohori is the betel leaf.
This is a later-day motif, dating from the time of the MuslimMughals rulers.[20] The kalka, orpaisley motif, originated in Persia and Kashmir and has become an integral part of the subcontinental decorative motif.[21] 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 Kashmirishawls.
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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:[22]
 | This section needs to beupdated. Please help update this article to reflect recent events or newly available information.(April 2025) |
In 2008, the Indian state of West Bengal applied forGeographical Indication (GI) status for Nakshi Kantha, while Bangladesh, alongside West Bengal, was also a strong contender for the same.[23] 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"[24] 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.[25][26] The registry office granted the Geographical Indication to Bangladesh in 2024, as the name of "Jamalpur Nakshikantha".
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