Nakshi Kantha - embroidered quilt

Nakshi Kantha or embroidered quilt is a folk art of Bangladesh and West Bengal, India that has been passed down through generations.
The art has been flourishing in rural Bengal for centuries.
The name nakshi kantha became particularly popular among literate people after the publicaton of Jasimuddin's poem Naksi Kanthar Math (1929).


By far the most renowned embroidery of Bangladesh is the Nakshi Kantha.



Immersed in ritual and social custom this “enchanted wrap” is an exquisite art where the basic material used is thread and old cloth. The art of kantha furnishes an illustration of the wonderful patience, craftsmanship and resourcefulness of the village woman.


Kanthas are made throughout Bangladesh; but greater Mymensingh, Rajshahi, Faridpur and Jessore areas are most famous for this craft.



The colourful patterns and designs that are embroidered resulted in the name “Nakshi Kantha”- derived from the Bengali word naksha which refers to artistic patterns.
The early kanthas were of white ground reinforced with red, blue and black embroidery; later yellow, green, pink and other colours were also included.
The running stitch called kantha stitch is the main stitch used for the purpose.


Traditionally kantha used to be produced for the use of the family. Today after the revival of the nakshi kantha these are produced commercially and have gained popularity.


Etymology
The word kantha has no satisfactory etymological root. The exact time of origin of kantha is not accurately known but it probably had a precursor in kheta (khet in Hindi and Bangla means "field"). According to Niaz Zaman the word kantha originated from Sanskrit word kontha meaning rags as kantha is made of rags.

The Kantha Tradition
Like any other folk art kantha making is influenenced by the factors like materials available, daily needs, climate, geography, economic factors. Probably the earliest form of kantha was the patch work kantha and the kanthas of decorative applique type evolved from this.

Kantha in Literature
The earliest mention of Bengal Kantha is found in the book, Sri Sri Chaitanya Charitamrita by Krishnadas Kaviraj which was written some five hundred years back.

Kantha Making
Traditionally old saree, lungi and dhoti were used to make kantha.
Kantha making was not a full time job and women of almost every household were expert in the art. Rural women worked at leasure time or during the lazy days of rainy season, thus taking months or even years to finish a kantha was normal.
At least 5/7 sarees were needed to make a standard size kantha. Today the old materials are replaced by new cotton cloths.
Traditionally the thread was collected from the old sarees which is rarely in practise today.

When making a kantha first the sharees are joined together to attain the required size and then layers are spread on the ground. The cloths are smoothed leaving no folds or creases in between. During the process the cloth is kept flat on the ground with weights on the edges. Then the four edges are stitched and two or three rows of large running stitches are done to keep the kantha together. At this stage the kantha can be folded and stitched at leisure time.

Originally designs and motifs were not drawn on the cloth. The design was first outlined with needle and thread followed by focal points and then the filling motifs were done. In a kantha with a predominant central motif the centre was done first, followed by corner designs and the other details. In some types of kanthas (carpet, lik and sujni, etc) wooden blocks were used to print the outline. The blocks are replaced today by patterns drawn in tracing papers.

Different Types of Kantha
Niaz Zaman in her book The Art of KANTHA Embroidery classified the kanthas in following categories according to the stitch employed:

• Running Stitch kantha: Running stitch kantha is truly the indigenous kantha. They are subdevided into Nakshi or figured and par tola or patterned. Nakshi or figured kanthas are again divided into motif kantha or scenic ones.
  
• Lohori Kantha: The name derived from Persian word ‘lehr’ meaning meaning wave. This kantha is particularly popular in Rajshahi. These kanthas are further divided into soja (straight or simple) kantha, Kautar khupi (pegion coop or triangle), borfi or diamond (charchala, atchala or barachala etc).
  
• Lik or Anarasi (pine apple) Kantha: Found in Chapainawabgonj and Jessore area. The variations are lik tan, lik tile, lik jhumka, lik lohori.
  
• Cross Stitch or Carpet Kantha: This kantha was introduced by the English during the British Rule in India. The stitch employed in these kanthas are cross stitch.
  Sujni Kantha: This kantha is Found only in Rajshahi area.The popular motif used is undulating floral and vine motif.

Influence of Religion and Folk Belief

Kantha Stitches
The earliest and most basic stitch found in kanthas is the running stitch.

The predominant form of this stitch is called kantha the phor or kantha stitch.

The other form of stitches used are Chatai or pattern darning, Kaitya or bending stitch, weave running stitch darning, Jessore stitch (a variation of darning stitch), threaded running stitch, Lik phor or anarasi or ghar hasia (Holbein stitch).

The stitches used in modern day kantha are the Kasmiri stitch and the arrow head. Stitches like herring bone, satin stitch, back stitch and cross stitch are occasionally used.

Motifs
Motifs of the nakshi kantha are deeply influenced by religious belief and culture.

Even though no specific strict symmetry is followed a finely embroidered naksi kantha will always have a focal point. Most kanthas will have a lotus as focal point, around the lotus there are undulating vines or floral motifs or shari border motifs. The motifs may include images of flower and leaves, birds and fish, animals, kithen forms even toilet articles.
While most kantas have some initial pattern, no two naksi kantas are same. Traditionals motifs are repeated, the individualtouch in variety of stitches, colours and shapes. The notabale motifs found in naksi kantha are as follows:

The Lotus Motif
Lotus motif is the most common motif found in kanthas.
This motif is associated with Hindu iconography and thus is also very popular in the kantha. Lotus is the devine seat, it is also symbolic of cosmic harmony and essential womanhood. Lotus is the symbol of eternal order, of the union earth water and sky.
It represents the life giving power of water but is also associated with the sun for the opening and closing of the petals. It is also the symbol of recreating power of life.
With the drying up of water the lotus dies and with the rain it springs to life again.
Lotus is associated with purity and the goddess Laksmi, the goddess of good fortune and abundance. There are various forms of lotus motifs like eight-petalled astadal padma to the hundred petalled satadal. In the older kanthas the central motif is almost always a fully bloomed lotus seen from above.

The Solar Motif
The solar motif ic closely associated with the lotus motif. Often the lotus and the solar motifs are found together at in the centre of a nakshi kantha. The solar motif symbolizes the life giving power of the sun. The sun is associated with the fire which plays a significant part in Hindu rites, religious and matrimonial.

The Moon Motif
The moon motif has a religious influence and is popular amongst the Muslims. Mostly it is in the form of crescent accompanied by a star. The motif is particularly found in jainamaz kanthas.

The Wheel Motif
The wheel is a common symbol in Indian art, both Hindu and buddhist. It is the symbol of order and order. The wheel also represents the world. The wheel is a popular motif in kanthas even when the maker has forgotten the significance of the symbol. The motif is relatively easy to make with chatai phor.

The Swastika Motif
As a motif in Indian art it dates back to Indus Valley civilization. It is symbol of good fortune. It is also known as muchri or golok dhanda. With the passage of time the design is more curvilinear than the four armed swastika of the Mohenjodaro seal. The synmbolic design has significant influence in Hinduism, Buddhism, and Jainism.

The Tree of Life Motif
Contemporary Nakshi Kantha (used as a wall hanging) with animal, fish, butterfly, tree and human figure motif
The influence of this motif in Indian Art and Culture (as with kantha) may be traced back to Indus Valley civilization. It is likely that the Indus people conceived the pipal as the Tree of Life...with the devata inside embodying the power of fecundity. During the Buddhist times the cult of tree continued. Pipal is sacred to the Buddha because he received enlightment under its shade. It reflects the fecundity of nature and is very popular in Bengal. Vines and Creepers play an important role in kanthas and they contain the same symbolisation as that of tree of life. A popular motif in Rajshahi lohori is betel leaf.

The Kalka Motif
This is a latter day motif, dating from Mughal times. Kalka or paisley motif originated in Persia and Kashmir and has become an integral image of the subcontinental decorative motif. It can be compared with a stylized leaf,mango or flame. The kalka is an attractive motif and number of varieties are experimented. Similar motifs can be found in traditional kashmiri Shawls.
The Water Motif
The Mountain Motif
The Fish Motif
The Boat Motif
The Footprint Motif
The Rath Motif
The Mosque Motif
The Panja or Open Palm Motif
Agricultural Implements
Animal Motifs
Toilet Articles
Kithen Implements
The Kantha Motif
The Palanquin Motif


Borders
Most nakshi kanthas have some kind border either a sari border is stitched on or a border pattern is embridered around kantha. The common border found in kanthas are as follows: necklace border, ladder border, gut taga, chik taga, nose ring border, fish border, panch taga, bisa taga, anaj taga
The Paddy stalk or date branch (dhaner shish or khejur chari)
The Scorpion border(Biche par in bangla)
The Wavy or bent Border (Beki in bangla)
The Diamond border (Barfi)
The Eye border (chok par in bangla)
The Amulet border (Taabiz par in bangla)
The Necklace border (mala par in bangla)
The Ladder Border (Moi taga)
The Gut taga
The Chick taga
The nolok taga
The Fish border (Maach par in bangla)
The panch taga
The Bisa taga
The Anaj taga
The shamuk taga
The wrench border
The anchor (grafi par in bangla)
The pen border (kalam par in bangla)







(From Wikipedia, the free encyclopedia)