Nakshi Kantha | |
---|---|
Geographical indication | |
Alternative names | নকশি কাঁথা |
Description | A traditional embroidery art of Bangladesh, West Bengal, Tripura and Barak Valley region |
Country | Bangladesh and India |
Material | Cloth, usually cotton |
Nakshi kantha, a type of embroidered quilt, is a centuries-old Bengali art tradition of the Bengal region, notable in Bangladesh and Indian states of West Bengal, Tripura and part of Assam. [1] [2] [3] The basic material used is thread and old cloth. [4] Nakshi kanthas are made throughout Bangladesh, but the greater Mymensingh, Jamalpur, Bogra, Rajshahi, Faridpur and Jessore, Chittagong areas are most famous for this craft. [5]
The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha", [6] which was derived from the Bengali word "naksha", which refers to artistic patterns. [7] The 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 "kantha stitch" is the main stitch used for the purpose. [8] Traditionally, kantha was produced for the use of the family. Today, after the revival of the nakshi kantha, they are produced commercially. [9]
The word kantha has no discernible etymological root. [10] The exact time of origin of the word kantha is not accurately known but it probably had a precursor in kheta (khet Bengali means "field"). [11] According to the word kantha originated from the Sanskrit word kontha, which means rags, as kantha is made of rags. [12]
Like any other folk art, kantha making is influenced by factors such as materials available, daily needs, climate, geography, and economic factors. [13] Probably the earliest form of kantha was the patchwork kantha, and the kanthas of the decorative appliqué type evolved from this. [14]
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 ago. The famous Bengali poet Jasimuddin also had a very famous poem 'Nakshi Kanthar Math' on Nakshi Kantha [3]
Traditionally old sarees, lungis and dhotis were used to make kanthas. Kantha making was not a full-time job. Women in almost every household were expert in the art. Rural women worked at leisure time or during the lazy days of the rainy season, so taking months or even years to finish a kantha was normal. At least three to six 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. That is rarely done today.
When a kantha is being made, first the sarees are joined to attain the required size, and then layers are spread out on the ground. The cloths are then smoothed, and no folds or creases are left 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.
The following is how kanthas are categorized, according to the stitch type: [13]
The running stitch kantha is truly the indigenous Zidan Al Hakim. They are 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 in "'Soundarya Lahari" or " Shivananda Lahari"- Religious poetic works in Sanskrit by Adi Shankara. It is also found in Persian Language giving the same meaning, 'lehr, which is "wave". This type of kantha is particularly popular in Rajshahi. These kanthas are further divided into soja (straight or simple), Kautar khupi (pigeon coop or triangle), borfi or diamond (charc
The Lik or Anarasi (pineapple) type of kantha is found in the Chapainawabganj and Jessore areas. The variations are lik tan, lik tile, lik jhumka, and lik lohori.
This type of kantha was introduced by the English during the British Rule in India. [16] The stitch used in this kanthas is the cross-stitch.
This type of kantha is found only in Rajshahi area. The popular motif used is the undulating floral and vine motif.
Hindu women during 19th century used human and animal forms to tell stories of Gods and Goddesses and their Vahanas. Bengali women were free to draw upon their rich indigenous surroundings as well as their contemporary stories. To them the fabric was the artist and the person was the artisan. Mid 19th century, colour schemes and designs of Nakshi Kantha began to change to make them suitable for use on modern garments. 1940 Kabiguru Rabindra Nath 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.
Kantha consists of the simplest stitch in the language of embroidery – the running stitch, yet it is making a mark in the National as well as International Market. Nowadays,'Nakshi Kantha' is treated as traditional form of folk art as well as catering to top designers for their haute-couture creations. Nakshi Kantha in Bangladesh – Jessore, Faridpur, Mymensingh and Jamalpur have similar styles when it comes to stitching. These precious works of art remain silent witnesses of past, present and future of Bangladesh.
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. [17] The other forms of stitches used are the Chatai or pattern darning, Kaitya or bending stitch , weave running stitch, darning stitch , Jessore stitch (a variation of darning stitch), threaded running stitch , Lik phor or anarasi or ghar hasia (Holbein) stitches. The stitches used in modern-day kantha are the Kasmiri stitch and the arrowhead stitch . Stitches like the herringbone stitch , satin stitch , backstitch and cross-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. However, depending on the size and purpose, kanthas may be divided into various articles, each with its specific names. The various types of kantha is as follows: [18]
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 Maheen will always have a focal point. Most kanthas will have a lotus as focal point, and around the lotus there are often undulating vines or floral motifs, or a shari border motif. 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. While traditional motifs are repeated, the individual touch is used in the variety of stitches, colours and shapes. The notable motifs found in naksi Sabbir are as follows:
The 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. The lotus is the divine seat. It is also symbolic of cosmic harmony and essential womanhood. The lotus is also the symbol of eternal order and of the union of earth, water and, sky. It represents the life-giving power of water, and is also associated with the sun for the opening and closing of the petals. It is also the symbol of 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 and the goddess Laksmi, the goddess of good fortune and abundance. There are various forms of lotus motifs, from the eight-petaled astadal padma to the hundred petaled satadal. In the 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 the solar motifs are found together at 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, both religious and matrimonial.
The moon motif has a religious influence, and is popular amongst the Muslims. Mostly it is in the form of a crescent moon accompanied by a star. This motif is particularly found in jainamaz kanthas.
The wheel is a common symbol in Indian art, both Hindu and Buddhist. It is the symbol of 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.
Su asti in Sanskrit means it is well. As a motif in Indian art, it dates back to the 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 symbolic design has significant influence in Hinduism, Buddhism, and Jainism.
The influence of this motif in Bangladeshi art and culture (as with kantha) may be traced back to the 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. [19] During the Buddhist times, the cult of the tree continued. Pipal is sacred to the Buddha because he received enlightenment 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 the betel leaf.
This is a latter-day motif, dating from Mughal times. [20] The kalka or paisley motif originated in Persia and Kashmir and has become an integral image of the subcontinental decorative motif. [21] 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.
Most nakshi kanthas have some kind of border. Either a sari border is stitched on or a border pattern is embroidered around the kantha. The common border found in kanthas are as follows: [22]
In 2008, the Indian state of West Bengal applied for the Geographical Indication for Nakshi kantha, while Bangladesh was also a strong contender for the same. [23] But due to absence of proper law on Geographical Indication in Bangladesh that time (which was later adopted), Bangladesh could not officially apply for the GI. The registry office handed over the Geographical Indication to West Bengal in 2008.
Bangladesh authority however later passed the "Bangladesh Geographical Indication (Registration and Protection) Act, 2013" [24] in parliament and with other necessary preparations now waiting for the next re-applying time cycle to claim the Geographical Indication for Nakshi kantha to Bangladesh. [25] [26]
{{cite book}}
: CS1 maint: location (link)Embroidery is the art of decorating fabric or other materials using a needle to stitch thread or yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern days, embroidery is usually seen on caps, hats, coats, overlays, blankets, dress shirts, denim, dresses, stockings, scarfs, shoes, handbags and golf shirts. Embroidery is available in a wide variety of thread or yarn colour. It is often used to personalize gifts or clothing items.
Quilting is the term given to the process of joining a minimum of three layers of fabric together either through stitching manually using a needle and thread, or mechanically with a sewing machine or specialised longarm quilting system. An array of stitches is passed through all layers of the fabric to create a three-dimensional padded surface. The three layers are typically referred to as the top fabric or quilt top, batting or insulating material, and the backing.
Patchwork or "pieced work" is a form of needlework that involves sewing together pieces of fabric into a larger design. The larger design is usually based on repeating patterns built up with different fabric shapes. These shapes are carefully measured and cut, basic geometric shapes making them easy to piece together.
A quilt is a multi-layered textile, traditionally composed of two or more layers of fabric or fiber. Commonly three layers are used with a filler material. These layers traditionally include a woven cloth top, a layer of batting or wadding, and a woven back combined using the techniques of quilting. This is the process of sewing on the face of the fabric, and not just the edges, to combine the three layers together to reinforce the material. Stitching patterns can be a decorative element. A single piece of fabric can be used for the top of a quilt, but in many cases the top is created from smaller fabric pieces joined, or patchwork. The pattern and color of these pieces creates the design.
Muslin is a cotton fabric of plain weave. It is made in a wide range of weights from delicate sheers to coarse sheeting. It gets its name from the city of Mosul, Iraq, where it was first manufactured.
Kantha, also spelled kanta or qanta, is a type of embroidery craft in Bangladesh and eastern regions of India, particularly in the Indian states of West Bengal, Tripura and Odisha. In Odisha, old saris are stacked on each other and hand-stitched to make a thin piece of cushion. This is normally used above a bed cushion or instead of a cushion. "Kantha saris" are traditionally worn by women in Bengal region. In these days, embroidery is stitched, popularly known as 'kantha stitched", on sari, kurta and churidar and many other garments and gaining popularity due to their aesthetic value and handmade characteristics.
Jamalpur is a district in Bangladesh, part of the Mymensingh Division. It was established in 1978.
Jamdani is a fine muslin textile produced for centuries in South Rupshi of Narayanganj district in Bangladesh on the bank of Shitalakhwa river.
Phulkari refers to the folk embroidery of the Punjab and Gulkari of Sindh in South Asia. Although Phulkari means floral work, the designs include not only flowers but also cover motifs and geometrical shapes. The main characteristics of Phulkari embroidery are use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. Punjabi women create innumerable alluring and interesting designs and patterns by their skilful manipulation of the darn stitch. According to Kehal (2009), a cloth where only a few flowers are embroidered is called a Phulkari. The other types are distinct varieties. The traditional varieties of Phulkaris are large items of cloth and include Chope, Tilpatr, Neelak and Bagh. Sometimes, the Bagh is given separate categorization of its own as on other varieties of a Phulkari, parts of the cloth is visible, whereas in a Bagh, the embroidery covers the entire garment so that the base cloth is not visible. Further, in contemporary modern designs, simple and sparsely embroidered dupattas, odhinis, and shawls, made for everyday use, are referred to as phulkaris, whereas clothing items that cover the entire body, made for special and ceremonial occasions such as weddings are called baghs. The Phulkari continues to be an integral part of Punjabi weddings to the present day.
Embroidery in India includes dozens of embroidery styles that vary by region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.
Sitalpati, also called sital pati and sittal pati, is a kind of mat which feels cold by nature. It is made from murta plants. It is usually used in Bangladesh. Mats with decorative designs are called nakshi pati.
Gurusaday Dutt was a civil servant, folklorist, and writer. He was the founder of the Bratachari Movement in the 1930s.
West Bengal is a state in the eastern region of India and is the nation's fourth-most populous state. The state capital is Kolkata. The state encompasses two broad natural regions: the Gangetic Plain in the south and the sub-Himalayan and Himalayan area in the north. The tourism in West Bengal is maintained by WBTDCL, a state government owned enterprise.
Tant sari is a traditional Bengali sari, originating from the Bengal region in the eastern part and usually used by Bengali women. Tant sari are woven from cotton threads and distinguished by its lightness and transparency. It is considered to be the most comfortable sari for the hot and humid climate in the Indian subcontinent.
Bangladeshi art is a form of visual arts that has been practiced throughout the land of what is now known as Bangladesh. Bangladeshi art has a perennial history which originated more than two thousand years ago and is practiced even to this date. Among the various forms of Bangladeshi art, photography, architecture, sculpture and painting are the most notable.
Handloom saris are a traditional textile art of Bangladesh and India. The production of handloom saris is important for economic development in rural India.
The Toda Embroidery, also locally known as "pukhoor", is an art work among the Toda pastoral people of Nilgiris, in Tamil Nadu, made exclusively by their women. The embroidery, which has a fine finish, appears like a woven cloth but is made with use of red and black threads with a white cotton cloth background. Both sides of the embroidered fabric are usable and the Toda people are proud of this heritage. Both men and women adorn themselves with the embroidered cloaks and shawls.
The Sujani embroidery work of Bihar, is a textile expressive art product, given protection under the GI registration act. It is usually a quilt or bed spread, which was earlier made of old clothes, but is now generally made of easily available fabric with embroidery done with the most simple stitches with motifs narrating stories. It is exclusively made by women in 15 villages of Bhusra in the Gaighat block of Muzaffarpur and a few villages of Madhubani in the Indian state of Bihar.
Tangail saree is a traditional handwoven saree (Sari) of West Bengal. It is produced in Purba Bardhaman & Nadia districts of West Bengal. These handlooms are famous for the novelty of saree designs, hand-woven booties, use of natural fibers in the weave and saree fineness of the fabric. In 2024, Tangail Saree was recognized as a Registered Geographical Indication under the title Tangail Saree of Bengal and Banglar Tangail Saree in Bengali language.
Shantipur Handloom Industry, also known Shantipur Handloom Cluster, is a handloom weaving industry in Nadia district of West Bengal. It is one of the foremost handloom centers of India. This handloom industry is world famous for the production of cotton Sari (saree). The two main centers of this industrial zone are Shantipur and Phulia. Shantipur has an old reputation for cotton sarees, known as Shantipuri sarees, and Phulia is well known for Tangail-Jamdani sarees.