NOKSHI KANTHA
Nakshi
Kantha embroidered quilt said to be indigenous to Bangladesh. The
term nakshi kantha, popularly used in Bangladesh, is found even in medieval
literature. The name nakshi kantha became particularly popular among literate
people after the publicaton of jasimuddin's
poem Naksi Kanthar Math (1929). In west bengal,
all kanthas, both plain and embroidered, are referred to as kantha. In East
Bengal dialects the kantha is also variously referred to as kheta or kentha. In
Bihar and parts of West Bengal, the kantha is also known as sujni. Made from
old cloth, discarded saris,
dhotis, and lubgis, kanthas range from utilitarian quilts to exquisitely
embroidered heirlooms.
A typical
nakshi kantha
Making : 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 five to seven
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 together 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.
Running stitch : The
running stitch
kantha is truly the indigenous kantha. They are subdivided into Nakshi
(figured) and par tola (patterned). Nakshi (figured) kanthas are further
divided into motif or scenic kanthas.
Lohori kantha : The
name was derived from Persian word lehr, which means 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 (charchala,
atchala or barachala).
Lik or anarasi : The
Lik or Anarasi (pine apple) type of kantha is found in the Chapainawabgonj and Jessore
areas. The variations are lik tan, lik tile, lik jhumka, and lik lohori.
Cross-stitch or carpet : This type of kantha was introduced by the English during the
British Rule in India. The stitch employed in these kanthas is the cross-stitch.
Sujni kantha : This
type of kantha is found only in Rajshahi area. The popular motif used is the undulating floral and
vine motif.
Stitches : 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. 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.
Types Of Nakshi
kantha : 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 are as follows:
Quilt
(lep in Bengali): A light quilted covering made from the old
sarees/dhotis/lungis and sometimes from sheet cloths.
Large spread (Naksi Kantha in
Bengali): An embellished quilt embroidered in traditional motifs and innovative
style
Puja floor spread (Ason in Bengali): Cloth spread for sitting at
a place of worship or for an honoured guest.
Cosmetic wrapper (Arshilota in
Bengali): A narrow embroidered wrapper to roll and store away a woman's comb,
mirror, eye kohl, vermilion, sandal paste, oil bottle, etc. Often, a tying
string is used to bind the wrap, as in later day satches.
Cover for Quran (ghilaf in Arabic
and Bengali): Envelope-shaped bag to cover the Quran.
Prayer mats (Jainamaz in Bengali):
Mats used by Muslims to say prayers.
Floor spread (Galicha in Bengali):
Floor coverings.
Cloths wrapper (Bostani, guthri in
Bengali): A square wrapper for books and other valuables.
Cover (Dhakni in Bengali): Covering
cloths of various shapes and sizes.
Ceremonial meal spread (Daster khan
in Bengali): A spread for eating place, used at meal time.
Pillow cover (Balisher chapa or
oshar in Bengali): A flat single piece pillow cover.
Handkerchief (Rumal): Small and
square in shape.
Modern-day articles: Today newer
uses are found for nakshi kanthas, such as bedspreads, wall hangins, cushion
covers, ladies' purses, place mats, jewellery boxes, dress fronts, skirts
border, shawls and sharees.
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, 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 kantha are as
follows:
Lotus motif : 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.
Lotus
motif
Solar motif : The
solar motif is closely associated with the lotus motif. 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.
Moon motif : 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.
Wheel motif : 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.
Tree of life motif : The
influence of this motif in Indian 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.[16] 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.
Contemporary
Nakshi Kantha (used as a wall hanging) with animal, fish, butterfly, tree and
human figure motif
Kalka motif : This
is a latter-day motif, dating from Mughal times. The 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.
Close view
of Kalka motif
Borders
from the top:rice stalk, scorpion, pea, eye, wavy or bent, amulet
From the
top: shamuk taga, eye border, wrench border, miscellenious borders, wave
border, diamond border
From the
top: necklace border, ladder border, gut taga, chik taga, nose ring border,
fish border, panch taga, bisa taga, anaj taga
The Wavy or bent Border (Beki in
Bengali)
The Diamond border (Barfi)
The Eye border (chok par in Bengali)
The Necklace border (mala par in
Bengali)
The Ladder Border (Moi taga)
The Gut taga
The Chick taga
The nolok taga
The Fish border (Maach par in
Bengali)
The panch taga
The Bisa taga
The Anaj taga
The shamuk taga
Controversy
regarding Geographical Indication
In 2008, India has
filed a Geographical Indication for Nakshi Kantha
which should belong to Bangladesh. Several protests continued in Bangladesh
following it.
Collections
: :
Bangladesh
·
Bangla Academy
·
Design Centre, BSCIC
·
Folk Art and Crafts Foundation
·
Bangladesh National Museum
India
·
Ashutosh Museum, Kolkata
·
Calico Museum of Textiles, Ahmedabad
·
Gurusaday Museum, Thakurpur
Organizations which make Nakshi Kanthas
- Bangladesh Rural Development Board (BRDB),Karu Palli
Sales Centre
- Kumudini Handicrafts (cares), Bangladesh
- BRAC-Aarong, Bangladesh
See also
·
Nakshi
pati, decorative sleeping mats made from cane, reeds, etc.
Further reading
· Basaka, Sila (2007). Nakshi Kantha of
Bengal. New Delhi: Gyan Pub. House.
THE END
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