Kantha of Bengal

This is a folk art of Bengal. Special significance is its vivid narration of heroism & legend.The Sanskrit word of kantha means ‘rags'. One legend links their origin to lord Buddha and his disciple, who used to cover themselves with garments made from discarded rags that were paced and sewn together. Kanthas are quilted and embroidered with coloured cotton of Bengal.

The oldest extent of kantha date from the early 1800s and is embroidered with blue, black and red that were unveiled from sari borders.Kantha stitch in the language of embroidery is running stitch or darning stitch.

Nakshi Kantha or embroidered quilt is a folk art of West Bengal 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). Immersed in ritual and social custom this “enchanted wrap” is an excuisite 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.

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.

Traditionally , kanthas were quilts or wraps made up of threadbare white saris which had become soft with use. Discarded saris and dhotis according to the size and thickness required were kept on top of another and all of them were stitched down or compiled to one layer with darning stitch using white threads covering the entire field. This layer was considered as one layer or the base. Then on this base designs were done using darning stitch. The edges are folded and tacked together. The field is filled in with fine quilted work by means of white thread.

Traditionally, Kanthas were mainly used for personal use. They were mainly use as lep ( blanket) to cover in winter, as table covers, baby’s wrappers, to wrap book. Other kantha articles include the asan (a spread for sitting), the bastani or gatri (a wrapper for clothes and other valuables), the arshilata (a wrap for mirrors or toilet articles), the dastarkhan (a spread laid out on the floor for placing food items and plates for dining purposes), the gilaf (an envelope-shaped kantha to cover the “Quran”), and the jainamaz (prayer rug).

Kantha MakingTraditionally 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 sarees 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 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 and sujni, etc) wooden blocks were used to print the outline. The blocks are replaced today by patterns drawn in tracing papers.

Old discarded fabrics ( mainly saris and dhotis) were taken together and layered one on the other and were all stitched down together into one layer. This layer formed the base layer. The stitch used to do this was essentially darning stitch.

Traditionally, the fabric chosen was white and the thread chosen to make the base was also white. These threads were pulled from the fabric only. The stitching of the fabric using darning stitch would start from the centre and slowly move towards the corner thereby creating a rippled effect.

Then on this base fabric various motifs were done to decorate the “kantha”

Decorating the “Kanthas”

The colored threads for embroidery were taken from the coloured sari borders itself. Manipulations of the simple running stitch create ripples, designs, and textures that appear woven rather than stitched.

They would filled up the motifs with darning stitch in a different manner i.e. by varying the size of the darning stitch different kinds of effect were brought. This is known as “patterned darning” stitch.

The embroidery was visible on both the sides i.e. it was done taking all the layers together.

All the motifs that were made had black outlines. And the kanthas also had borders.

Stitches used in making “Kanthas”

The stitch used to do the kanthas is the simplest form of stitch i.e. the darning stitch and its variations in patterned darning stitch to give different effects.

Sometimes stem stitch is also used.

The colours of the yarn used to make the motifs are mainly bright colours like red, green, black, blue and yellow. Black is mainly used to outline the motifs. The kanthas had “dorokhas “ i.e. observe and reverse characters. Generally the designs appear distinctly on the observe face. In the most finished type of kanthas the stitches are skillfully made so that the details of each design appear in identical forms and colours on either face of the kantha.In a peculiar kantha it is very difficult to distinguish the observe face from the reverse face.

Different Types of KanthaNiaz 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 devided 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 devided 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 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.

Kantha StitchesThe 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 bendingweave 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

The motifs used are human and animal figures, floral and foliage symbols which cover the surface. From the four corners trees of life reach out towards the center piece. The central design is usually a lotus with a variable number of petals and the field is interspersed with diverse patterns the more recurrent being the tree of life, conventional animal figures, birds and fishes, boats, chariots, kalkas and mythological stories. The borders consist of creepers, floral scrolls, spirals and several linear devices.

The threads normally used are taken out from the borders of the discarded sarees which are used for the base. The colours of the threads used are blue, green, yellow, red and black. Today instead of threads drawn from the borders, vividly coloured silk or bright embroidery strands are used.

Stitches used are darning, satin and loop. For the border stem stitches are used. But the most common and typical stitch being used are very small darning stitches giving dotted lines. Even a large area may be covered with closely made lines of these stitches. The outlines of the design is generally in dark blue, filled with stitches of the same colour or in contrasting colours. Sometimes the outlines and the areas enclosed by the outlines are in blue, with the stitches in red, between the outlines and the field. After the design has been embroidered, any areas left are filled with stitches in white running parallel to the outlines of the motifs.

Applique work also are seen in Kanthas. One is used on flags and canopies where a lotus or a lion motif is cut out in red cloth and then stitched on to the white cloth. In the other type coloured cloth is cut into narrow stripes and sewn round the outlines of the design. This is usually done in pillow cases.

Types of Kanthas : Seven types

Lep : Thick quilted wrap used in winter as a cover, prepared by a large number of saree layers having geometrical designs worked with the running stitch.

Sarfni : Quilted wrap or cover used for ceremonial purposes.

Bayton : Square in shape (3 feet square) with a central motif (lotus) and two to three borders of human and animal figures, corners covered by trees, flowers or leaves.

Oar : Rectangular in shape about two feet by one and a half feet in size used for pillow cases. The designs used on this are trees and birds or a linear pattern.

Arsilata : Used as a wrap for mirrors and combs. It is rectangular in shape having dimension of twelve inches length and eight inches width having wide borders and in the centre lotus, creepers or trees are used as motif.

Durjani (Thalia): Square in shape and is supposed to be a wallet cover, since the corners meet at the centre and are stitched together to look like an envelope. They have embroidered border with lotus at the center.

Rumal : Handkerchief of the size twelve inches square. Lotus motif at the center around which a variety of other motifs are arranged with a border on the edge. Ground covered with plants and animals.

Sujni : Large and rectangular in shape with a size of six by three feet. It is a bedspread with less thickness and used as a ceremonial occasions. Sujni kanthas have two to three borders at the edge for strengthening them and to prevent tearing. The center has a lotus design and scenes from Ramayana or a folk tale are often embroidered into the spaces between the tree and the lotus.

MotifsMotifs of the nakshi kantha are deeply influenced by religious belief and culture. Even though no specific strict symmetry is follwed 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:

Lotus motifLotus 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 MotifThe 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 MotifThe moon motif has a religious influence and is popular amongst the muslims. Mostly it is in the form of cresent accompanied by a star. The motif is particularly found in jainamaz kanthas.The Wheel MotifThe 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 MotifSeals of Indus Valley, top right is SwastikaAs 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 motif has significant influence in Hinduism, Budhaism and Jainism.

The Tree of Life MotifContemporary Nakshi Kantha (used as a wall hanging) with animal, fish, butterfly, tree and human figure motifThe 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 MotifClose view of Kalka motifThis 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 varities 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:

BORDERS OF KANTHA

Most kanthas have some kind of a border: either a sari border is stitched, or a border pattern is embroidered around the kantha.Many of the pattern are traditional and have definite names coming from the agricultural or from folk beliefs.From the agriculture comes the name:dhaner shish, khejur chorri, motor dana, jhop taga, anaj taga etc.

Different Kantha Borders

Pipre sari- this border is made with katiya stitch, a row of running stitch is taken and the succeeding row of running stitch is a taken parallel to this row.Dhaner shish- it is a paddy stalk or the date branch. here the pipre sari is bent to give a paddy stalk impression.Bicche par- this is a variation of the above border. there are v-shaped bends. Beki- it is wavy or bent border.Motor Dana- (pea border). This one of the simplest design worked on the borders of the chatai.Barfi- this border in weave running stitch comprises of a row of diamond shapes.Chok par- (the eye border). This is a variation of the barfi with a white circle in the center.