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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.
h  |
 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
Jasimuddin͛s poem h  |
   (1929). Immersed in ritual and social custom this
͞enchanted wrap͟ 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
Kantha͟- derived from the Bengali word ͞naksha͟ 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.
raditionally , 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 
(
blanket) to cover in winter, as table covers, baby͛s wrappers, to wrap book. Other kantha
articles include the  (a spread for sitting), the  or   (a wrapper for clothes
and other valuables), the  
 (a wrap for mirrors or toilet articles), the  
 (a
spread laid out on the floor for placing food items and plates for dining purposes), the
 (an envelope-shaped kantha to cover the ͞ ), and the  (prayer rug).
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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 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 ͞kantha͟
] 
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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
'R


 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.
á 
 
'


he stitch used to do the kanthas is the simplest form of stitch i.e. the

 
  and
its variations in R


 
  to give different effects.
Sometimes  
  is also used.
The colours of the yarn used to make the motifs are mainly bright colours like , 


 

 

. Black is mainly used to outline the motifs.

The kanthas had ͞ 
 ͞ 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.
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Niaz Zaman in her book  
 classified the kanthas in following
categories according to the stitch employed:

·


á 
  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.

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  The name derived from persian word ͚lehr͛ 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).

 
  
 

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  Found in Jessore area. The variations are lik tan, lik tile,
lik jhumka, lik lohori.

á  |
  This kantha was introduced by the English during the British
Rule in India. The stitch employed in these kanthas are cross stitch.

á
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  This kantha is Found only in Rajshahi area. The popular motif used is
undulating floral and vine motif.
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 á 
The earliest and most basic stitch found in kanthas is the 

 @ The predominant
form of this stitch is called kantha R


 . The other form of stitches
used are Chatai or
   , Kaitya or     
 ,  

(a variation of darning stitch), 
   
, Lik phor or anarasi or ghar
hasia   
. The stitches used in modern day kantha are the   
and
the  
. Stitches like
  ,  
,  
and   
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 (ThaliaV: 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.

·umal : 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.
 
Motifs 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 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 
 to the hundred petalled . In the older kanthas the central
motif is almost always a fully bloomed lotus seen from above.
á
 
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 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  kanthas.
!
 
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 


 @
á    
Seals of Indus Valley, top right is Swastika
As a motif in indian art it dates back to Indus Valley civilization. It is
symbol of good fortune. It is also known as 
 or  
@
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.
  
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.     
 


    


  

 


    

  @ 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.
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Close view of 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 varities are experimented. Similar motifs can be found in traditional kashmiri shawls.
!  


 
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"
 
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BO·DE·S OF KANTHA

_ost kanthas have some kind of a border: either a sari border is stitched, or a border
pattern is embroidered around the kantha.
_any of the pattern are traditional and have definite names coming from the agricultural
or from folk beliefs.
From the agriculture comes the name:
haner shish, khejur chorri, motor
ana, 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.
]haner 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 ]ana- (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.