KANTHA : THE ANCIENT ART OF BENGAL’S EMBROIDERED DREAMS

Introduction

A rich tapestry of history, culture, and artistry is embodied in the Kantha, a traditional form of embroidery from Bengal. A cornerstone of Bengali craftsmanship for centuries, Kantha has evolved from a humble household craft into a celebrated art form that resonates globally.

The Bengal Kantha Embroidery
Source – Heritages of Bengal

The colorful patterns and designs that are embroidered resulted in the name “Nakshi Kantha”, which was derived from the Bengali word “naksha”, which refers to artistic more intricate patterns which evolved  over time.

Artwork in kantha
Source – Pinterest

This style is characterized by elaborate designs, including the lotus flower, birds, fish, deities and other elements inspired by nature and folklore and also often narrate stories or scenes through the work.

Historical Origins

A Vaishnava Kantha
Source – Pinterest

The worn fabrics used in the construction of the kanthas and the frequent use made them fragile while tropical climate of Bengal was not conducive to conservation. However, the provenance of the available pieces shows how widespread across undivided Bengal, cutting across the social, economic, religious divide, and the technique, process and aesthetics of this repurposed textile and unique embroidery would have deep seated ancient roots, traced back over a millennium. The term “Kantha” is believed to derive from the Sanskrit word “kontha,” meaning rags, reflecting its inception as a method of recycling worn-out garments. In rural Bengali households, women would layer old saris, dhotis, and lungis, stitching them together using simple running stitches to create quilts, blankets, and covers. This practice was not only a testament to thrift and resourcefulness but also served as a canvas for individual expression and storytelling, often depicting scenes from everyday life, mythology and nature thus weaving a narrative that is both personal and universal.

One of the earliest documented references to Kantha is found in the 16th-century text “Sri Sri Chaitanya Charitamrita” by Krishnadas Kaviraj. It recounts Chaitanya’s mother sending him a homemade Kantha through the hands of traveling pilgrims, highlighting the tradition’s deep-rooted cultural significance. This particular Kantha is reportedly preserved and displayed at Gambhira in Puri.

Evolution and Revival

The Kantha
Source – Araong

For the whole of its history, Kantha has undergone periods of decline and resurgence. In the early 19th century, the craft faced near extinction. Its revitalization in the 1940s is credited to the efforts of Pratima Devi, the daughter-in-law of the celebrated poet Rabindranath Tagore. Her dedication to preserving this art form led to a renewed interest and appreciation for Kantha embroidery. However, the Partition of India in 1947 and subsequent geopolitical upheavals posed challenges to its continuity. Despite these obstacles, Kantha experienced a renaissance after the Bangladesh Liberation War in 1971, emerging as a symbol of cultural identity and artistic heritage.

Varieties of Kantha

Kantha embroidery manifests in various forms, each serving a particular purpose :

Types of Kanthas
Source – Swadesi

Arshilata : A narrow rectangular cover used for mirrors, combs, or toiletry items. Here the motifs often include scenes from the Raas of Krishna Leela or Radha-Krishna, along with lotuses and scrolls.

Bayton : Square-shaped covers for books and similar items, featuring motifs like the lotus with a hundred petals.

Durjani  : Small square covers fashioned into wallets or purses, with adornments of detailed borders and central lotus motifs.

Lep Kantha : Thick quilts designed for warmth during winter, characterized by geometric designs to create a wavy appearance.

Oar : Rectangular pillow covers featuring simple motifs such as birds, trees, and foliage.

Sujani : Large ceremonial pieces used during special occasions, often depicting scenes from epics like the Ramayana and Mahabharata, as well as folk tales and designs inspired by nature.

Techniques

Kantha Embroidery
Source – Feminism in India

At its core, Kantha embroidery bases itself on the simplest of stitches—the running stitch. This basic technique, applied with skill and creativity, produces intricate and mesmerizing patterns. The traditional process involves layering multiple pieces of old cotton fabrics, with the stitching not only holding the layers together but also generating elaborate designs. Two-ply threads are used for embroidery with variations in stitches. Threads were originally pulled out of borders of saris, dhotis and thus it appears that availability determined the most common color palette of red, black, blue and white. However, with time, new yarn supplemented or substituted the old.

Motifs

Lotus Motif
Source – Google Art & Culture

Motifs used in Kantha embroidery cover the surface from the corner and are diverse, ranging from geometric shapes and floral patterns to depictions of animals, celestial objects, mythological stories and scenes from daily life. The embroidered motifs also carry symbolic meanings.

Lotus – The lotus motif is the central and 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 womenhood. 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. The lotus with a hundred petals symbolizes completeness.

 Sun – The lotus and the solar motifs are often found together at the centre of a nakshi kantha. The solar motif symbolizes the life giving power of the sun. The sun associated with the fire which plays a significant part in Hindu rites, both religious and matrimonial.

Moon – 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 – Popular in both Hindu and Buddhist, it is the symbol of order. The wheel also represents the world. It 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 chataiphor.

Swastika  – Suasti 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 Mohenjo Daro seal. The symbolic design has significant influence in Hinduism, Buddhism, and Jainism.

Tree of Life – It symbolises rejuvenation. 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.

Tree of Life Motif
Source – MeMeraki

 Kalka  – 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 sub continental decorative motif.

Apart from this, embroidery is also done in the form of writing messages or names on the cloth. The Vaishnav Kanthas had invocations in the names of Lord Rama and Krishna as a holy chant.

Each piece tells a unique story, reflecting the artisan’s experiences, beliefs, and surroundings, as well as the larger dialogues of their contemporary society. The evolution of these motifs showcases the dynamic nature of Kantha, adapting to changing times while preserving its traditional essence.

Borders

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 –

• The Paddy stalk or date branch (Dhaner shish or Khejur Chari)
• The Scorpion border (Biche par)
• The Wavy or bent Border (Beki)
• The Diamond border (Barfi)
• The Eye border (Chok Par)
• The Amulet border (Taabiz Par)
• The Necklace border (Mala Par)
• The Ladder Border (Moi Taga)
• The Gut Taga
• The Chick Taga
• The Nolok Taga
• The Fish border (Maach par)
• The Pen border (Kalam Par)
• The Panch taga
• The Bisa taga
• The Anaj taga
• The Shamuk taga
• The Wrench border
• The Anchor (Grafi par)

Cultural Significance

Nakshi Kantha
Source – Jasimuddin.org

The most poetic reference of Kantha has been found in poet Jasimuddin’s poem “Nakshi Kanthar Math”. Rabindranath  Kantha is more than mere embroidery; it is a cultural narrative woven into fabric. In his poem ‘Ebar Phirao Morey’ Rabindranath Tagore portrayed the young prince Siddhartha as donning only a ‘chhinna (tattered) kantha’ when leaving his kingly home in search of ultimate truth. It is noteworthy thar in early literature and oral traditions the kantha is celebrated in humblest domestic forn as ‘jeerna kantha’ being the people’s cloth.

The Embroiderer
Source – House of Wandering Silk

Historically, creating a Kantha was a communal activity, with women gathering to sew and share stories, thereby fostering social bonds and preserving oral traditions. The practice of Kantha also reflects the resilience and ingenuity of Bengali women, apart from economic empowerment. In many rural communities it remains customary for the bride to take four to six kanthas to her in-laws’ sand for expectant mothers to quilt kanthas for her newborn. Transforming discarded textiles into functional and decorative items exemplifies sustainable living long before it became a global movement. This tradition of upcycling not only conserves resources but also preserves memories, as each stitch and fabric piece carries a history of its own.

Kantha in Contemporary Times

Embroiderers at work
Source – Luxurion World

In recent decades, Kantha has transcended its traditional boundaries, finding a place in modern fashion and home décor. Designers and artisans have embraced this age-old craft, incorporating Kantha embroidery into sarees, scarves, jackets, and even accessories like bags and shoes. This fusion of traditional techniques with contemporary aesthetics has not only revitalized the craft but also provided sustainable livelihoods for artisans and economic self-dependence for women.

The global appeal of Kantha lies in its unique blend of history, artistry, and sustainability. As consumers increasingly seek products with cultural significance and ethical production practices, Kantha stands out as a testament to timeless craftsmanship. Organizations and cooperatives are working diligently to support artisans, ensuring that this rich heritage continues to thrive in the modern era. Online retail platforms have further boosted the process and Kantha stich sarees have transformed into a rich fashion statement.

Kantha Stich Sarees
Source – Mohi Fashion

Shamlu Dudeja’s Self-Help Enterprise in 1980s to revive kantha in home decor, furnishing and clothing . She motivated women to take it up seriously as livelihood. Celebrated designers like Tarun Tahliani and Sabyasachi Mukherjee have incorporated kantha in their collections.

Kantha in Tarun Tahiliani Collection
Source – NDTV

Kantha in Sabyasachi Mukherjee Bridal Collection
Source – NDTV

Conclusion

Kantha embroidery is more than just an art form; it is a living tradition that bridges the past with the present. It speaks of resilience, creativity, and the power of storytelling through stitches. The Kantha embroidery constitutes a visual language that serves as cultural markers of identity. As it continues to evolve, Kantha remains a symbol of Bengal’s rich cultural heritage, connecting generations through threads of history and tradition. Whether as a cherished heirloom or a contemporary fashion statement, Kantha embodies the essence of sustainability, craftsmanship, and artistic expression. By preserving and promoting this timeless craft, we not only honor the artisans who keep it alive but also celebrate a cultural legacy that deserves to be cherished for generations to come.

The Kantha Embroidery
Source – iTokri