1. Introduction: Stitching Stories
Nestled deep in the heart of Bengal—across both Bangladesh and the Indian state of West Bengal, especially in Birbhum, Bankura,
Murshidabad, Bardhaman as well as North and South 24 Parganas— there is a textile tradition as rich in history as it is in artistry. It’s called ‘Nakshi Kantha’ and it’s not just fabric—it’s storytelling, memory, culture, and heritage sewn together by the hands of generations of women. What began as a humble way to recycle old cloth has now become a symbol of identity and pride, celebrated in art galleries, fashion runways, and pop culture.
But what makes nakshi kantha more than just beautiful embroidery? Let’s unravel the threads.
2. Origin: Stitching Stories from Scraps
Kantha may owe its name to ‘kontha’, the Sanskrit word for rags. It was first mentioned in the 500 years old book Chaitanya Charitamrita by Bengali poet Krishnadasa Kaviraja, in which the mother of the 15th-Century saint, Chaitanya Mahaprabhu, sends a homemade kantha to her son via some travelling pilgrims.
The main reason or purpose to make kantha was to upcycle the old cloths, but love and compassion stole the actual show. A to-be mother or grandmother often take the stich to make kantha for the future baby, also it is highly appreciated as a wedding gift and personal gifts as well.
Niaz Zaman, writer and scholar from Bangladesh, writes in her book ‘The Art of Kantha Embroidary’ that “one reason a new-born was swaddled in a kantha made of old clothes was [the family’s] fear about the child surviving in an age where child mortality was high, and buying new clothes meant hoping for a future that they were scared to think of”.
One point to note here, kantha and nakshi kantha are not same and identical. Only those kanthas, which have designs using thread, can be referred as nakshi kantha.
3. How It Flourished: From Courtyards to Couture
The word ‘Nakshi’ comes from the Bengali word ‘naksha’, meaning design or pattern, and ‘kantha’ refers to the quilt. Traditionally, women in Bengal, both in what is now Bangladesh and West Bengal in India, would take worn-out saris and dhotis, layer them and with no formal training or materials— stitch them together using a simple running stitch. Even, sometimes they used torn threads of the saris or dhotis for stitching.
But these weren’t just blankets for warmth. They were deeply personal canvases.
The designs? Pure imagination. No templates. Just instinct, memory, and emotion.
Together, they tell us everything: this is a canvas for personal expression, born not in studios, but in kitchens, courtyards, and quiet afternoons.
4. The Motifs: Tales Told in Threads
To weave the tales, the artists usually choose blue, black, red and green threads. They often term the stiches as ‘Kalmilata’, ‘Shankhalata’ as well as ‘Matarlata’ and ‘Golap Bag’ in their affectionate use.
Religious influence is clearly visible in the majority of the motifs. Hindu, Islamic and Buddhist symbols have continued the shape the artistry.
Traditional Alpona designs also can be found in the stiches with some modifications.
Other designs also play an important role in nakshi kantha. As Kalpana Sunder, in her news article ‘The stories hidden in the ancient Indian craft of Kantha’ stated that, “Most traditional kanthas had an image of the Sun or a lotus as the central focal point. But the motifs used in kantha varied enormously, with characters from folklore and mythology, to elements of nature such as oceans, birds, animals, the tree of life, rivers and sealife, and the things the makers saw around them, such as palanquins, chariots, temples, mirrors and everyday objects like umbrellas. 
Along with Indian inspirations, kantha was also influenced by colonial rule and Portuguese traders. Kantha with silken threads was created under Portuguese patronage, with motifs like sailing ships and coats of arms. A 19th-Century kantha at the National Crafts Museum in New Delhi has motifs of playing cards, sahibs and memsahibs, chandeliers and medallions of Queen Victoria, side by side with scenes from Hindu mythology in which Shiva looks like a Madonna in a Christian painting, and Rama and Lakshmana appear as European boys.”
4.1 The Lotus Motif
One famous design of nakshi kantha is the lotus motif. This generally is stitched round to a circle and the petals are crafted with intricate details. The
number of the petals can range from eight to hundred. Lotus usually symbolises purity and beauty, also the Hindu goddess of prosperity, Devi Laxmi. This motif is often found at the centre, signifying the heart or soul.
4.2 The Tree of Life
This design has had an influence on Indian art and culture since the time of the Indus Valley Civilization. It seems that the people of the Indus Valley Civilization considered the Peepal tree as the tree of life… through it, the gods were expressing their creative power. This belief was also prevalent during the Buddhist period. Peepal is a sacred tree for Buddhists, because Buddha attained enlightenment while sitting under the shade of this tree. It reflects the creative power of nature and is very popular as a kantha design. Grapes and creepers play also play significant roles in the kantha design and carry similar meanings as the tree of life.
Also, some other motifs are prevalent in nakshi kantha, such as fish, birds, animals, fruits, sun, moon, stars, geometrical shapes and abstract designs as well. Scenes from daily life, like women cooking, sewing or children playing in the courtyard also worthy to note and actually this plays a significant role to reshape the societal image of the then time.
Additionally, curving quotations from popular literature, both oral and written, as well as messages to the receiver was very much admired.
5. Nakshi Kantha in Popular Culture: From Poetry to Picture
While rooted in rural simplicity, nakshi kantha has made its way into the heart of popular culture. Poet Jasimuddin’s “Nakshi Kanthar Math” remains a literary classic, taught in schools and remembered as a poignant tale of love, loss, and artistic legacy.
In fashion industry, the stiches of nakshi kantha have come into spotlight with the influence of Shantiniketan in particular. Yes, here the old, worn-out clothes are not that much present but the stiches play the central role.
Now-a-days, some fashion designers are also blending traditional stitches with contemporary styles, creating garments that speak both heritage and haute couture.
Even Bollywood and Bengali cinemas have subtly featured Nakshi Kantha-inspired costumes and settings, especially in art films. Art galleries across India, Bangladesh, and the world have showcased Nakshi Kantha as a form of textile art, comparing its narrative richness to that of painted canvases.
6. The Present Thread: Where Nakshi Kantha Stands Today
Nakshi Kantha was always very much indigenous as well as personal. The artists were not very much interested for its commercialisation and they have not received any royal patronage as well.
During the British period, where other indigenous handicrafts lost its way it continued to survive- but the poor economic condition also led to its gradual decline. In 1940s, a revival of nakshi kantha was spearheaded by Pratima Devi, the daughter-in-law of, Rabindranath Tagore, as a part of a drive to empower women in rural areas. Unfortunately, the Partition of India in 1947 led to decline of nakshi kantha again, as many people left from India to Bangladesh.
In present scenario, with the help of the Craft Council of West Bengal has begun the revival of this tradition with small groups of women giving them the exposure to the market.
Also, preserving the tradition was started long back in 20th century with initiative of many museums and art enthusiasts both inside and outside India. Gurusaday Museum, Los Angeles County Museum of Art, Ashutosh Museum of Indian Art, Indian Museum- Kolkata, Academy of Fine Arts have exquisite collection of nakshi kantha.
7. Final Stitch: A Legacy That Lives On
In a world that’s moving faster every day, there’s something deeply comforting about a piece of cloth stitched slowly, thoughtfully, lovingly by hand.
Nakshi kantha is more than fabric. It’s a vessel for memories. A symbol of resilience. A testament to the quiet genius of women who never called themselves artists, but who left behind masterpieces in thread.
So next time you see a nakshi kantha with tiny, neat stitches and whimsical motifs—pause. Look closely. You might just be reading someone’s story.
And maybe, just maybe, you’ll feel inspired to start stitching your own.
REFERENCES:
NEWSPAPER ARTICLE
1. Sunder, Kalpana, “The Stories hidden in the ancient crafts of Kantha”, BBC, October 20, 2022. https://www.bbc.com/culture/article/20221020-the-stories-hidden-in-the-ancient-indian-craft-of-kantha
ONLINE RESOURCES
1. Jio Bangla. “Nakshi Kanthay Uthe Asto Gram Banglar Lokayato Jibon”, Rai, Mahul Mrinalini, Last modified August 30, 2019, https://www.jiyobangla.com/bn/news/nakshikantha-the-canvas-of-lost-culture
2. Roar Media. “Nakshi Kantha: Banglar Loksanskritir Ek Boichitromoy Upadan”, Abedin, Shah Md. Minhajul, last modified July 4, 2019, https://archive.roar.media/bangla/main/art-culture/nakshi-kantha-an-important-part-of-bengal-culture