l. Introduction: A Mat That Touched an Emperor’s Heart
Aurangzeb was in Delhi while Murshid Quli Khan, the Nawab of Sube Bengal, made plans to visit him. It had to be an urgent visit, yet it had been deferred over and over again. Not for political reasons; for he was in a fix as to what he should present to the emperor. What could be that one gift to an emperor who all his life renounced every kind of luxury?
After some serious consideration, Murshid Quli Khan finally came up with a very special gift. A Shitalpati – a hand-woven cool mat from Bengal that eased the heat of the summer. The mat wasn’t ornate with gold or precious stones, but it was practical, elegant, and deeply rooted in nature. Aurangzeb, a devout ascetic, was reportedly so taken by the gift that he chose to pray upon the Shitalpati, using it as a Zaynamaz, until his death.
From Mughal emperors to British monarchs, including Queen Victoria, ‘Shitalpati’, the ‘cool mat’ from Bengal has been a coveted possession for both rulers and their subjects. All the difference came into practical use, and people in villages in Bengal long used to take summer afternoon naps when a shitalpati would be spread out on the floor; that is before synthetic bedding swayed them. It’s a land of rising temperatures with humidity hanging around, where for centuries now, the Shitalpati has been nature’s simple yet elegant response.
2. Origin of the Art Form: Nature’s Gift, Woven by Hand
Shitalpati, a word that literally means cool mat finds its origin from the marshlands and riverbanks of Bengal, mainly in Cooch Behar, Jalpaiguri, Birbhum, Murshidabad and North 24 Parganas where the plant named Murta (Schumannianthus dichotomus) grows. It is a tall reed-like plant known by the locals as ‘pati gach’ that furnishes the raw material for this craft. The inner bark is soft and fibrous and has a natural coolness to it—perfect for mat weaving.
Historical documents and oral histories indicate that Shitalpati weaving was known in Bengal during the medieval period and perhaps even before. The expertise in processing Murta, dividing it into fine strips, and weaving it into mats was passed down through generations, mostly among women.
3. How It Flourished: From Domestic Necessity to Decorative Art
The evolution of Shitalpati weaving into an art form traces back to when artisans started experimenting with designs and weaving techniques, moving beyond just utilitarian uses. What initially served as a household necessity transformed into a decorative art with increase in trade and patronage in the 19th century.
This art form saw progress thanks to the royal family of Cooch Behar, who had a keen interest in promoting Shitalpati. These mats once only found in humble households worth appreciating changed its status in royal courts due to their intricate weaving and elegant features. It was during this period that Shitalpati weaving turned into a sophisticated handicraft.
Entire communities in regions like Ghughumari near Cooch Behar became deeply involved in the weaving tradition. The craft became a domestic industry, with families—especially women—engaged in the collection, preparation, and weaving of Murta fibers. The skill was passed down from generation to generation, often as part of a young girl’s household education.
Gradually, from merely functional, Shitalpati became a cultural emblem, used in everyday life for sitting and sleeping, in rituals, and sometimes even as gifts during marriages.
After India’s independence, the craft received support through handicraft cooperatives and state-run programs, helping it survive periods of economic and cultural upheaval.
4. Variations: Patterns in the Mat of Culture
Shitalpati is not a monolithic tradition. Different styles and regional variants have developed over time based on local taste, environmental availability and cultural themes.
4.1 Plain Shitalpati
This weaves basically resemble simple fabric mats exceptionally well made and without extra patterning. The value is in the smoothness of the weave and durability. A Shitalpati should be judged by how glossy and smoothness it can be made when dried. The finest quality of a Shitalpati can be splendid, with smoothness such that a snake cannot slither across it.
4.2 Nakshi Pati
These are mats made mostly in Ghughumari village in Cooch Behar, to various standards, from medium to very well made, with knotted detail that contain elemental geometric and floral patterns or are representational of mythological stories. The patterns or images are woven directly into the mat and not embroidered or printed, when they are constructed, artisans would interweave dyed strips of Murta to build brilliant designs and treat the mats as a canvas for folk art.
All the preparation is labour-intensive and creates uniqueness for each mat. The Murta stems which have been cut, soaked, split and softened through laborious manual processes. The weaving itself takes considerable care to ensure that the woven surface is tight, and on the even side, beyond aesthetics, is a critical part of ensuring the cooling property.
5. Reference to Popular Culture: Folklore, Festival, Literature and Many More…
Though largely a rural artifact, Shitalpati has made occasional appearances in Bengali literature, cinema, and folk songs, usually symbolizing simplicity, purity, and the rural idyll. For instance, one of the most well-known lullaby of Bengali households, ‘Ghumparani Masi-Pisi’ mentions Shitalpati very casually, as an integral part of Bengali tradition.
In Bengali films, especially in the older movies, one can frequently find Shitalpati in scenes depicting the interiors of rural homes — laid out on floors to sleep on or offered to visitors in hospitality.
Even today, during rituals such as weddings or other religious ceremonies, mats are actively used and considered for traditional purposes, highlighting the cultural significance.
6. Current Status: Revival, Recognition, and Roadblocks
Shitalpati, as with many current heritage crafts, there lies an intersection of possibilities. The growing global demand for sustainable and handmade products has opened up a new market for these environmentally friendly mats, as on the other end of the spectrum, the craft is under threat, due to climate change, urban migration, and ongoing economic challenges.
One serious challenge is the diminishing engagement with Murta cultivation that arises from shifting land-use patterns and environmental decline. They also quickly learn, and often choose, to move to the cities for more financially rewarding jobs, and consequently do not seem keen to pursue an interest in the labor-intensive weaving of Shitalpati. Moreover, the proliferation of inexpensive plastic mats has demonstrably eroded the local market for handcrafted Shitalpati.
Nevertheless, not all is lost. In 2018, Nakshi Pati from Cooch Behar was granted the Geographical Indication (GI) tag, which identified it as unique and subsequently linked its reputation with its geographical significance. This has raised awareness of Nakshi Pati materials and products and has defined aims for sales through artisan cooperatives and online platforms.
Several NGOs and government initiatives have sought to support the traditional craft and innovate with modernization of production methods, craft fairs organization, funding, design intervention, and need, to keep relevancy. Increasingly, workshops introducing e-commerce, branding, and digital payments are boosting rural weavers, particularly women, learning opportunities.
More recently, modern designers and eco-conscious influencers have brought attention to the Shitalpati weaving industry in their recommendations of it as part of interior decor, for example, as wall art, placemats, and profiles as bags and home furnishings; thereby bringing this heritage craft to understand urban aesthetic sensibilities.
7. Conclusion: Weaving a future that is based in heritage
Shitalpati is so much more than just a woven mat; it tells a story of tradition, cultural resilience, and identity. In a world that often prioritizes convenience through synthetic means, this humble craft showcases a beautiful example of eco-friendly design, rural artistry, and sustainable living. The future of Shitalpati—whether it flourishes or just gets by—hinges on how involved the community is, the backing from policies, and the spark of creativity to innovate.
As we work to reconnect with nature and our heritage in meaningful ways, supporting crafts like Shitalpati is about more than just nostalgia. It’s all about creating a future that honours our past while being flexible enough to tackle the challenges of todat. Whether it’s for decorating or simply sleeping, Shitalpati is a shining example of Bengal’s timeless craftsmanship and our deep-rooted human desire for comfort, beauty and a genuine sense of belonging.
REFERENCE:
JOURNAL ARTICLE
1.S Barman, Prosenjit, Deepa Roy and Peddi Naga Harsha Vardhan, “Study on the perceived problems of the Shital pati weavers in Cooch Behar district of West Bengal”. International Journal of Statistics and Applied Mathematics SP-8, no. 6 (2023): 34-37
NEWSPAPER OR MAGAZINE ARTICLE
1. Bandyopadhyay, Debashis, “Thanda Judhhe Herei Gelo Shitalpati”, Anandabazar Patrika, May 22, 2017. https://www.anandabazar.com/amp/west-bengal/nadia-murshidabad/shital-pati-become-obsolete-now 1.616484#amp_tf=From%20%251%24s&aoh=17488711872695&referrer=https%3A%2F%2Fwww.google.com
2. Roy, Shouvik, “Shitalpati: Obosor-Adda-Utsobe Bangalir Sukh Dukhher Purono Songi”, Bongodorshon, January 31, 2024, https://www.bongodorshon.com/home/story_detail/shital-pati-or-sitalpati-now-a-days-in-bengal
3. Roy Chowdhury, Arpita, “Shitalpati in Summer: Mukh Firiyeche Natun Prajanma, Prokhor Grishme Ar Koto Din Paoa Jabe Shitalpatir Snehosparsha?” News 18 Bangla, May 28, 2022. https://bengali.news18.com/news/south-bengal/24-parganas-shitalpati-may-lose-its-existence-due-to-lack-of-interest-of-young-generation-lcn-arc-814499.html
WEB PAGE
1. Asia Inch. “Shitalpati Mat Weaving of West Bengal”. Last accessed June 7, 2025. https://asiainch.org/craft/sitalpati-mat-weaving-of-west-bengal/