SEMIOTIC STUDY OF THE MOTIFS IN NAKSHI

KANTHA
A study on Kantha and the selection of motifs based on their symbolic meanings for
self expression and manifestation of the artisan’s aspirations

ABSTRACT
Nakshi Kantha, the traditional needle craft of Bengal, India displays a rich vocabulary of motifs.
These motifs are deeply rooted in strong religious beliefs and underlay a strong symbolism.
These motifs signify the desire for „self expression‟ and manifestation of the artisan‟s
aspirations. Nakshi Kantha was/is more than just a decorative quilt; they were the Canvas for
self-expression, their values and beliefs. The region, that had people following Hinduism,
embroidered motifs based on their religious beliefs. Furthermore, use of these symbols display a
keen desire to establish their own identity and position in the society and the urge to manifest
their aspirations through religious symbolism, direct depiction and aesthetic display. „Tree of
life‟, „Lotus‟ and „Fishes‟ have been three of the most popular and mindfully chosen motifs.
This paper is an attempt to study the semiotics of these three motifs on Nakshi Kantha of West
Bengal of early 19th century to late 20th century.

Keywords: Nakshi Kantha, Motifs, Symbolism, Self-expression, Semiotics, Embroidery

For all men live by truth and stand in need of expression. In love, in art, in avarice in
politics, in labor, in games, we study to utter our painful secret. The man is only half
himself, the other half is his expression. R.W. Emerson, the poet.
 Chapter 1

INTRODUCTION

NAKSHI KANTHA
Undivided Bengal (now divided between India and Bangladesh) has been known for their folk
needle craft of Nakshi Kantha. East Bengal, now Bangladesh and West Bengal, now a state in
east India have embroidered Nakshi Kantha (Naik, 1996) (Zaman, 1993). Kantha, the poor man‟s
quilt, displays extraordinary creativity, curious motifs and immense amount of patience
(Dhameeja, 2004). Kantha has dominantly existed in the rural Bengal household since time
immemorial. Kantha has been a perfect example of creativity. Kantha originated in the hour of
need when economic conditions of an average rural household were challenging and the family
was faced with a difficult cold weather or was marked by a child birth that needed security. The
old and torn Saris [Unstitched lengths of fabrics, draped by Indian women as traditional clothing]
were put to use. These ragged saris were layered and quilted together with patterned running
stitches. The threads used for quilting were drawn out from the colorful borders of the saris
(Zaman, 1993) (Nag, 1982). Eventually Kantha graduated to patterned embroidered motifs on
the surface of the quilts. These quilts were the canvases for the women and have got
intermingled in the lives of the people (Das, 1992). K Padmaja beautifully conveys this in her
paper by saying that „The most endearing gift exchanged at birth, death or marriage, the seat of
honor offered to welcome guests, the mark of respect for the dead, the wandering fakirs drape,
the personal wallet for carrying little valuables or a wrap for any other precious possession,
Kantha in Bengal is not any frozen art stored behind museum glass, it is an integral part of the
lives of the country folk (Padmaja, 2006).”

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BACKGROUND
Undivided Bengal, India has been known for their folk needle craft of Nakshi Kantha. East
Bengal, now Bangladesh and West Bengal, now a state in east India have embroidered Nakshi
Kantha. Nakshi Kantha, the poor man‟s quilt, displays extraordinary creativity and curious
motifs. Nakshi Kantha has seen various influences and yet maintained its integrity. There have
been Portuguese and British as well as „partition‟ (of east and west Bengal; and partition with
Pakistan) influence on the motif vocabulary. However religious and mythological influence has
been the strongest and has survived till date (Zaman, 1993) (Ranjan, 2007).

Lotus, Fish, Earthen pitchers, Tree of life, Mouse, Peacock, Elephant, Bull etc have remained in
the motif vocabulary of Nakshi Kantha quilts and other Kantha articles. These motifs have been
found to have a semiotic significance and find their roots in religion and mythology. This paper
studies the semiotic significance of the commonly used motifs in the Kantha (Stella Kramrisch,
1983) (Naik, 1996).

LITERATURE SURVEY
Well know Author Niaz Zaman in her book, ‘The Art of Kantha Embroidery has very
interestingly documented all the aspects of the making of the Kantha. The stitches and the
motifs that are used, the history of Kantha etc have been well categorized and documented.

Jamuna Nag has written about how alpona design ( floor decoration done with chalk )
found themselves on the Kantha quilts. The alpona motifs, deep rooted in religion were a
ready reference for the artisan to embroider them.

Jasleen Dhamija an author of world fame has written about the symbolic nature of the
motifs and the connotations that they have are deeply rooted in religion.

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RESEARCH DESIGN
2.1 Research type – Qualitative
2.1.1 The proposed research is Qualitative. The proposed
research is developed from qualitative point of view as
researcher’s insights and impressions are assessed
subjectively. It is multi-focal in its reasoning and
exploration. The emphasis would be on the semiotics that
underlay in the motif vocabulary.
2.1.2 The research is Empirical; Inductive and Interpretive.
Several aspects of the use of motifs and the underlying
symbolism are studied.
2.2 Coverage – Micro
It is a Micro study as it is a study of a small slice of the Craft sector.

2.3 Application – Basic Research

The proposed research is ‘Basic’. The proposed research is a basic
investigation into the selection of motifs based on their symbolic
meanings for self expression and manifestation of the artisan’s
aspirations in Nakshi Kantha.

2.4 Documentary Research

The research is proposed to be carried out as library studies or
documentary research.

2.5 Research Method - Historical Research

The research is proposed to be carried out on the basis of Motifs that
have been found document by Books, Museums and private collector.

2.5.1 Primary Data – It is proposed to collect primary data through

‘Semi-structured Interviews’ of Craft artisans, Enthusiasts &
Craft Designers. Insights may be recorded from these interviews

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 by recording their approach and experiences. It is also proposed
that data will be collected through ‘Diaries’.
2.5.2 Secondary Data - It is proposed, to gather from literature
available from the books written by experienced Craft
enthusiast, Craft Educationist., Journals based on Craft based
research are to be reviewed for case histories. Books and
journals dedicated to Kantha and semiotics in crafts are to be
studied.
2.6 Time Frame - One Time

2.7 Purpose of the Study – Party Descriptive and Partly Evaluation

Study
2.7.1 Description of selection of Motifs in Kantha
2.7.2 Data evaluation may involve a process that proceeds from
more general to more specific evaluation of the semiotics
and the symbolism that underlay in the choice and
placements of the motifs.
2.7.3 Interaction patterns, Religion, cultural aspects and the
interaction of the crafter with the product have to be
analyzed considering the environment and other
influences on the Craft-Kantha.
2.7.4 The outcome of these analysis and interpretation may be
documented to understand the semiotics used in the
selection of motifs and how Kantha was used by the
artisans as the manifestation of their aspiration.
RESEARCH OBJECTIVES
3.1 Primary Objective - To evaluate and document the under laying Semiotics in
motif vocabulary of Nakshi Kantha of West Bengal (19th and 20th Century).

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 3.2 Secondary Objective –
To study the motifs of Nakshi Kantha.
To study the placements of Motifs in Nakshi Kantha.
SCOPE OF THE STUDY
The scope of this study could be furthered by researching the semiotics of several
other motifs in Nakshi Kantha.

LIMITATIONS
Availability of authentic data confirms the exact symbolic meanings are rare.

Time, as the study has to be completed in a short duration, would be another major
limitation.

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 Chapter 2

UNDERSTANDING NAKSHI KANTHA

ORIGIN
Most books on Kantha have not been able to date the craft.
Kantha was a craft of the poor and did not get recognition as
a craft. The most poetic reference of Kantha has been found
in Poet Jasimuddin‟s Poem „Nakshi Kantha Math‟. The
earliest mention of Bengal Kantha is found in the book, "Sri
Sri Chaitanya Charitamrita" by Krishnadas Kaviraj which
was written some five hundred years back. The second
earliest reference is in Zaman's book about the famous artist
Abanindranath Tagore, who seemed to have encountered a
woman in a village in a district of Srihatta of Bangladesh,

FIGURE 1: KANTHA ARTISAN WITH HER who recorded her life story in her Kantha spanning a period
DOWRY QUILT, 2006
starting from her marriage to old age (Zaman, 1993).

So, when did this art begin? That has been a debatable question. Some experts are of the opinion
that its origin dates back to ancient India and that the Kantha has references in the Rig Veda,
Upanishads, and in Panini‟s texts. In support of the existence of folk arts and crafts of Bengal
from ancient times the renowned scholar Ananda K. Coomaraswamy says that the folk arts that
survive in Bengal are directly descended from pre Harappan- Indus Saraswati civilization which

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is at least 5000 years before present. Lord Buddha, Mahavira or Chaitanya, Jain saints or Sufi
poets, the warm Kantha blanket is said to have been the garb of ascetics through the ages. The
earliest surviving record of Bengal Kantha is found in the book, "Sri Sri Chaitanya Charitamrita"
by Krishnadas Kaviraj which was written some five hundred years back. Though sample
collections cover only a few hundred years back, it is quite likely that the craft in fact dates back
to ancient times. This form of textile for ordinary folk has perhaps been raised to the level of art
objects in the medieval period in Bengal (Padmaja, 2006) (Zaman, 1993).

Kantha was practiced by women of all classes amongst Hindus and Muslims in Bengal. Some
experts are of the opinion that it flourished more in East Bengal [now Bangladesh] than in West
Bengal. Some extraordinary samples of Kantha from the 19th century have found home in the
districts of Jessore, Khulna, Barisal, and Faridpur areas of present Bangladesh and also from the
districts of Hugli, Birbhum and 24 Parganas of West Bengal. Through the ages the two main
communities; Hindus and Muslims have contributed significantly towards motifs and forms used
in the craft (Ranjan, 2007).

Dr. Stella Kramrisch has described a mythical story to indicate the origin of this art form.
According to this story, there was a guru by the name of Kanthalipa (plastering guru). By caste
he was a sweeper. He used to collect old rags and torn cloth which he found while sweeping.
One day a needle pricked his finger; it hurt so much that he started crying. Hearing his wailing a
dakini (witch or spirit) appeared before him. "She reproached him: 'If you cry at such little pain,
how you would be able to bear the pathos of rebirth over and over again? Kanthalipi answered to
her 'That is true but I do not know what I should do, 'the dakini advised him: 'The sky is nothing
but a great void in endless space. Between the earth and the sky is also a vast emptiness. While
sewing the pieces of rags you should achieve unity of spirit and purpose with all living creatures
in the world. The sewing of rags symbolizes the use of all discarded things. To do this you need
to consolidate your deep feelings and knowledge. Sitting in the void you will have to combine
your thoughts and knowledge with the help of the needle of kindness. The pieces of rags sewn
together to make a new cloth of new Kantha will turn into a complete piece. Similarly all the
universe's living things will be able to create their own entities (Stella Kramrisch, 1983).

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The authentication or the origin of these myths is unknown. However these myths confirm the
fact that the origin itself of Kantha is deeply rooted in mythology, religion and symbolism. The
birth of the craft is coated with semiotics of religion and spirituality (Dhameeja, 2004).

KANTHA UNRAVELED
If ever there was a true sorority in the world of ideas, it must have been in the field of quilt
making...Women, all over the world, took up the responsibility of providing everybody with the
warmth against the cold, harsh winter...True, over time, some men joined into foray, but their
numbers were never very significant...Hence, Niaz Zaman, in her book, " The Art of Kantha
Embroidery," stated that Kantha making is an "women's art" (Zaman, 1993).

It is a clever use of universal quilting stitch, in colors and designs that are distinctive. This
needlework from rural Bengal that is hi-fashion today had humble beginnings. Village women
would sit in the backyards of their mud huts after the morning's chores were over, sharing the
days tidings, their chatter idle but their fingers not. Making tiny, running stitches, they deftly
sewed together pieces of old
fabric-converting tatters into
warm, comfortable quilts for
their loved ones in the family
(Das, 1992) (Zaman, 1993).

With creativity of an artist, they

would sew scenes from rural life
– animal‟s birds, village huts
with children, water pumps,
fisher women selling their wares,
even frogs and snakes! Apart

FIGURE 2: CLOSE UP OF KANTH STITCHES, 2006

from patchwork quilts, they also
made bridal garments for their
young ones and warm rugs for their newborn babies. For over 2000 years, the patchwork Kantha
held pride of place in rural Bengal (Dhameeja, 2004).

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STITCHES
In style, form, fabric or technique, through sheer skill and patience the Bengali women have been
able to create stunning patterns by employing the most simple and frugal methods. The Kantha is
really a play of the ordinary running stitch used in its myriad variations. Through variation in its
length and spacing, a surface composed of multitudes of squares and triangles is created that has
a marvelous speckled texture. These closely placed stitches gave a quality of swiftness and
rhythm to the ground. The chief stitches used were the darning stitch, the satin stitch, the loop
stitch, the stem stitch and the split stitch. Sometimes the darning stitch is used to create an effect
similar to that of weaving (Naik, 1996) (Zaman, 1993).

Bengal Nakshi Kantha making is a little different from other quilting artistry...The material is
different, so is the stitching method...From a very long
time, Bengal cotton and silk have been known in the
world market for its finesse and quality...Bengal
"muslin" was an item of export even at Pericles‟s
time...When such beautiful creations were worn and
old, Bengal women did not see any reason to throw
them away...Beautiful sari borders (the everyday dress
of Bengali women)were preserved, the soft dhotis
(men's clothes) were placed layer upon layer and
stitched encased in sari borders...Thus started the first
recycling art of the world...The stitching patterns of
Bengal Nakshi Kantha are simple, but it can be very
intricate depending on the inclination of the Nakshi

FIGURE 3: KANTH ARTISAN TAKES PRIDE IN Kantha maker.

THE QUILT THAT TOOK HER 7 YRS TO MAKE,
2007

USAGES
The women of Bengal layer rags together and make utilitarian and functional items for use in
their day to day lives. Unlike the plight of a lot of crafts where with commercialization, the craft
communities themselves have discontinued personal usage, Kantha continues to be a living craft

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in rural Bengal. During my field trips in some of the villages, the poorest houses to this day own
at least one piece of Kantha. They take pride in it and offer it as a seat of honor to guests. In the
lack of great riches, these rural folk have created the most splendid substitutes to expensive sofas
or blankets (Zaman, 1993).

Both Hindus and Muslim women make use of Kantha in a variety of ways:

LEP KANTHAS - are used as a cover in winters. Measuring 61/4‟ x 41/2‟ these are heavily
padded, thick and are embroidered with colored threads although somewhat sparingly.

SUJNI KANTHAS - are embroidered ceremonial wraps offered as a seat to honored guests and at
weddings. These are thin and represent the highest culmination of the embroidery artwork.

BAYTON KANTHAS - are essentially wraps for tying books, cover for old trunks, table cloth
etc.

DURJANI KANTHA - is a square piece of wrap with an embroidered border all around and a
lotus in the middle. The three corners are folded and stitched at the centre to make a wallet out of
it. It is used to hold betel nuts, rosary, and money or needlework articles.

ARSHILATA KANTHA - used as wraps for mirrors or combs.

OAR KANTHA is used as a pillow cover and usually employs longitudinal border patterns
running across the body.

RUMAL KANTHA used as a handkerchief, this consists of a lotus at the centre around which
other motifs are drawn. All this enclosed within a square sewn along the edges.

INFLUENCES ON THE CRAFT

Kantha craft had one of the earliest influences of globalization on it. What we now refer to as
Indo – Portuguese Kantha style, originated under the influence of the Portuguese in the 15-16th
century. During this period wild silk muga thread was used to embroider ornate European motifs
on an off white cotton base. These Kantha‟s were exported to Portugal and used as gowns, wall
hangings, bed covers etc (Dhameeja, 2004).

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FIGURE 4: KANTHA FROM EARLY 19TH CENTURY,
VICTORIA MEMORIAL MUSEUM, 2007
As objects of endearment that were essentially
folk in nature, it continued in its pure and
innocent form as an integral part of rural
societies. And to this day it continues to hold
the same importance and relevance in rural
Bengal. I would like to mention here that
unlike the plight of many crafts that today
hold only a commercial relevance, Kantha is
very much a living art. Whether it was Alima
or Rahima or Ranjana, they all delightfully
brought out their Kantha pieces to offer as a
seat, to place their tea etc. Be it a Hindu or
Muslim home in rural Bengal, Kantha is still
the most honorable and valued gift that is
exchanged at marriage, birth or death (Stella
Kramrisch, 1983).

INTERACTIONS AND RELATIONSHIP OF THE CRAFT WITH -

The societies in rural West Bengal as they were in 19th century were manifestly dominated by
the activity of Kantha , while consumption, was also in same societies where the majority of the
population were ill-nourished in addition to being poorly clothed and housed, did not appear to
be an issue that warranted much investigation. Kantha was more of a need based craft of that
society only that it developed into beautiful art.

i. R ELIGION AND C ULTURE

The traditional (that is to say, the 19th- and early 20th-century) view of craft‟s relationship with
culture is probably best expressed in the writings of such social critics as Karl Marx and
Thorsten Veblen. For these thinkers, the form of labor that was undertaken by the craftsman or
craftswoman was the most quintessential of all human activity. It was seen as ennobling,

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 humanizing and, hence, the ideal means through which individuals could express their humanity
(Dhameeja, 2004).

More than „just a commodity for daily use‟ Kantha has wrapped several religious and cultural
engagements in its folds. Symbols and colors that are considered auspicious in the religion are
sewn onto the surface.

ii. A RT MUSIC AND FESTIVALS

Kantha upgraded itself from an item of daily use soon enough and started claiming the status for
artistic embroidery. Certain Nakshi Kantha was getting commissioned for export and was pieces
of art in itself. They were minutely embroidered and the selection of motifs and placement,
choice of colors spoke the language of art (Ranjan, 2007).

Nakshi Kantha also became a part of folk Music. It finds mention in Nakshi Kantha‟s Math of
Poet Jasimuddin. Several other folk songs from unknown poets and singers are still being sung at
local festivals. These folk songs are now appreciated worldwide.

iii. I NDIVIDUAL
Kantha has been part of lives of people from birth to death in the light of culture. Kantha was
made for a new born baby to wrap him in rags to ward off any evil eye. It displays cultural
symbolism of protecting the child from any evil spirit. A girl would prepare Kantha with
carefully chosen symbols and colors as her dowry for marriage (Padmaja, 2006).

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 Chapter 3

SELF EXPRESSION AND THE ART OF CRAFT

SELF EXPRESSION
Edward Hopper “If I could say it in words there would be no
reason to paint.”

Time immemorial people have discovered and identified

various mediums of self-expression, expression of one's own
personality, feelings, or ideas, through any form of art can be a
medium of self expression. It gives power to exhibit the portrait
of self to establish a connection with the environment. It is
characteristic of a particular person or group of people or
period.
FIGURE 5: RABINDRANATH TAGORE
Art and craft have forever been a medium of self expression in
Rural Bengal. This fact is evident from the existence of multiple personalized crafts like
patachitra [scene by scene depiction of storytelling through drawings], terracotta [mud craft] and
Baul-gaan [recitation of Rabindranath songs and other folk songs with instrumental support of
ektara] and many more. More importantly, Bengal is considered the art capital of India,
considering artist like Rabindranath Tagore, who was a legendary artist, poet and a visionary
who set up an art University in Shantiniketan [meaning „Abode of Peace‟] in rural Bengal to
promote self expression through art and craft. The first Asian Nobel laureate modernized Bengali
art by spurning rigid classical forms.

„Craft as self-expression can find its subject from, for instance, tradition, the future, fine art,
music, stories, poems, nature, created heritage, field trips and excursions, events or memories. A
common stimulating theme can assist in creating associations.‟ The sole desire to stimulate
expression of the self and the emotions associated with a projection of self in multiple roles that
women had to play in rural Bengal. She would have multi layered roles of a farmer, a

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homemaker, a designer, a seller and many more. The selection of motifs, patterns and the
placement of these patterns display their aspiration, perceptions and connections with the
immediate social environment In the midst of juggling between so many roles, the desire for self
expression found the craft of Kantha as a medium.

The women of rural Bengal have never been so well off compared to their counterparts in other
parts of the country. The Craft of Kantha, as we have discussed, originated during the dire need
of the women to protect her child, family from cold and severe weather. The desires and
expressions for the well being of the family found a canvas on the surface of Kantha. This was
the origin of the „Art of Kantha‟ (Naik, 1996).

Paulo Coelho, in his book „Alchemist‟ has advocated the concept of soul of the world. It says
that when you want something with all your heart, that‟s when you are closest to the soul of the
world. And just a simple thought manifested can bring you closer to the soul of the world and
achieve it. Women while embroidering these symbols of happiness and prosperity on the Nakshi
Kantha and repeatedly thinking about their manifestations brought them closer to the soul of the
world, and stitched the manifestations forever in their universe (Nag, 1982).

MYTHOLOGY AND THE S YMBOLS OF SELF-EXPRESSION

The folk needle craft of Nakshi Kantha displays a strong mythological symbolism. Some of these
symbols are versatile in nature and find background in several cultures. These are sometimes
combined with stories, allegories or composite iconographies. They find references in Hindu as
well as European gamut. The motifs that arrive from Hindu themes revolve around the cult of
Vishnu. Some truly diverse Kantha quilts from Satagaon also display an assortment of influence
as they are found with Portuguese, Greco Roman and Hindu mythological motif all together in
one quilt. Veronica Murphy talks about the vast playground for motifs with extremes from Flora
to Fauna; western to eastern cultures and reality to mythology. In such a scenario, the ultimate
origin for certain motifs cannot be emphasized with certainty. She also talks about certain
imagery that is claimed by both the cultures where they are deciphered differently and some are
distorted beyond identification. The icons particular to legends or popular mythological themes
are still identifiable (Dhameeja, 2004).

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In my paper, „Lotus and the Kantha‟ Oct2008, Craft revival trust, I have researched on the motif
of lotus specifically and its importance in Nakshi Kantha and the Self expression of the crafter
for economic well being. “The people who were making these quilts were financially not very
well off. And considering the fact that, the people were not so well off yet very religious; they
embroider lotuses with a lot of variations to impress Goddess Laxmi. They probably believed
that the goddess might bless them with better status in life.”

“Lotus is also a symbol of cosmic harmony and essential womanhood. As the women use to
embroider these quilts to take with them as a dowry item, embroidering lotus was considered
auspicious. For a woman who is going to be married or was newly married, becoming a mother
was the most important blessing she would want. For a woman, bringing prosperity in the new
house where she is wedded and taking the family name forward by bearing children would earn
her the maximum respect from the family. And hence she would symbolically pray for these by
embroidering lotus on the quilts. It was a manifestation by these young women to happiness.

Although, an African concept, but I feel it also holds true here. The art of making patterns by
natural mud painting on their textiles had a concept that whatever they have been thinking
contained in the textile forever and so is the part of their universe. While embroidering these
concepts, the women were always thinking about marital happiness and so it was stitched in their
universe forever.

Dr. Stella Kramrisch has described a mythical story to indicate the origin of this art form.
According to this story, there was a guru by the name of Kanthalipa (plastering guru). By caste
he was a sweeper. He used to collect old rags and torn cloth which he found while sweeping.
One day a needle pricked his finger; it hurt so much that he started crying. Hearing his wailing a
dakini (witch or spirit) appeared before him. "She reproached him: 'If you cry at such little pain,
how you would be able to bear the pathos of rebirth over and over again? Kanthalipi answered to
her 'That is true but I do not know what I should do, 'the dakini advised him: 'The sky is nothing
but a great void in endless space. Between the earth and the sky is also a vast emptiness. While
sewing the pieces of rags you should achieve unity of spirit and purpose with all living creatures
in the world. The sewing of rags symbolizes the use of all discarded things. To do this you need
to consolidate your deep feelings and knowledge. Sitting in the void you will have to combine

© Ruhee, National Institute of Fashion Technology | Chapter 3 16

your thoughts and knowledge with the help of the needle of kindness. The pieces of rags sewn
together to make a new cloth of new Kantha will turn into a complete piece. Similarly all the
universe's living things will be able to create their own entities.

TIMES, SOCIETY AND THE WOMEN CRAFTER

According to Joyce Starr Johnson, „Textile handicrafts are special because they are made with
love and are connected to personal histories (or present) of the crafters. The outcome may relate
to a certain time and its phenomena, so that craft-art depicts a lived reality. Art is a way to grow
sensitive to different cultural or ecological phenomena, reflect on culture and society, and to help
understand and accept cultural differences (Dhameeja, 2004).

Kantha has seen various influences and yet maintained its integrity. There have been Portuguese
and British as well as „partition‟ (of east and west Bengal; and partition with Pakistan) influence
on the motif vocabulary. Preserved Kantha quilts, 60 to 70 years old, display British soldiers
with rifles and farmers, who were poor and helpless. Yet, they had hope and aspirations that life
will go and there will be prosperity which were depicted by the „kalpavriksha‟ - the tree of life.

This symbolism is simultaneously seen in the alpona designs. As Jamuna Nag points out in her
article on „Alpona and Kantha‟ that typical symbols of fertility are stylized in alpona designs
when a newlywed couple is to visit the house. As a woman is also considered to be a synonym of
goddess Laxmi, footprints of Laxmi are drawn on both sides of the stairs. The aspiration of the
woman to bring forth children, a good harvest and hence prosperity to the home, inspires her to
draw fishes for fertility; seeds and stems for good harvest and Lakshmi‟s foot print or Lotuses for
luck and prosperity (Nag, 1982).

Wives of farmers helped their men in the farm and would embroider themselves farming, farm
animals and farming tools. They would embroider Sun, water and birds and – the essentials for
farming and hence a manifest for a good harvest.

The handcrafter‟s aspirations for prosperity, marital bliss, freedom, economical well being,
bodily health and spiritual health, and desire for knowledge are shown through the mythological
symbols of Lotus (Symbol of Goddess Laxmi for economical well being), Tree of life (Spiritual
concept that says „ Life must go on‟) , Mouse ( Symbol of Lord Ganesha – God for good

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beginnings) , Peacock, Elephant, Nandi – the bull ( for Lord Shiva, for marital bliss and overall
well being) etc have remained in the symbolic religious design and motif vocabulary of Kantha
quilts and other Kantha articles (Padmaja, 2006).

Women with more inclination towards dance and music would get opportunities to dance may be
once in a year during festival seasons. However, they expressed their inner inclination through
Kantha.

Ragged Kantha with symbols of godly blessing were made for the newborn babies. They believe
that the newly born child has to be saved from the evil eye and so the child has to wrapped in
Rags, so that they can ward off the „nazar‟ displaying that the child is not something that they
care for. However, they would yet embroider motifs of symbols that talk about blessings of gods
and goddesses, also believing that the gods are blessing the child.

A closer look at the choice of motifs that were made, over a period of time displayed a direct
relation with the times they are made in. Not only the choice of colors, the style and the
placement of pattern but the choice of patterns tells the era they were made in. Kantha made
during the period when India was under the British rule showed British soldiers on the horses.
During the freedom fight, the influence of the political parties was clearly evident. And to keep
the traditions alive, Kantha artist today embroider cars and buses. I wouldn‟t be surprised to see a
computer or a mobile phone embroidered on the Kantha on my next trip to Shantiniketan,
Bolpur. The flowers and the choice of colors have become fairly modern. Modern tulips and
lilies have made their way on the Kantha. Kantha made in the current date may have lost the
religious symbolism, however the role of Kantha as a mode of self expression still exist. I may
not find any new brides embroidering the lotus however they make fairly modern pieces with
modern design sensibility, to express the fact that they have become more modern in their
thinking and actions.

SYMBOLS IN THE FORM OF MOTIFS USED IN NAKSHI KANTHA

„Textile symbolism in India is hallowed by tradition. In the Rig Veda and the Upanishads the
universe is envisioned as a fabric woven by the gods. The cosmos, the ordered universe, is one

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FIGURE 6: KANTHA FROM EARLY 19TH CENTURY

 continuous fabric with its warp
and woof making a grid pattern.
The cut fabric or the sari is the
symbol of totality and integrity. It
symbolizes the whole of
manifestation‟8 .The motif
vocabulary of Nakshi Kantha is
rich in symbolism. All the motifs
picked for the Nakshi Kantha are
mindfully chosen for
manifestation of aspirations and
desires of the crafter. The motifs
used apparently were inspired from daily life in general. Trees, creepers, flowers, fishes are most
commonly used motifs. Lotus, Tree of life, Mouse, Peacock, Elephant, Nandi – the bull etc have
remained in the symbolic religious design vocabulary of Nakshi Kantha quilts and other Kantha
articles (Dhameeja, 2004).

These motifs, that appear to be objects of daily life, are rooted in strong traditional and
mythological symbolism. A simple tree is a symbol of ever-growing life that seizes to exist. It‟s
called the „tree of life‟.

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 Chapter 4

TREE OF LIFE
Tree of life (Spiritual concept that says ‘Life must go on’)

A simple tree is a symbol of ever-growing life that seizes to exist. It‟s called the „tree of life‟. It
is a symbol of fertility, and hence continuity of life. A creeper signifies family bonding. A
newlywed woman or a girl soon to marry is considered the carrier of life by bearing the child and
will take the generation and the family name forward. It is considered auspicious if the new bride
carries with her these auspicious symbols. Her aspirations to bear children so that life of the
family moves forward; a good harvest to bring about prosperity in the family are her
manifestations symbolized on the „tree of life‟ motif that she embroiders in the four corners of
the Nakshi Kantha.

It connects us to the three worlds, writes Jasleen Dhamija, of the tree that both soars upward and
plunges deep down while standing erect on the ground (Dhameeja, 2004).

The Tree of Life concept is sacred to most cultures. Its significance transcends conscious reality,
touching the subconscious and beyond the indefinable. Even if the original meaning is obscured,
the symbol retains an unconscious link with our primeval memory and becomes a source of
strength.

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 Symbols have multi-level significance. They may be
personal, such as those occurring in the use of language,
imagery and in the doodling and dream motifs of an
individual. They in turn are derived from symbols, which are
part of the social group and overall tradition. Secondly, there
are interpretations, which are linked with cultural history.
Finally, there are universal symbols, which transcend time
and space and seek out deeper reality, expressive of the
universal consciousness. They are part of what analytical
psychologist Carl Jung calls our "collective consciousness"
FIGURE 7: KANTHA WITH ELABORATE (Dhameeja, 2004).
TREE OF LIFE MOTIF
The Cosmic Tree symbol occurs in practically all cultures. Its
roots plunge deep into the nether world; branches reach upwards towards heaven and support it.
The trunk is the means of ascending upwards and reaching beyond, thereby connecting three
worlds.
In Shamanistic ritual, the priest ascends up the tree, step by step, calling out at every stage the
visions that come to him until he
reaches the seventh step, the
highest. Among the Bhil tribes
in Western India, a dead
ancestor's soul is ritually
appeased by the priest as he
climbs the steps cut into the tree
or a pole. Once he reaches the
seventh stage, the soul is
released and the purified spirit
rests with God. The tree is seen
as a point of contact or an FIGURE 8: INTRICATE TREE OF LIFE, 2006

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antenna, which reaches out to the beyond. The Tree of Life not only stands for growth,
proliferation and regeneration; it is associated with the inexhaustible abundance of life, reflecting
immortality and the cyclic ebb and flow of cosmic life.

In many cultures, specific trees are objects of worship; it's taboo to cut them. The Cyprus is
sacred in Iran, the Peepal in India, the Bodhi in Buddhist countries, the Baobao in West Africa,
the Ficus in Ethiopia, and Oak in Celtic tradition, Ash in Scandinavia, the Lime Tree in Germany
and the Laurel in Greece. These trees became associated with myths and gods; hence the custom
of offering libations to them (wikipedia).

Most of the Nakshi Kantha that have been documented from early 19th Century to some of the till
the mid 20th century have been found with the tree of life motif. The motif has been found placed
in the four corners of the quilt pointing towards the central motif of Nakshi Kantha.

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Two varieties of the fig (called Ashvatta in Sanskrit), the banyan tree and the Peepal tree are the
most revered in the Indian tradition, and both are considered the trees of life. The

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 FIGURE 9: LARGE TREE OF LIFE MOTIF BY A RURAL WOMAN ON QUILT, PIC 1992

Banyan symbolizes fertility, according to the Agni Purana, and is worshipped by those wanting
children. It is also referred to as the tree of immortality in many Hindu scriptures. The banyan is
believed to have nourished mankind with its „milk‟ before the advent of grain and other food.

The fig tree is either a player or an observer in several scriptural events in Hinduism. The sages
and seers sit under the shade of the fig tree to seek enlightenment, hold discourses and conduct
Vedic rituals. The Bodhi tree under which Gautama Buddha achieved enlightenment is a peepal
tree. The fig tree assumes special importance in the Indian tradition owing mainly to its 'two-way
growth' (aerial 'roots' growing downwards) (wikipedia).

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 Chapter 5

LOTUS

Lotus has been a very popular motif in the quilted Nakshi Kantha, according to almost all the
books that talk about Kantha. Several books talk about 108 petal lotus motifs whereas others talk
about 100 petal lotus, called the „satadal’. Niaz Zaman‟s book talks about 100 petal lotus.
However, considering the fact that he is talking about Nakshi Kantha in Bangladesh, may be the
variation was more evident there. The figure 108 has a religious significance in the Hindu
religion. It is believed that the lotus on which Lord Brahma sits has 108 petals. It is also believed
that sati has 108 avatars. The beaded mala (strings of beads) used for chanting in Hindu religion
essentially contain 108 beads (Zaman, 1993).

The lotus has a lot of relevance in the Hindu religion. Goddess Laxmi5, the goddess of financial
well being holds a lotus in her hand, so the lotus symbolizes her. Lord Krishna, who is the avatar
or Lord Vishnu, has his seat on Lotus. Also lord Krishna‟s feet are compared to Lotus. It is
believed that Krishna could walk on the surface of the water like the lotus floats on the surface of
water, hence the comparison. Goddess Saraswati also holds a lotus in her hand. Other than this
symbolism, in Hinduism, lotus is considered to be a good flower to offer to the Gods Shiva, and
goddesses like Saraswati and Kali. (wikipedia)

Nakshi Kantha quilts made a century ago essentially had lotuses on them. The envelopes made
for keeping money and other valuable articles were always containing lotus as the central motif
(Naik, 1996). West Bengal has a widespread popularity for Goddess Kali; hence, the lotus could
be a symbolism for this. It may also be for goddess Laxmi. The people who were making these

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quilts were financially not very well off. And considering this fact it is believed that they
embroidered lotuses with a lot of variations to impress Goddess Laxmi or Goddess Kali. They
probably believed that the goddess might bless them with better status in life. It is unlikely that
the lotus symbolized Krishna; as he is not a very popular god in this area.

Lotus is also a symbol of cosmic harmony and essential womanhood in Hinduism. As the women
use to embroider these quilts to take with them as a dowry item,
embroidering lotus was considered auspicious. For a woman who is
going to be married or was newly married, becoming a mother was
the most important blessing she would want. Bringing prosperity in
the new house where she is wedded and taking the family name
forward by bearing children would earn her the maximum respect

FIGURE 10: CENTRAL LOTUS from the family. And hence she would symbolically pray for these
MOTIF KANTHA
by embroidering lotus on the quilts. It was a manifestation for
marital happiness by these young women (Padmaja, 2006) (Stella Kramrisch, 1983).

Although, an African concept, but I feel it also holds true here. The art of making patterns by
natural mud painting on their textiles had a concept that whatever they have been thinking
contained in the textile forever and so is the part of their universe. While embroidering these
concepts, the women were always thinking about marital happiness and so it was stitched in their
universe forever.

While travelling to see more and more original Kantha pieces and not the especially
commissioned pieces that were there in the museums; I noticed that the villages in West Bengal,
especially in Birbhum district had lots of natural ponds. In fact, for every 7-8 houses there is a
pond which is the source of their water needs. Several of these ponds have lotuses in them. It
could be the common availability of the Paddo, what they call lotus and the religious beliefs that
revolve around the water lily, could make lotus a widely popular motif for the Nakshi Kantha
embroiders.

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Lotus was seen in a wide variety of variation. It mostly was embroidered in the center of the quilt
and rest of the motifs was arranged around it. In the quilts the lotus
embroidered was fairly large. It would almost cover the width of the
quilt leaving space only for the borders, however in the length of the
quilt would still have space for other motifs. Some of the lotuses
seen were less realistic and more symbolic in nature. They were
geometric in shape. Sometimes, a little more realistic feel has also

FIGURE 11: KANTHA been observed in the lotuses embroidered. The petals were paisley
MONEY BAG
shaped and multiple petals were embroidered; however all the petals
were of the same size. In case, of geometrical lotuses, mostly the inner petals were small and the
outer petals were larger. The lotuses were mostly embroidered in Pink or Red color and had
black outlines. The Lotus was always made from the top view. The modern version however has
more of side views.

According to John Irwin, the lotus medallion in the center is also a symbol of entire universe. It
would have four butis or trees in four corners. The depiction of the universe with lotus could be
due to the mythological fact that the universe was created by Lord Brahma, whose seat is on the
lotus.

Other than the Kantha‟ (the quilts), lotus is also a popular motif
for the „Bayton kantha’ which is the wrap for the accounts
book. „Bayton Kantha’ is a square piece with 108 petal lotus in
the center. Another item often seen with the lotus motif is the
„Durjari Kantha’. This Kantha is again made out of a square
piece but is stitched in an envelope format. Three corners of the
square are stitched together in the center and the fourth corner
is left loose for the opening. It has a large central lotus motif
and a border. The significance of the lotus motif on these items
is fairly obvious. They hold account book and valuable
FIGURE 12: LOTUS MOTIF IN
articles/money respectively and so the goddess of finances is MODERN CONTEXT

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symbolized through the lotus.

Kantha made in the current date have lost all these symbolism. Although, lotus motif was seen in
various articles that were being made, but the motifs were modernized and to a large extent
simplified. Moreover, the lotus motif was used purely for design and aesthetic purpose. The
symbolic significance of the religiously important flower is lost. I could not find any new brides
embroidering the lotus however a lot of old pieces that were made by their grandmas when they
got married still existed and had them.

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 Chapter 6

FISHES
(Matsya Avatar)

Out of the ten avatar (incarnations) of Lord Vishnu, the Matsya (fish) avatar was the first one.
This avatar of Fish warns Sage Manu about the great flood and saved the mankind from
extinction. Vishnu in the form of a little fish swam in the cupped palms of Sage Manu who was
washing his hands in the river. Vishnu grew into a large fish and warned a week in advance to
build a large Ark and saves all medicinal herbs, all the varieties of seeds, and to bring the seven
saints along with the serpent Vasuki and other animals in the ark. (wikipedia)

FIGURE 13: VARIOUS FISH MOTIFS

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© Ruhee, National Institute of Fashion Technology | Chapter 6 30
Fishes are essential staple diet of rural Bengal. The Bay of Bengal and lots and lots of ponds
ensures variety and huge quantity of fishes in the region. While traveling to see more and more
Kantha pieces and not the especially commissioned pieces that were there in the museums; I
noticed that the villages in West Bengal, especially in Birbhum district had lots of natural ponds.
In fact, for every 7-8 houses there is a pond which is the source of their water needs. Most of
them were also the fish ponds where they would fish. However they would always ensure that
they leave enough behind for reproduction so as not to deplete them. It may be a strong
possibility that this concept of not fishing all the fishes of the pond so that the reproduction
continues forever makes the fishes a symbol of fertility.

Fishes are considered auspicious for any ceremony, religious or personal. Be it a wedding
ceremony or a religious function, fishes are most important delicacies for these events. They are
a symbol of growth and fertility. These are only few of the several mythological symbols that
stitch their desires in the textile, forever, and become a part of their day to day lives reminding
them of the hopes and wishes to manifest for a life that they believe they belong to (Nag, 1982).

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 Chapter 6

CONCLUSION

From the detailed review and the semiotic study of the three chosen motifs, it is understood that
the motifs in Kantha of the early 19th century till the late 20th century had religious connotations.
The motifs were not merely randomly chosen motifs from the nature. They had manifestations of
aspirations of the artisans. The quilts were used as a canvas to self expresses their desires as
embroidered motifs that were placed in a fashion that portrayed their aspirations. Central lotus
motif had a connotation of financial well being and that the core of entire well being. Tree of
Life , were generally placed in four corners of the quilt and its symbolized evergreen growth in
all the aspects if living. Fishes were placed randomly as they were considered as auspicious
symbols and were considered as savior from any catastrophe in life.

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 Chapter 6

REFERENCE AND BIBLIOGRAPHY

Bibliography

Das, S. (1992). Fabric art: heritage of India. Abhinav Publications.

Dhameeja, J. (2004). Asian Embroidery. Abhinav Publishers & Crafts Council of India.

Merriam Webster Dictionanaries. (2006).

Nag, J. (1982). Arts of Bengal and eastern India. Crafts Council of West Bengal.

Naik, S. D. (1996). Traditional Embroideries of India. APH Publishing Corporation.

Padmaja, K. (2006). The several layers of Kantha. Sui Dhaga, Sutra .

Ranjan, R. (2007). Handmade in India. Council of Handicraft Development Corporations

(COHANDS).

Stella Kramrisch, B. S. (1983). Exploring India's sacred art: selected writings of Stella
Kramrisch. Motilal Banarsidass Publishe.

wikipedia. (n.d.).

Zaman, N. (1993). The Art of Kantha Embroidery. University Press.

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 TABLE OF FIGURES
Figure 1: Kantha Artisan with her dowry quilt, 2006 ......................................................... 7

Figure 2: Close up of kanth Stitches, 2006 ......................................................................... 9

Figure 3: Kanth Artisan takes Pride in the quilt that took her 7 yrs to make, 2007.......... 10

Figure 4: Kantha from early 19th century, victoria memorial museum, 2007 ................. 12

Figure 5: Rabindranath Tagore ......................................................................................... 14

Figure 6: Kantha from early 19th Century........................................................................ 18

Figure 7: Kantha with elaborate tree of life motif ............................................................ 21

Figure 8: INTRICATE TREE OF LIFE, 2006 ................................................................. 21

Figure 9: Large Tree of Life motif by a rural woman on quilt, pic 1992 ......................... 24

Figure 10: Central lotus motif kantha ............................................................................... 26

Figure 11: Kantha Money Bag .......................................................................................... 27

Figure 12: Lotus Motif in Modern Context ...................................................................... 27

Figure 13: Various fish motifs .......................................................................................... 29

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 TABLE OF CONTENTS
Semiotic Study of the Motifs in Nakshi Kantha ....................................................................1
Abstract ........................................................................................................................ 1

Chapter 1 ........................................................................................................ 2

Introduction .......................................................................................................................2
Nakshi Kantha............................................................................................................... 2
Background................................................................................................................... 3
Literature Survey .......................................................................................................... 3
Research Design ........................................................................................................... 4
Research OBJECTIVES ................................................................................................... 5
SCOPE OF THE STUDY ................................................................................................... 6
LIMITATIONS ................................................................................................................ 6

Chapter 2 ........................................................................................................ 7

Understanding Nakshi Kantha .............................................................................................7

Origin ............................................................................................................................ 7
Kantha Unraveled ......................................................................................................... 9
STITCHES ..................................................................................................................... 10
USAGES ....................................................................................................................... 10
Influences on the Craft ............................................................................................... 11
Interactions and Relationship of the Craft with -....................................................... 12

Chapter 3 ...................................................................................................... 14

Self Expression and the Art of Craft ................................................................................... 14

Self Expression............................................................................................................ 14
Mythology and the Symbols of Self-expression ......................................................... 15
Times, Society and the Women Crafter ..................................................................... 17

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 Symbols in the form of motifs used in Nakshi Kantha ............................................... 18

Chapter 4 ...................................................................................................... 20

Tree of Life ....................................................................................................................... 20

Chapter 5 ...................................................................................................... 25

Lotus ................................................................................................................................ 25

Chapter 6 ...................................................................................................... 29

Fishes ............................................................................................................................... 29

Chapter 6 ...................................................................................................... 32

Conclusion........................................................................................................................ 32

Chapter 6 ...................................................................................................... 33

Reference and bibliography .............................................................................................. 33

Bibliography.................................................................................................. 33

Table of Figures ............................................................................................. 34

© Ruhee, National Institute of Fashion Technology | Bibliography 36