About the Book
Perveen Ahmad's
"Aesthetics and Vocabulary of Nakshi Kantha" is not only an enlightening and in depth view
of the Bangladesh National Museum's Collection of 'embroidered quilts', but
gives a new analytical insight into the artistic aspects and meaning of motifs
in kantha art.
In words and pictures she guides the
reader to look at a selected number of some of the best kanthas
in the Museum. In her presentation the author has exposed new angles of
interpretation by investigating the social, religious and political backdrop
which brought about the unique art form. She points to sources and explains how
at a particular historical time, in particular circumstances and as a result of
human conditions both sociological and political, various processes came to
bear upon the evolution of the folk art-craft of nakshi
kantha. Her discovery of religious streams of thought
in the motifs, giving rise to prime information on roots of the symbols, create
a fascinating and novel theory. She states that kantha
art goes beyond the realm of logic and training and possesses a numinous power,
a shakti which is inspired through a divine
gift. Kantha art is not just skilfull
embroidery.
It is a vocabulary, a means of
communication, inviting us to 'read' the aesthetics of design, motif and
symbol, to understand the inner reality of the society as it existed at a given
time.
The evolution of kantha
art, as it received the influences of historical events in the past thousand
years or so led to the creation of an ethnic art expression by the village women
of East Bengal.
The art of kantha
embroidery carries a language that is universal, drawing from the well of
mankind's primitive and traditional art knowledge, and giving to the world a
priceless cultural heritage.
About the Author
Perveen Ahmad, B.A. Hons, History, Kinnaird College, Lahore, and M.A. from
Punjab University, i's a pioneer in the movement for
bringing recognition to the crafts of Bangladesh starting in 1973, when
handicrafts were considered the 'unsophisticated' products of rural masses. She
set out to motivate thousands of village artisans, travelling by country boat
and on foot to convince the producers of the humble sheeka
(jute rope pot holders), cane basket weavers and the embroiderers of kantha, that they possessed a heritage of immense value. In
1974 she was instrumental in organising the "First National Handicrafts
Exhibition" at the Shilpa Kala Academy which led
to the establishment of the first artisan's organisation in the country,
Bangladesh Hastashilpa Samabaya
Federation Ltd. in 1974, named Karika.
She put Bangladesh on the world map by
entering its membership to the World Crafts Council, an affiliate of UNESCO in
1978. She worked devotedly for the development of crafts both at the national
and international levels, organizing the first Asian Regional Artisan's
Workshop 1986 under the World Crafts Council, UNESCO Paris and UNESCO
Bangladesh. She was made Honorary Member of the World Crafts Council in 1986.
She is also a women's activist, a founder member of Women for Women Research
and Study Group, and has several books and research studies on crafts and
socio-economic subjects. She is also founder of the
first all women video film producer's group named FemCom.
Foreword
The story of the Kantha
is rooted in the history, culture, civilization of Bangladesh. Certainly we
have a very rich past, but the history of the origins of folk art is almost
lost. Even after repeated search we could not establish the exact life of a
particular kantha or of the kanthas
kept in different Museums, or in individual collections.
One of the good and largest collections
is housed in the Bangladesh National Museum, although the archival records were
not scientifically categorised and identified till the undertaking of the study
by Ms Perveen Ahmad. While a few kanthas
have names embroidered within the embroidery and some have dates, the
information does not necessarily indicate the name of the maker-producer,
although it could point to a family's ownership.
Ms Perveen
Ahmad had to study each kantha as a separate entity
in context of its design, motifs, decoration and stitches. This was practically
a study linked to the method of Levi Claude Strauss of France who laid more
importance on studying the object insynchronic study
methods. But as we have a history of almost five thousand years, we cannot
ignore it's roots and past.
The designs, symbols, motifs of kantha are available
in other folk arts of Bangladesh. There had been other hard materials such as
wood, iron, silver, gold and also teracotta, the achitectural buildings with designs, but the present study
made by Perveen Ahmad had little scope for a
comparative study of designs, motifs or decorations as available in other folk
arts. Nonetheless, we are quite sure of one thing, that designs and motifs
travelled from one folk art to another very easily.
The artisans that worked with kantha were only women and we do not get any recorded
information about them, so naturally Perveen Ahmad
had to study the kanthas as single elements and this
possibly gave a greater scope for her study through the synchronic analysis
method.
Three great religions of India, i. e.,
Hinduism which came earliest, Buddhism second and Islam which followed last,
each influenced kanthas so greatly that it changed
designs and motifs into a unique decorative art form which are highlighted in
this study.
Ms Perveen
Ahmad has ten chapters in her research work, where she strenuously worked to
find out how the three great religions made their impact through creative
motifs, patterns and arrangements of the kantha. She
made another approach from the view point of symbols, diagrams and forms and
finally she tried best to illustrate the unity in the complexities of kantha. There is no denying the fact, the oldest
inhabitants of Bangladesh known as Australoid, then
the Dravidians.: Aryans and the Muslims made a
chequered history of this region and the kanthas
found a unique character as a multireligious product
and also a multiracial expresssion.
Kantha is a product of
a non-literate society with the psychological and cultural traditions of
Bangladesh. Whether folk art is art or not, did not come into Perveen Ahmad's study. The difference between folk art and
folk craft in many instances is not always clear and transparent. A'simple kantha used as wrapper
or as bedspread does not go in the name of a Nakshi kantha in the village. A kantha
becomes folk art-craft when it absorbs age-old symbols, designs, motifs,
decorations and therefore bears a deeper content. A simple chair without a folk
motif is not folk art, but as soon as a traditional motif or design is placed
on its surface people call it a folk art object.
The sense of beauty displayed in folk
art lies in its decorations and the interpretive mind of the artisan. One kantha is different from the other only when an individual
does something especially with its form. The love of traditional knowledge
finds a lovelier expression in the kantha.
Our experience shows that kanthas were made for everyday use, with beautiful designs
and layout. Stories are there about the making of a kantha
initially by a grandmother, which was left to her daughter or daughter-in-law
who continued the piece down to the grand-daughter. That is why kantha is a product of a particular family with the imprint
of generations. Such kanthas of course are now rare
to find.
I thank Ms Perveen
Ahmad for her endeavours for the first time in Bangladesh, to make such a good
study of traditional kanthas which was not done
before. Kanthas were left to her without any past
references and clear and transparent history. I also thank Bangladesh National
Museum for allowing Ms Perveen Ahmad the opportunity
and independence to do her research.
Ms Perveen
Ahmad has been associated with folk art and crafts through her field experience
in the development of crafts since twenty five years. Her
devotion to reviving and preserving traditional crafts. finally inspired her to make this study.
I do believe this study will inspire
other people to come forward for collection of kanthas
and making more fruitful studies in the future. I do not intend to say that
this is final study of kanthas of Bangladesh but it
will remain an excellent resource.
Author's
Preface
It would be correct to say that the
history of the East Bengal kantha is
as old as the history of the socio-cultural evolution of this geographical
region.
As with- all hand crafted objects there
is no absolute system of dating the beginning of such items in firm historical
time, because all were invented over a period, for various 'needs and purposes,
Just as instruments were evolved for hunting, tools for agriculture, so also
household requirements caused ingenious creations to develop. Alongside of
catering to necessity for different purposes of life, were the specialised objects
of ritual and ceremony, such as items for birth, death, marriage, war and
defence.
It is seen, however, that the
transformation from nomadic and tribal societies to agricultural and
vocational, producer-trading societies, is an overlapping condition in the
subcontinent, all .societal forms existing alongside each other. Thus the
growth of many objects and artefacts of the various primitive, tribal and
agricultural societies developed out of the typical ethnicity of a particular
people. These sprung up not only from the needs of that social group or the
inherited customs and their knowledge of the past, but in fact were a pure
creation of that community. Just as language in the subcontinent has its
hundreds of expressions, through various dialects, changing from region to
region, similarly dress and costume, song and legend, food, festivals and
rituals display different styles and forms, giving repeated proof of the
diversity of mixed races which inhabit the vast and climaticaly
contrasting region.
To trace the origins of the woven saree, (as some have attempted to do by
surveying ancient sculptures) or to investigate the antiquity of alpana, based as it is on both primeval
diagrammatic art, Vedic concepts and lastly Tantric sign symbols which
developed around the second century A. D. gives the researcher sufficient
information to whet the appetite, but cannot be conclusive.
Perhaps such certainty about the origin
of folk art crafts is an impossibility because communities did not only invent
what they did for their needs, but also because they wanted to, for, pleasure.
Aesthetics was their vocabulary and from such sensitivity came about the
expressions of each community, its individual way of manifesting its own personality.
I would even stretch the point a little further by saying that even today in
many parts of the subcontinent articulation within homogenous groups display
clear distinctions in the same society. The expressions known, but it most
likely had a precursor in the humble kheta (khet means field) a coverlet used by village people,
made through the thrift of women recycling old sarees and dhotis by
sewing them together with linear running stitch. Items of
pure necessity in the frugal village economy, the kheta was invented out of necessity. Over a span of time the
potential of the kantha seems to have been realised by the
gifted rural woman and her imagination began to transfer in needlework
memorised images. The evolution of ornamental stitchery, linear, geometric and
figural shapes started to awaken the surface of the cloth, and each region
developed a style emanating from the inherent creativity of rural woman.
This led to making use of all the
existing art forms, alpana floor drawings, designs etched on
food items (peetha,
sandesh, fish and fruits), mat designs,
earthenware patterns, metal and wood engravings and woven textiles,
architecture and diagrammatic symbols. It led also to the invention and
transformation of stitch and embroidery techniques based on the dexterity of
eye and finger. Distinguishable forms of embroidery began to appear regionally,
and just as the material varied depending on the loom cloth available in each
district, the winter temperatures of each area, the influence of ritual and custom
in household life, and the leisure time available to women of various classes,
so emerged the types of kantha, from
the smallest arshilata (cosmetics wrapper) to the
magnificent ceremonial nakshi kantha prepared for the bride and bridegroom.
The fame of Jessore
and Faridpur kantha styles grew around the elaborate use of alpana patterns combined with figures from folk tales and ancient
legends, gods and deities, The Jessore and Faridpur form of stitching is perhaps the finest in the kantha repertoire, excelling in the use of
the kantha phor, the
renowned ground stitch worked by inserting minute stitches in organic fashion,
pulling the threads just enough to create ripples in the soft old cloth. Both
these districts excel in pictorial quilting.
Khulna developed a
grandeur in the scale of its motifs, using magnum size floral and
foliate borders, the kalka, and exotic mythological symbols.
The coloured threads too are more vibrant and contrasting. Kushtia
kanthas, grew upon the fineness of paartola ((border) patterns, the arrangements
mingling with vegetal, floral animal and bird patterns. The Kushtia
stitch formations have one of the widest ranges in single line patterns (such
as Hakim taga,
nolok, shankha-Iata etc.)
as well as the intricate peertole styles
inspired from weaver's designs.
Mymensingh, with its
prolific kantha centre at jamalpur,
developed a lyrical style using motifs more as compositions of spatial art,
rather than relating a theme. The stitchery is mostly linear with filled up
areas engaging a variety of traditional stitches as well as the later chain,
herring bone (maach-kata),
stem stitch and cross stitch.
Bogra has a distinct
recognisable flavour emanating from its greater use of floral meanders, and use
of conventional foliate patterns and the traditional rose. Strong use of red,
dark blue, dark green and yellow employing, a lot of bhorat and stem stitch lend to a typical decorative style.
The Rajshahi kantha achieved a distinct fame for its
texture, heavy and stiff, and worked in set format of design. Some pieces are
said to have a layer of hessein inside resulting in
lasting quality (none were frayed enough to reveal the inner layers). Two types
developed, one with white cloth embroidered in red, blue, black and white in a
repetitious stitch called /ohoria or kaiitya (wavy
and slanted, twisted) and the other worked on traditional cotton fabric called sha/u, with block or printed patterns
stitched in brilliant coloured cross stitches. Rajshahi
is the only district which employed pattern blocks to set the ground design,
and from this angle uses the least free-hand creativity. On the other hand it
evolved a unique format. The designs have distinct resemblance to Islamic
arabesque, and are popularly referred to as carpet kanthas indicating a link with
woven carpet patterns. The sujni kantha of Rajshahi
stencilled over with intricate patterns is embroidered on shalu, its exquisite tiny stitches in white threads creating a
tracery of 'Iimitless' patterns. The patterns are an
enchanting combine of Hindu and Islamic foliate patterns.
Nakshi kantha embroideries all
over Bangladesh have common factors in stitchery, format and composition and
the less famous regional forms are not described here. It needs to be mentioned
that the structure of the kantha, its
outer contour, sets the rationale of the planned piece. Its
embellishment takes form according to the dimensions of the fabric, as a
square, an oblong,' or rectangle. Then follows its intended use, as
quilt (lep),
large spread (nakshi kantha), puja floor
spread (eshon),
cosmetics wrapper (arshilata), wallet (batwa, thoaev), cover
for Quran (ghilaf),
floor spread (galicha), clothes wrapper (bostani, guthri), dhakni or cover,
ceremonial meal spread '(dastar khan), prayermat (jainamaz) and
pillow cover (balisher
chhapa or ohar).
The boundary of the kantha's shape is perhaps the only constraint
to the embroiderer, all else is her freedom, to use the language and images
from the store house of memory and fancy.
As with other areas of folk culture
however, dating the beginning of kantha embroideries
must of necessity rest on inferences from folk lore, from ritualistic and
literary sources, from ancient songs and the stories spun by bards. Endeavours
by present day researchers to establish origins of the craft
from descendants of the embroiderers invariably brings a reply from the
simplistic folk artist, lilt is a very old skill; my grand
mother's great grand mother used to make such
lovely kanthas."
Introduction
There are 994 nakshi kanthas in the Bangladesh National
Museum Collection comprising all the well known types of kantha * These have been acquired over the past thirty years
commencing in 1965, from the districts of Faridpur
(347), Jessore (249), Khulna (83), Rajdhahi (93), Kushtia (87), Rangpur (36), Bogra (24) Mymensingh (7), Jamalpur (11),
Dhaka (3), Pabna (47) Barisal (1), Kishoreganj (1), Tangail (5).
The largest category of kanthas are the bostanis or wrapper cloth for keepi ng valuables followed by
the ashonlasan or floor spread for seating, arshilata or wrapper for personal cosmetics,
the lep, coverlet/quilt, the nakshi kantha and
sujni kantha, or
elaborately embellished quilts for formal occasions, the dastar khan or meal time spread, the batwa, thoiley or ghuntee I a small flap bag for betel leaves or money, the balisher chhapa or ohar i.e. pillow covers, the ghilaf or Holy Quran cover, the galicha, carpet or spread, and dhaknis or food covers.
Most of the pieces are in a good state
of preservation, although some are repaired with darning patches of other
materials and bits of woven saree borders, indicating
an effort of their recent owners to keep the item usable till the time they
were finally given over to the National Museum.
A considerable number of kanthas date from the mid and end of the
19th century while some pieces have been placed from around 1900 A.D. to 1955
A.D. As can well be understood, accuracy in textile dating is not fully
possible but various indicators have been employed to gauge the age of the
objects. These rest on (a) verbal information obtained
at the time of collection, the donor indicating that the piece belonged to
their mother, grand mother or great grand mother, (b) on the condition and texture of the
fabrics, (c) on the motifs, purity of design and repertoire of needlework and
motifs.
The artistic value of the kanthas is of high calibre, and reflects
immense value both in the skill of needle art as well as in the socio-cultural
content of design.
The oldest·kantha (not included) is a Hindu ceremonial
nakshi kantha No.
84.2009 belonging to approximately 1850 A.D. from Gopalganj,
Faridpur. The largest piece is a beautiful Muslim
household kantha No. 68.17 from Khulna approximately
80 years old shown in the Islamic Motif vocabulary chapter. Both these objects
are of remarkable artistic, historical and socio-cultural value.
The documentation forms as planned and
implemented by me, with the assistance and consultation of Mr. Rezaul Karim, Deputy Keeper of
the National Museum and Mr. Mohammad Sayeedur of the Bangla Academy, contains the following information of the
Museum objects: year-wise accession number, name of object, measurement,
material, colour, stitches, description of motifs and design and cultural
speciality, if unusual or significant. These are recorded on 994 forms along
with coloured photographs of each kantha and
placed in 23 albums. I also arranged line drawings of selected motifs as
resource material for a better understanding of the folk treatment of
traditional images and forms. These were skilfully drawn by two young Arts
College students Mr. M. Kamal and Mrs. Selina Haq in eight categories (Tree of Life, Kalka, Birds,
Horses, Elephants, Symbols, Linear patterns, Figural objects) some of which are
included in this book.
The period of study and documentation
covered a year commencing from April 1994. Systematic and efficient logistics
were provided allowing me to scrutinise twenty kanthas at a time from the store archives. These were issued under the
year wise accession numbers in all categories of kanthas.
As I documented the objects on forms
prepared for the purpose, I found a typifying aspect in the collection which
led to a categorisation both of the kantha genre
based on the design styles as well as the districts of their origin. This
created a horizontal and vertical perspective of the various genres, their
regional roots, and importantly, to a diagonal criss-cross or overlapping of
design heritage, motifs, colours and stitches. It became clear to me that the
scope of my assignment being limited, I should not be tempted into discussing
anthropological and ethnological aspects. I could not however ignore the
indicators which point so clearly to the evolution of Kantha art. I therefore have made primary references to the possible
origins of design, roots of motifs and the ethnic folk treatment of classical
symbols.
During my study it emerged that the
migratory patterns of the rural female population, often through marriage, is a
major factor in the transfer of skill and design, while the learning of new
stitch techniques also crosses family boundaries, picking up the method and
form through community interaction. Kantha art
is an outcome of collective knowledge and shared technology, erasing communal
and religious parameters. Motifs and stitching techniques appeared vastly
mobile, especially among neighbouring districts. It is said by the collectors
that the broad rivers, which often mark district boundaries, are the means of
carrying designs and styles easily from region to region. It often took further
detailed scrutiny to distinguish Faridpur kanthas from jessore,
through the well-tried method of typicality of stitches. Khulna kanthas despite their well known stitches
and format sometimes displayed marked influences of motifs/design from Jessore and Rangpur. One of the
purest forms has remained the Rajshahi quilts, in
design, texture and technique, neither borrowing, and only
very rarely lending, its form and stitchery to other regions. There is probably
an explanation for this which we may consider later.
It was informed to me by the
Keeper-in-charge of the Decorative Arts Department that the acquisitions were
made mostly through the assistance of traditional collectors of antiques, many
of whose home districts provided the base for their access to remote villages
and precious heirlooms. One of the most active collectors.
Mr. Nurul Islam of Urfi
village in Faridpur informed me of the loss of many
valuable kanthas during the Liberation War in 1971,
when both Hindu and Muslim families were uprooted, leaving behind their homes
to loot and arson. Such dislocation has always taken a toll on cultural wealth
and the damage is among man's worst crimes against mankind's history. We are
seeing this in current times happening in Afghanistan and Bosnia.
It is with a sense of gratitude that I
viewed the kanthas which still survived despite the
devastation. In jessore I was deeply touched by the
looks of nostalgia on the faces of several elderly Hindu and Muslim women who
sat in their courtyards explaining to me that they had possessed many fine kenthes for different home use. I asked
"Why aren't you making kanthas now"?
"We do", they said, "our daughters-in-law do make some, but not
like before". They brought out a few pillow covers, lightly stitched lep quilts and small ashons. "You need an atmosphere to make kanthas," an elder woman said. "These days there is a lot
more work to do for housewives. And you need peace in the environment. That's
gone."
Authenticating textiles is a very
difficult task and facilities for doing so in the National Museum are limited.
Some of the kanthas in the collection were difficult to
verify in terms of district origin, and my opinion differed. In the realm of
folk arts and crafts complete accuracy is not possible and therefore a marginal
error factor remains, even though I obtained the opinion of specialists such as
Mr. Mohammad Sayeedur, Collector and Folk Lore expert
at the Bangla Academy. I also consulted Collectors
from whose field expeditions the National Museum Collection had been built up,
Mr. Nurul Islam and Mr. Abdullah Khan. We have
attempted to be correct within the limitations.
For the purpose of my study I delved
into a broad range of books surrounding the art of kantha such as on Folk Art, Vedic, Puranic
and Tantric symbols, Hindu deities, Rituals and Vrata Alpana,
Architecture, also Sufism, Islam and Abstract Art.
In order to 'read' the pictography of kantha's unique folk art expression I drew
stimulation from the expert discourses of Professor Abdul Hafeez
whose scholarly knowledge of folk lore and anthropological methodology provided
valuable analysis on the subject. He has been my resource person in all my
study. I also had discussions with Dr. Momen Chowdhury formerly of Bangla
Academy, Mr. Sayeed Ahmad, Art Critic and Playwright,
and Mr. Shib Shanker Chakravarty
whose book on Hindu deities and their incarnations has been most useful, and
wish to thank them profusely for their guidance.
Study on a subject as vast and complex
as the art of kantha requires a lot more time than the
one year I had available, for which reason I restricted myself to a selective
approach. With the consultation of Professor Abdu I Hafeez
I decided to limit my study to a methodology that is influenced by the great
research theoretician and scholar Levi Claude Strauss, whose book "Totemism" (1962) changed the understanding and
approach towards studies on primitive and ancient cultures. I have accordingly
used a method which concentrates on what Levi-Strauss calls the 'structural
reading' of forms. To clarify this approach I quote from Roger C. Poole's
introduction to the book "Totemism",
"As in all religious phenomena so in Totemism
there is a feedback between signified and signifying; the emotions fed into the
symbol or emblem are then re-emitted into the experience of the society which
created them and this is the source of the society itself".
In the course of my viewing of kanthas I gained an insight into the several
streams of design, and decided to classify them for purpose of a better
interpretation. I felt that the distinction in form, layout and patterns
deserved deeper analysis so as to focus the motifs/patterns in the background
of their likely roots. This resulted in setting up sections which highlight the
aesthetic and sociological heritage from which kanthas art may have been inspired (alpana,
terracotta. mat weaving, wood carving, textile, peetha patterns, architecture, carpets etc.). This has resulted in arranging
the book in ten parts. By following the guideline of Levi-Strauss's
structuralism, I resorted to a method of studying the inter-connected elements
in motif and design which gave insight to the language and vocabulary of the
symbols. Besides my study uses a synchronic method viewing the contents of each
kantha "as it exists at a given
time," and "contents itself with a minute examination of a system at
a given moment of evolution, laterally." In this way I was able to pick
out prominent motifs, consider their interconnections with a past inheritance,
but refrain from over-emphasising excessive explanations of their 'origins',
and rest more on the folk expressions of those symbols, through the aesthetic
sensitivity and simplistic vocabulary of kantha artisans. I have endeavoured to show the way to view the
subconscious life of the rural people as it figured in myths, rites, social
behaviour and link them all together as communicative discourse, manifest in
the beautiful people's art of kantha. The
study has had limitations not only of time but also access to resource persons
knowledgeable in the kantha art media, but attempts have been
made to 'read' the signifying elements in selected pieces and present a level
of explanation. This may be considered a presentation which reflects the social
system of our recent past, leading to a better understanding of our ancient
past.
The section on Hindu ceremonial kanthas entitled Hindu Symbolism in Design, points to well recognised motifs of
ancient origin: the lotus, sun, wheel, horse, elephant, birds, fish, wave,
shell, plants, and the world tree. The integration of cult and ritual symbols
in these kanthas, metamorphosed by the special
treatment of the rural women, were drawn into her world by juxtaposing these
signs at level with her domestic objects. The much enjoyed paan leaf, indispensable betel nut-cutter, hair comb, mirror and
vermilion casket, the boat, palanquin, scissors and oil lamp synthesise into
soft fabric layers, as the woman embroiderer's needle and thread wrote her
thoughts and spoke her heart. In this
section the viewer gets the closest look one .can of the almost lost magical kantha art-craft as well as the motifs
which allow at least a faint connection with the marvellously rich storehouse
of the village woman's surroundings and traditional design knowledge. Other
Museums, both government and private in Bangladesh, do have valuable kanthas in the category, but perhaps none
date much further that the pieces seen here.
While being aware throughout my study of
the many streams of culture and history which shape sub continental design and
symbolic form I was struck, while viewing three objects, all bostenis, which appeared to me to have a Buddhist Vocabulary. I have presented
these three objects separately as being significant as a base for future
research. The universal principle of Buddhist architecture, a high square
plinth with four approaches, four corner platforms or cells for meditation, the
corridor for circumambulation and the central mound of the stupa
manifesting Buddha, are visible at Paharpur and Mainamati in Bangladesh as elsewhere in the world. Could
such an image have trickled down into folk art through over two thousand
millennia, or could some seen architectural form have led to an expression of
abstract symbolism in the design of these kanthas ?
It became obvious
during my study that the briliant Rajshahi
kanthas on red shalu using cross stitch contained distinct similarity to the Central
Asian carpet tradition. I searched and found pictures of Turkoman,
Caucasian and Kirghistan carpets which carried motifs
resembling those of the Rajshahi carpet kantha types.
I have focused on the Islamic arabesque forms and referred to the earlier
Byzantine and Persian designs seen in the cross, the key, crenellations,
the star and geometric forms. The findings led to set up a section of Islamic Decorative Motif.
The section entitled Traditional Geometric Patterns is a
significant part of the Museum's Collection. This style is worked on several
types of kanthas, the bosteni, the lep kantha, arshilata and ashon (asan). It is perhaps one of the most
significant design legacies which indicates the folk
artist's innate understanding of geometric form. It is worth considering
deeply, the utilisation of squares, triangles, rectangles, polygons, on the
pliant texture of old cloth. Geometric forms are transferred to visual,
textural harmony and by an ingenous linear
enclosing-encasing method lives out the principle of kantha making, which is to strengthen, reinforce and rejuvenate the
material in hand by working its surface with intricate patterns.
Another section focuses on the Tree of Life, delineating on its
ancient role in mankind's magico-ritualistic,
spiritual and moral history, its prominent position in monotheist religions and
its absorption into folk art as a decorative symbol.
Similarly the Kalka (paisley) is looked at in the context of its prominence as
a corner motif, border motif, single or dual figural form and its substitution
for the 'tree'. Its complete submersion into sub continental art is perhaps
partly explained by its adaptable form, which lends to optical illusion as it
transforms from leaf, to bird and scroll.
The section on Linear Paartola Patterns warranted a
separate focus because this is also one of the richest treasures of kantha needleart.
The infinite combinations evolved from the nakshi paar woven saree
borders and tribal weaves creates the opus magnum of paartola design, which is a jewel in the crown
of kantha art. Both as skill of finger and
eye, working in inspired unison, the patterns fulfil the essential requirement
of rejuvenating thread-bare cloth by covering the layers in close and thick stiches, imitating loom design.
One small portion has been delegated to
the combination of Rath and Masjid motifs seen in five kanthas. These may possibly have been placed in the Decorative Design
section, since their design-layout includes an assemblage of several well known
folk images, but their formats appear to contain a firm content and a specific
symbolism of communal integration. The chariot (rath) and the mosque (masjid) motifs
carry strong symbolic signals in the kantha artist's
expression.
A significant separation is the Decorative Motif Vocabulary. This art
form is truly the expression of the spirit of rural east Bengal. The communal
harmony of the people living side by side with their beliefs, customs and
festivities has been exemplary in a subcontinent often shaken by instigated
religious discord. Such folk art expressions are the outcome of the Vaisnav and Sufi movements of the 12th century onwards.
Bengal with its humane attitudes and
closeness to nature inculcated a
Contents
Message,
Director General, Bangladesh National Museum Foreword Prof. Abdul Hafiz |
|
Author's
Preface |
i-vii |
Introduction |
viii-xv |
Chapter 1 |
|
Hindu
Symbolism in Kantha Design |
1-15 |
Chapter 2 |
|
Buddha-Stupa Image |
16-19 |
Chapter 3 |
|
Islamic
Decorative Motif |
20-30 |
Chapter 4 |
|
Traditional
Geometric Patterns |
31-36 |
Chapter 5 |
|
Tree
of Life |
37-42 |
Chapter 6 |
|
Kalka (Paisley) |
43-49 |
Chapter 7 |
|
Rath and Masjid |
50-55 |
Chapter 8 |
|
Linear
Paartola Patterns |
56-62 |
Chapter 9 |
|
Decorative
Motifs |
63-77 |
Chapter 10 |
|
Echoes
from Two Worlds |
78-82 |
Appendixes |
|
Motifs/
Images in Sub-continental Art |
83-86 |
Vedantic and Hindu Pantheon |
87-89 |
Glossary |
90-94 |
Bibliography |
95-96 |
Index |
97-98 |
List
of Plates |
99-101 |
About the Book
Perveen Ahmad's
"Aesthetics and Vocabulary of Nakshi Kantha" is not only an enlightening and in depth view
of the Bangladesh National Museum's Collection of 'embroidered quilts', but
gives a new analytical insight into the artistic aspects and meaning of motifs
in kantha art.
In words and pictures she guides the
reader to look at a selected number of some of the best kanthas
in the Museum. In her presentation the author has exposed new angles of
interpretation by investigating the social, religious and political backdrop
which brought about the unique art form. She points to sources and explains how
at a particular historical time, in particular circumstances and as a result of
human conditions both sociological and political, various processes came to
bear upon the evolution of the folk art-craft of nakshi
kantha. Her discovery of religious streams of thought
in the motifs, giving rise to prime information on roots of the symbols, create
a fascinating and novel theory. She states that kantha
art goes beyond the realm of logic and training and possesses a numinous power,
a shakti which is inspired through a divine
gift. Kantha art is not just skilfull
embroidery.
It is a vocabulary, a means of
communication, inviting us to 'read' the aesthetics of design, motif and
symbol, to understand the inner reality of the society as it existed at a given
time.
The evolution of kantha
art, as it received the influences of historical events in the past thousand
years or so led to the creation of an ethnic art expression by the village women
of East Bengal.
The art of kantha
embroidery carries a language that is universal, drawing from the well of
mankind's primitive and traditional art knowledge, and giving to the world a
priceless cultural heritage.
About the Author
Perveen Ahmad, B.A. Hons, History, Kinnaird College, Lahore, and M.A. from
Punjab University, i's a pioneer in the movement for
bringing recognition to the crafts of Bangladesh starting in 1973, when
handicrafts were considered the 'unsophisticated' products of rural masses. She
set out to motivate thousands of village artisans, travelling by country boat
and on foot to convince the producers of the humble sheeka
(jute rope pot holders), cane basket weavers and the embroiderers of kantha, that they possessed a heritage of immense value. In
1974 she was instrumental in organising the "First National Handicrafts
Exhibition" at the Shilpa Kala Academy which led
to the establishment of the first artisan's organisation in the country,
Bangladesh Hastashilpa Samabaya
Federation Ltd. in 1974, named Karika.
She put Bangladesh on the world map by
entering its membership to the World Crafts Council, an affiliate of UNESCO in
1978. She worked devotedly for the development of crafts both at the national
and international levels, organizing the first Asian Regional Artisan's
Workshop 1986 under the World Crafts Council, UNESCO Paris and UNESCO
Bangladesh. She was made Honorary Member of the World Crafts Council in 1986.
She is also a women's activist, a founder member of Women for Women Research
and Study Group, and has several books and research studies on crafts and
socio-economic subjects. She is also founder of the
first all women video film producer's group named FemCom.
Foreword
The story of the Kantha
is rooted in the history, culture, civilization of Bangladesh. Certainly we
have a very rich past, but the history of the origins of folk art is almost
lost. Even after repeated search we could not establish the exact life of a
particular kantha or of the kanthas
kept in different Museums, or in individual collections.
One of the good and largest collections
is housed in the Bangladesh National Museum, although the archival records were
not scientifically categorised and identified till the undertaking of the study
by Ms Perveen Ahmad. While a few kanthas
have names embroidered within the embroidery and some have dates, the
information does not necessarily indicate the name of the maker-producer,
although it could point to a family's ownership.
Ms Perveen
Ahmad had to study each kantha as a separate entity
in context of its design, motifs, decoration and stitches. This was practically
a study linked to the method of Levi Claude Strauss of France who laid more
importance on studying the object insynchronic study
methods. But as we have a history of almost five thousand years, we cannot
ignore it's roots and past.
The designs, symbols, motifs of kantha are available
in other folk arts of Bangladesh. There had been other hard materials such as
wood, iron, silver, gold and also teracotta, the achitectural buildings with designs, but the present study
made by Perveen Ahmad had little scope for a
comparative study of designs, motifs or decorations as available in other folk
arts. Nonetheless, we are quite sure of one thing, that designs and motifs
travelled from one folk art to another very easily.
The artisans that worked with kantha were only women and we do not get any recorded
information about them, so naturally Perveen Ahmad
had to study the kanthas as single elements and this
possibly gave a greater scope for her study through the synchronic analysis
method.
Three great religions of India, i. e.,
Hinduism which came earliest, Buddhism second and Islam which followed last,
each influenced kanthas so greatly that it changed
designs and motifs into a unique decorative art form which are highlighted in
this study.
Ms Perveen
Ahmad has ten chapters in her research work, where she strenuously worked to
find out how the three great religions made their impact through creative
motifs, patterns and arrangements of the kantha. She
made another approach from the view point of symbols, diagrams and forms and
finally she tried best to illustrate the unity in the complexities of kantha. There is no denying the fact, the oldest
inhabitants of Bangladesh known as Australoid, then
the Dravidians.: Aryans and the Muslims made a
chequered history of this region and the kanthas
found a unique character as a multireligious product
and also a multiracial expresssion.
Kantha is a product of
a non-literate society with the psychological and cultural traditions of
Bangladesh. Whether folk art is art or not, did not come into Perveen Ahmad's study. The difference between folk art and
folk craft in many instances is not always clear and transparent. A'simple kantha used as wrapper
or as bedspread does not go in the name of a Nakshi kantha in the village. A kantha
becomes folk art-craft when it absorbs age-old symbols, designs, motifs,
decorations and therefore bears a deeper content. A simple chair without a folk
motif is not folk art, but as soon as a traditional motif or design is placed
on its surface people call it a folk art object.
The sense of beauty displayed in folk
art lies in its decorations and the interpretive mind of the artisan. One kantha is different from the other only when an individual
does something especially with its form. The love of traditional knowledge
finds a lovelier expression in the kantha.
Our experience shows that kanthas were made for everyday use, with beautiful designs
and layout. Stories are there about the making of a kantha
initially by a grandmother, which was left to her daughter or daughter-in-law
who continued the piece down to the grand-daughter. That is why kantha is a product of a particular family with the imprint
of generations. Such kanthas of course are now rare
to find.
I thank Ms Perveen
Ahmad for her endeavours for the first time in Bangladesh, to make such a good
study of traditional kanthas which was not done
before. Kanthas were left to her without any past
references and clear and transparent history. I also thank Bangladesh National
Museum for allowing Ms Perveen Ahmad the opportunity
and independence to do her research.
Ms Perveen
Ahmad has been associated with folk art and crafts through her field experience
in the development of crafts since twenty five years. Her
devotion to reviving and preserving traditional crafts. finally inspired her to make this study.
I do believe this study will inspire
other people to come forward for collection of kanthas
and making more fruitful studies in the future. I do not intend to say that
this is final study of kanthas of Bangladesh but it
will remain an excellent resource.
Author's
Preface
It would be correct to say that the
history of the East Bengal kantha is
as old as the history of the socio-cultural evolution of this geographical
region.
As with- all hand crafted objects there
is no absolute system of dating the beginning of such items in firm historical
time, because all were invented over a period, for various 'needs and purposes,
Just as instruments were evolved for hunting, tools for agriculture, so also
household requirements caused ingenious creations to develop. Alongside of
catering to necessity for different purposes of life, were the specialised objects
of ritual and ceremony, such as items for birth, death, marriage, war and
defence.
It is seen, however, that the
transformation from nomadic and tribal societies to agricultural and
vocational, producer-trading societies, is an overlapping condition in the
subcontinent, all .societal forms existing alongside each other. Thus the
growth of many objects and artefacts of the various primitive, tribal and
agricultural societies developed out of the typical ethnicity of a particular
people. These sprung up not only from the needs of that social group or the
inherited customs and their knowledge of the past, but in fact were a pure
creation of that community. Just as language in the subcontinent has its
hundreds of expressions, through various dialects, changing from region to
region, similarly dress and costume, song and legend, food, festivals and
rituals display different styles and forms, giving repeated proof of the
diversity of mixed races which inhabit the vast and climaticaly
contrasting region.
To trace the origins of the woven saree, (as some have attempted to do by
surveying ancient sculptures) or to investigate the antiquity of alpana, based as it is on both primeval
diagrammatic art, Vedic concepts and lastly Tantric sign symbols which
developed around the second century A. D. gives the researcher sufficient
information to whet the appetite, but cannot be conclusive.
Perhaps such certainty about the origin
of folk art crafts is an impossibility because communities did not only invent
what they did for their needs, but also because they wanted to, for, pleasure.
Aesthetics was their vocabulary and from such sensitivity came about the
expressions of each community, its individual way of manifesting its own personality.
I would even stretch the point a little further by saying that even today in
many parts of the subcontinent articulation within homogenous groups display
clear distinctions in the same society. The expressions known, but it most
likely had a precursor in the humble kheta (khet means field) a coverlet used by village people,
made through the thrift of women recycling old sarees and dhotis by
sewing them together with linear running stitch. Items of
pure necessity in the frugal village economy, the kheta was invented out of necessity. Over a span of time the
potential of the kantha seems to have been realised by the
gifted rural woman and her imagination began to transfer in needlework
memorised images. The evolution of ornamental stitchery, linear, geometric and
figural shapes started to awaken the surface of the cloth, and each region
developed a style emanating from the inherent creativity of rural woman.
This led to making use of all the
existing art forms, alpana floor drawings, designs etched on
food items (peetha,
sandesh, fish and fruits), mat designs,
earthenware patterns, metal and wood engravings and woven textiles,
architecture and diagrammatic symbols. It led also to the invention and
transformation of stitch and embroidery techniques based on the dexterity of
eye and finger. Distinguishable forms of embroidery began to appear regionally,
and just as the material varied depending on the loom cloth available in each
district, the winter temperatures of each area, the influence of ritual and custom
in household life, and the leisure time available to women of various classes,
so emerged the types of kantha, from
the smallest arshilata (cosmetics wrapper) to the
magnificent ceremonial nakshi kantha prepared for the bride and bridegroom.
The fame of Jessore
and Faridpur kantha styles grew around the elaborate use of alpana patterns combined with figures from folk tales and ancient
legends, gods and deities, The Jessore and Faridpur form of stitching is perhaps the finest in the kantha repertoire, excelling in the use of
the kantha phor, the
renowned ground stitch worked by inserting minute stitches in organic fashion,
pulling the threads just enough to create ripples in the soft old cloth. Both
these districts excel in pictorial quilting.
Khulna developed a
grandeur in the scale of its motifs, using magnum size floral and
foliate borders, the kalka, and exotic mythological symbols.
The coloured threads too are more vibrant and contrasting. Kushtia
kanthas, grew upon the fineness of paartola ((border) patterns, the arrangements
mingling with vegetal, floral animal and bird patterns. The Kushtia
stitch formations have one of the widest ranges in single line patterns (such
as Hakim taga,
nolok, shankha-Iata etc.)
as well as the intricate peertole styles
inspired from weaver's designs.
Mymensingh, with its
prolific kantha centre at jamalpur,
developed a lyrical style using motifs more as compositions of spatial art,
rather than relating a theme. The stitchery is mostly linear with filled up
areas engaging a variety of traditional stitches as well as the later chain,
herring bone (maach-kata),
stem stitch and cross stitch.
Bogra has a distinct
recognisable flavour emanating from its greater use of floral meanders, and use
of conventional foliate patterns and the traditional rose. Strong use of red,
dark blue, dark green and yellow employing, a lot of bhorat and stem stitch lend to a typical decorative style.
The Rajshahi kantha achieved a distinct fame for its
texture, heavy and stiff, and worked in set format of design. Some pieces are
said to have a layer of hessein inside resulting in
lasting quality (none were frayed enough to reveal the inner layers). Two types
developed, one with white cloth embroidered in red, blue, black and white in a
repetitious stitch called /ohoria or kaiitya (wavy
and slanted, twisted) and the other worked on traditional cotton fabric called sha/u, with block or printed patterns
stitched in brilliant coloured cross stitches. Rajshahi
is the only district which employed pattern blocks to set the ground design,
and from this angle uses the least free-hand creativity. On the other hand it
evolved a unique format. The designs have distinct resemblance to Islamic
arabesque, and are popularly referred to as carpet kanthas indicating a link with
woven carpet patterns. The sujni kantha of Rajshahi
stencilled over with intricate patterns is embroidered on shalu, its exquisite tiny stitches in white threads creating a
tracery of 'Iimitless' patterns. The patterns are an
enchanting combine of Hindu and Islamic foliate patterns.
Nakshi kantha embroideries all
over Bangladesh have common factors in stitchery, format and composition and
the less famous regional forms are not described here. It needs to be mentioned
that the structure of the kantha, its
outer contour, sets the rationale of the planned piece. Its
embellishment takes form according to the dimensions of the fabric, as a
square, an oblong,' or rectangle. Then follows its intended use, as
quilt (lep),
large spread (nakshi kantha), puja floor
spread (eshon),
cosmetics wrapper (arshilata), wallet (batwa, thoaev), cover
for Quran (ghilaf),
floor spread (galicha), clothes wrapper (bostani, guthri), dhakni or cover,
ceremonial meal spread '(dastar khan), prayermat (jainamaz) and
pillow cover (balisher
chhapa or ohar).
The boundary of the kantha's shape is perhaps the only constraint
to the embroiderer, all else is her freedom, to use the language and images
from the store house of memory and fancy.
As with other areas of folk culture
however, dating the beginning of kantha embroideries
must of necessity rest on inferences from folk lore, from ritualistic and
literary sources, from ancient songs and the stories spun by bards. Endeavours
by present day researchers to establish origins of the craft
from descendants of the embroiderers invariably brings a reply from the
simplistic folk artist, lilt is a very old skill; my grand
mother's great grand mother used to make such
lovely kanthas."
Introduction
There are 994 nakshi kanthas in the Bangladesh National
Museum Collection comprising all the well known types of kantha * These have been acquired over the past thirty years
commencing in 1965, from the districts of Faridpur
(347), Jessore (249), Khulna (83), Rajdhahi (93), Kushtia (87), Rangpur (36), Bogra (24) Mymensingh (7), Jamalpur (11),
Dhaka (3), Pabna (47) Barisal (1), Kishoreganj (1), Tangail (5).
The largest category of kanthas are the bostanis or wrapper cloth for keepi ng valuables followed by
the ashonlasan or floor spread for seating, arshilata or wrapper for personal cosmetics,
the lep, coverlet/quilt, the nakshi kantha and
sujni kantha, or
elaborately embellished quilts for formal occasions, the dastar khan or meal time spread, the batwa, thoiley or ghuntee I a small flap bag for betel leaves or money, the balisher chhapa or ohar i.e. pillow covers, the ghilaf or Holy Quran cover, the galicha, carpet or spread, and dhaknis or food covers.
Most of the pieces are in a good state
of preservation, although some are repaired with darning patches of other
materials and bits of woven saree borders, indicating
an effort of their recent owners to keep the item usable till the time they
were finally given over to the National Museum.
A considerable number of kanthas date from the mid and end of the
19th century while some pieces have been placed from around 1900 A.D. to 1955
A.D. As can well be understood, accuracy in textile dating is not fully
possible but various indicators have been employed to gauge the age of the
objects. These rest on (a) verbal information obtained
at the time of collection, the donor indicating that the piece belonged to
their mother, grand mother or great grand mother, (b) on the condition and texture of the
fabrics, (c) on the motifs, purity of design and repertoire of needlework and
motifs.
The artistic value of the kanthas is of high calibre, and reflects
immense value both in the skill of needle art as well as in the socio-cultural
content of design.
The oldest·kantha (not included) is a Hindu ceremonial
nakshi kantha No.
84.2009 belonging to approximately 1850 A.D. from Gopalganj,
Faridpur. The largest piece is a beautiful Muslim
household kantha No. 68.17 from Khulna approximately
80 years old shown in the Islamic Motif vocabulary chapter. Both these objects
are of remarkable artistic, historical and socio-cultural value.
The documentation forms as planned and
implemented by me, with the assistance and consultation of Mr. Rezaul Karim, Deputy Keeper of
the National Museum and Mr. Mohammad Sayeedur of the Bangla Academy, contains the following information of the
Museum objects: year-wise accession number, name of object, measurement,
material, colour, stitches, description of motifs and design and cultural
speciality, if unusual or significant. These are recorded on 994 forms along
with coloured photographs of each kantha and
placed in 23 albums. I also arranged line drawings of selected motifs as
resource material for a better understanding of the folk treatment of
traditional images and forms. These were skilfully drawn by two young Arts
College students Mr. M. Kamal and Mrs. Selina Haq in eight categories (Tree of Life, Kalka, Birds,
Horses, Elephants, Symbols, Linear patterns, Figural objects) some of which are
included in this book.
The period of study and documentation
covered a year commencing from April 1994. Systematic and efficient logistics
were provided allowing me to scrutinise twenty kanthas at a time from the store archives. These were issued under the
year wise accession numbers in all categories of kanthas.
As I documented the objects on forms
prepared for the purpose, I found a typifying aspect in the collection which
led to a categorisation both of the kantha genre
based on the design styles as well as the districts of their origin. This
created a horizontal and vertical perspective of the various genres, their
regional roots, and importantly, to a diagonal criss-cross or overlapping of
design heritage, motifs, colours and stitches. It became clear to me that the
scope of my assignment being limited, I should not be tempted into discussing
anthropological and ethnological aspects. I could not however ignore the
indicators which point so clearly to the evolution of Kantha art. I therefore have made primary references to the possible
origins of design, roots of motifs and the ethnic folk treatment of classical
symbols.
During my study it emerged that the
migratory patterns of the rural female population, often through marriage, is a
major factor in the transfer of skill and design, while the learning of new
stitch techniques also crosses family boundaries, picking up the method and
form through community interaction. Kantha art
is an outcome of collective knowledge and shared technology, erasing communal
and religious parameters. Motifs and stitching techniques appeared vastly
mobile, especially among neighbouring districts. It is said by the collectors
that the broad rivers, which often mark district boundaries, are the means of
carrying designs and styles easily from region to region. It often took further
detailed scrutiny to distinguish Faridpur kanthas from jessore,
through the well-tried method of typicality of stitches. Khulna kanthas despite their well known stitches
and format sometimes displayed marked influences of motifs/design from Jessore and Rangpur. One of the
purest forms has remained the Rajshahi quilts, in
design, texture and technique, neither borrowing, and only
very rarely lending, its form and stitchery to other regions. There is probably
an explanation for this which we may consider later.
It was informed to me by the
Keeper-in-charge of the Decorative Arts Department that the acquisitions were
made mostly through the assistance of traditional collectors of antiques, many
of whose home districts provided the base for their access to remote villages
and precious heirlooms. One of the most active collectors.
Mr. Nurul Islam of Urfi
village in Faridpur informed me of the loss of many
valuable kanthas during the Liberation War in 1971,
when both Hindu and Muslim families were uprooted, leaving behind their homes
to loot and arson. Such dislocation has always taken a toll on cultural wealth
and the damage is among man's worst crimes against mankind's history. We are
seeing this in current times happening in Afghanistan and Bosnia.
It is with a sense of gratitude that I
viewed the kanthas which still survived despite the
devastation. In jessore I was deeply touched by the
looks of nostalgia on the faces of several elderly Hindu and Muslim women who
sat in their courtyards explaining to me that they had possessed many fine kenthes for different home use. I asked
"Why aren't you making kanthas now"?
"We do", they said, "our daughters-in-law do make some, but not
like before". They brought out a few pillow covers, lightly stitched lep quilts and small ashons. "You need an atmosphere to make kanthas," an elder woman said. "These days there is a lot
more work to do for housewives. And you need peace in the environment. That's
gone."
Authenticating textiles is a very
difficult task and facilities for doing so in the National Museum are limited.
Some of the kanthas in the collection were difficult to
verify in terms of district origin, and my opinion differed. In the realm of
folk arts and crafts complete accuracy is not possible and therefore a marginal
error factor remains, even though I obtained the opinion of specialists such as
Mr. Mohammad Sayeedur, Collector and Folk Lore expert
at the Bangla Academy. I also consulted Collectors
from whose field expeditions the National Museum Collection had been built up,
Mr. Nurul Islam and Mr. Abdullah Khan. We have
attempted to be correct within the limitations.
For the purpose of my study I delved
into a broad range of books surrounding the art of kantha such as on Folk Art, Vedic, Puranic
and Tantric symbols, Hindu deities, Rituals and Vrata Alpana,
Architecture, also Sufism, Islam and Abstract Art.
In order to 'read' the pictography of kantha's unique folk art expression I drew
stimulation from the expert discourses of Professor Abdul Hafeez
whose scholarly knowledge of folk lore and anthropological methodology provided
valuable analysis on the subject. He has been my resource person in all my
study. I also had discussions with Dr. Momen Chowdhury formerly of Bangla
Academy, Mr. Sayeed Ahmad, Art Critic and Playwright,
and Mr. Shib Shanker Chakravarty
whose book on Hindu deities and their incarnations has been most useful, and
wish to thank them profusely for their guidance.
Study on a subject as vast and complex
as the art of kantha requires a lot more time than the
one year I had available, for which reason I restricted myself to a selective
approach. With the consultation of Professor Abdu I Hafeez
I decided to limit my study to a methodology that is influenced by the great
research theoretician and scholar Levi Claude Strauss, whose book "Totemism" (1962) changed the understanding and
approach towards studies on primitive and ancient cultures. I have accordingly
used a method which concentrates on what Levi-Strauss calls the 'structural
reading' of forms. To clarify this approach I quote from Roger C. Poole's
introduction to the book "Totemism",
"As in all religious phenomena so in Totemism
there is a feedback between signified and signifying; the emotions fed into the
symbol or emblem are then re-emitted into the experience of the society which
created them and this is the source of the society itself".
In the course of my viewing of kanthas I gained an insight into the several
streams of design, and decided to classify them for purpose of a better
interpretation. I felt that the distinction in form, layout and patterns
deserved deeper analysis so as to focus the motifs/patterns in the background
of their likely roots. This resulted in setting up sections which highlight the
aesthetic and sociological heritage from which kanthas art may have been inspired (alpana,
terracotta. mat weaving, wood carving, textile, peetha patterns, architecture, carpets etc.). This has resulted in arranging
the book in ten parts. By following the guideline of Levi-Strauss's
structuralism, I resorted to a method of studying the inter-connected elements
in motif and design which gave insight to the language and vocabulary of the
symbols. Besides my study uses a synchronic method viewing the contents of each
kantha "as it exists at a given
time," and "contents itself with a minute examination of a system at
a given moment of evolution, laterally." In this way I was able to pick
out prominent motifs, consider their interconnections with a past inheritance,
but refrain from over-emphasising excessive explanations of their 'origins',
and rest more on the folk expressions of those symbols, through the aesthetic
sensitivity and simplistic vocabulary of kantha artisans. I have endeavoured to show the way to view the
subconscious life of the rural people as it figured in myths, rites, social
behaviour and link them all together as communicative discourse, manifest in
the beautiful people's art of kantha. The
study has had limitations not only of time but also access to resource persons
knowledgeable in the kantha art media, but attempts have been
made to 'read' the signifying elements in selected pieces and present a level
of explanation. This may be considered a presentation which reflects the social
system of our recent past, leading to a better understanding of our ancient
past.
The section on Hindu ceremonial kanthas entitled Hindu Symbolism in Design, points to well recognised motifs of
ancient origin: the lotus, sun, wheel, horse, elephant, birds, fish, wave,
shell, plants, and the world tree. The integration of cult and ritual symbols
in these kanthas, metamorphosed by the special
treatment of the rural women, were drawn into her world by juxtaposing these
signs at level with her domestic objects. The much enjoyed paan leaf, indispensable betel nut-cutter, hair comb, mirror and
vermilion casket, the boat, palanquin, scissors and oil lamp synthesise into
soft fabric layers, as the woman embroiderer's needle and thread wrote her
thoughts and spoke her heart. In this
section the viewer gets the closest look one .can of the almost lost magical kantha art-craft as well as the motifs
which allow at least a faint connection with the marvellously rich storehouse
of the village woman's surroundings and traditional design knowledge. Other
Museums, both government and private in Bangladesh, do have valuable kanthas in the category, but perhaps none
date much further that the pieces seen here.
While being aware throughout my study of
the many streams of culture and history which shape sub continental design and
symbolic form I was struck, while viewing three objects, all bostenis, which appeared to me to have a Buddhist Vocabulary. I have presented
these three objects separately as being significant as a base for future
research. The universal principle of Buddhist architecture, a high square
plinth with four approaches, four corner platforms or cells for meditation, the
corridor for circumambulation and the central mound of the stupa
manifesting Buddha, are visible at Paharpur and Mainamati in Bangladesh as elsewhere in the world. Could
such an image have trickled down into folk art through over two thousand
millennia, or could some seen architectural form have led to an expression of
abstract symbolism in the design of these kanthas ?
It became obvious
during my study that the briliant Rajshahi
kanthas on red shalu using cross stitch contained distinct similarity to the Central
Asian carpet tradition. I searched and found pictures of Turkoman,
Caucasian and Kirghistan carpets which carried motifs
resembling those of the Rajshahi carpet kantha types.
I have focused on the Islamic arabesque forms and referred to the earlier
Byzantine and Persian designs seen in the cross, the key, crenellations,
the star and geometric forms. The findings led to set up a section of Islamic Decorative Motif.
The section entitled Traditional Geometric Patterns is a
significant part of the Museum's Collection. This style is worked on several
types of kanthas, the bosteni, the lep kantha, arshilata and ashon (asan). It is perhaps one of the most
significant design legacies which indicates the folk
artist's innate understanding of geometric form. It is worth considering
deeply, the utilisation of squares, triangles, rectangles, polygons, on the
pliant texture of old cloth. Geometric forms are transferred to visual,
textural harmony and by an ingenous linear
enclosing-encasing method lives out the principle of kantha making, which is to strengthen, reinforce and rejuvenate the
material in hand by working its surface with intricate patterns.
Another section focuses on the Tree of Life, delineating on its
ancient role in mankind's magico-ritualistic,
spiritual and moral history, its prominent position in monotheist religions and
its absorption into folk art as a decorative symbol.
Similarly the Kalka (paisley) is looked at in the context of its prominence as
a corner motif, border motif, single or dual figural form and its substitution
for the 'tree'. Its complete submersion into sub continental art is perhaps
partly explained by its adaptable form, which lends to optical illusion as it
transforms from leaf, to bird and scroll.
The section on Linear Paartola Patterns warranted a
separate focus because this is also one of the richest treasures of kantha needleart.
The infinite combinations evolved from the nakshi paar woven saree
borders and tribal weaves creates the opus magnum of paartola design, which is a jewel in the crown
of kantha art. Both as skill of finger and
eye, working in inspired unison, the patterns fulfil the essential requirement
of rejuvenating thread-bare cloth by covering the layers in close and thick stiches, imitating loom design.
One small portion has been delegated to
the combination of Rath and Masjid motifs seen in five kanthas. These may possibly have been placed in the Decorative Design
section, since their design-layout includes an assemblage of several well known
folk images, but their formats appear to contain a firm content and a specific
symbolism of communal integration. The chariot (rath) and the mosque (masjid) motifs
carry strong symbolic signals in the kantha artist's
expression.
A significant separation is the Decorative Motif Vocabulary. This art
form is truly the expression of the spirit of rural east Bengal. The communal
harmony of the people living side by side with their beliefs, customs and
festivities has been exemplary in a subcontinent often shaken by instigated
religious discord. Such folk art expressions are the outcome of the Vaisnav and Sufi movements of the 12th century onwards.
Bengal with its humane attitudes and
closeness to nature inculcated a
Contents
Message,
Director General, Bangladesh National Museum Foreword Prof. Abdul Hafiz |
|
Author's
Preface |
i-vii |
Introduction |
viii-xv |
Chapter 1 |
|
Hindu
Symbolism in Kantha Design |
1-15 |
Chapter 2 |
|
Buddha-Stupa Image |
16-19 |
Chapter 3 |
|
Islamic
Decorative Motif |
20-30 |
Chapter 4 |
|
Traditional
Geometric Patterns |
31-36 |
Chapter 5 |
|
Tree
of Life |
37-42 |
Chapter 6 |
|
Kalka (Paisley) |
43-49 |
Chapter 7 |
|
Rath and Masjid |
50-55 |
Chapter 8 |
|
Linear
Paartola Patterns |
56-62 |
Chapter 9 |
|
Decorative
Motifs |
63-77 |
Chapter 10 |
|
Echoes
from Two Worlds |
78-82 |
Appendixes |
|
Motifs/
Images in Sub-continental Art |
83-86 |
Vedantic and Hindu Pantheon |
87-89 |
Glossary |
90-94 |
Bibliography |
95-96 |
Index |
97-98 |
List
of Plates |
99-101 |