Bangladesh

Historical Introduction to Embroidery in Bangladesh

Embroidery in Bangladesh is a very old tradition that has been a part of its culture and society for centuries. The history of embroidery, especially famous styles like kantha and nakshi kantha, goes back a long way—some believe it started even before 500 BCE, in the pre-Vedic period.

Beginning of Embroidery in Bangladesh

In the early days, embroidery in Bangladesh began from a mix of need and creativity. Rural women would reuse old saris, dhotis, and other worn clothes to make quilts, blankets, and pretty household items. These creations were useful, giving warmth during cold weather and rainy seasons. But they were also a way to express feelings and stories—each piece showing something about family, village life, or old folk tales.

Over the centuries, embroidery in Bangladesh changed and grew under different rulers like the Maurya, Gupta, Mughal, and British empires.

The tradition of embroidery is also found in old texts like Sri Chaitanya Charitamrita by Krishnadas Kaviraj. It tells the story of how Chaitanya’s mother made a kantha quilt at home and sent it to him in Puri. That same quilt is still kept and shown in Puri, India, as a special memory.

Embroidery as a Cultural Marker in Bangladesh

Bengal has always been rich in culture and trade. Its textile art became famous, especially during the Mughal period. Embroidery was used on royal clothes, home items, and luxury exports.

The 1947 partition and the creation of Bangladesh in 1971 did not reduce its value. Instead, embroidery became a symbol of identity and strength. Rural women kept the craft alive, passing it down through generations.

Original Embroidery Styles of Bangladesh

Motifs and Symbolism

Common motifs in Nakshi Kantha are strongly influenced by the artisan’s surroundings, beliefs, and way of life—just as embroidery styles like Kashida in Kashmir draw from the natural beauty of valleys and gardens, Nakshi Kantha reflects the world of rural Bengal:

• Lotus: Found in ponds across Bengal, the lotus symbolizes purity, peace, and spiritual calm. It’s a common motif in religious art and daily life.

  
  

• Sun and Moon: Regular features in folk tales and village rituals, these symbols represent time, rhythm, and the cycles of life.

  
  

• Tree of Life: Inspired by the trees that shelter homes and farms, this motif stands for growth, fertility, and the bond between nature and people.

  
  

• Animals and Birds: Everyday encounters with cows, elephants, peacocks, and fish inspire these motifs, showing how closely people live with nature.

  
  

• Geometric Patterns: These are influenced by floor patterns, weaving designs, and temple carvings. They bring visual balance and artistic structure.

  
  

• Scenes from Daily Life: Weddings, farming, fishing, and housework often appear in Nakshi Kantha, turning each piece into a personal story. These reflect the rhythm of village life and preserve memories across generations.

  
  

Influence of Foreign Embroidery Traditions

Embroidery in Bangladesh has not existed in isolation. The region’s strategic position as a trading hub exposed it to influences from Persia, Arabia, and later Europe. For example:

• Kashida is believed to have originated from Basra in the 9th century, reflecting early Arab influence.

  
  

• Zardozi and Karchob embroidery techniques, with their use of gold and silver threads, were inspired by Persian and Mughal court aesthetics.

The British colonial period saw the introduction of Western stitches such as satin, chain, and lazy-daisy, which have since been incorporated into local embroidery for household textiles and fashion.

Despite these influences, Bangladeshi embroidery retained its distinct identity by adapting motifs, materials, and techniques to local tastes and resources.

Cultural Significance Through History

Embroidery in Bangladesh is more than just decoration. It holds memories, identity, and social meaning. For example, Nakshi Kantha quilts are often passed down in families, with each stitch telling a story, dream, or emotion. These embroidered cloths are also used in religious events, given as dowries, or shared as gifts of love and care within families.

The craft has also been a crucial economic activity, especially for rural women, providing both income and empowerment. In times of social and political upheaval, such as during the Liberation War of 1971, embroidery became a means of preserving heritage and expressing resilience.

Historical Applications in Fashion and Creative Fields

Historically, embroidered textiles in Bangladesh were widely used across various aspects of daily and royal life. Quilts and blankets served both practical and ceremonial purposes, while garments like royal robes, sarees, shawls and scarves, especially during the Mughal era, were richly decorated with intricate embroidery.

Household items such as cushion covers, curtains, canopies and even animal trappings were also adorned with threadwork. Additionally, embroidered fabrics from Bengal were highly valued and exported to regions like the Middle East and Europe, particularly during the colonial period. Today, these age-old traditions continue to thrive in both rural and urban areas, with embroidery finding its place in modern fashion, home décor and art exhibitions.

Cultural Zones and Regional Variations

Bangladesh’s embroidery traditions vary across regions:

• Dhaka: Renowned for kashida and zardozi work, often using silk and gold threads.

  
  

• Rajshahi and Dinajpur: Known for their own styles of kantha and fine embroidery.

  
  

• Chittagong and Sylhet: Feature local motifs and variations in stitch techniques.

  
  

• Rural Bengal: The heartland of nakshi kantha, where the craft remains a vital part of daily life and cultural expression.

While the core techniques and motifs are shared, each region adapts the craft to its own cultural narratives, available materials, and community needs.

Bangladesh has a distinguished tradition of embroidery, with several styles that are both historically significant and artistically unique. Here are the key embroidery forms that originated or flourished in Bangladesh.

Nakshi Kantha – Bangladesh

Nakshi Kantha is a traditional embroidery style from regions like Rajshahi, Jessore, Faridpur, Mymensingh, Bogra, Jamalpur, and Chittagong. It is made by using a running stitch on old layered cloth, usually from worn-out saris. The designs often tell stories from rural life and show animals, flowers, and borders. This embroidery is special because it recycles old textiles and keeps local stories alive through thread.

Sujni Kantha – Bangladesh

Sujni Kantha comes from the Rajshahi area and is stitched using the backstitch method on coverlets made from old cloth. The patterns are bold and include geometric and picture-like designs. Like Nakshi Kantha, it uses recycled fabric, but its look is more structured and bold.

Karchop (Karchupi) – Bangladesh

Karchop, also called Karchupi, is a type of detailed embroidery done in Dhaka. It uses gold or silver thread on stretched cloth and is a variation of Zardozi. The designs are fancy and formal, often used for decorating clothes and household items. Its rich look makes it suitable for special occasions.

Fulkuri/Fulbuti – Bangladesh

Fulkuri or Fulbuti is done with colored silk threads on cotton fabric. It is found in many regions of Bangladesh. The embroidery is known for its bright floral patterns, which make it cheerful and eye-catching. It is used mainly on clothing and decorative items.

Kashida Embroidery – Bangladesh

Kashida embroidery in Bangladesh mainly comes from Dhaka and is also sent to Arab countries. It is made using Muga silk threads on silk or cotton fabric. Sometimes, gold, silver, or small precious stones are added. What makes it special is its bright colors and fine patterns.

Chikan (Chikankari) Embroidery – Bangladesh

Chikan embroidery, also called Chikankari, is famous in Dhaka, especially in a place called Dhamrai. It is done with white thread on soft muslin cloth, known as malmal. The designs are first printed with red dye, then stitched. It mostly includes soft floral and geometric designs, giving a white-on-white look.

Zardozi Embroidery – Bangladesh

Zardozi of Bangladesh is a rich and heavy type of embroidery found in Dhaka. It uses silk and gold or silver threads, along with gold wire called karchop. Sometimes pearls and stones are also added.

The use of layered cloth, intricate running stitches, and a preference for natural fibers such as cotton and silk distinguish it from other South Asian embroidery traditions.