Discover the Ancient Art of

KANTHA

A N N A H E R G E R T

© Copyright 2014 by Anna HergertAll rights reserved. Images, illustrations and text are the intellectual property of the author. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without the permission in writing from the author. Published and distributed through the author. First edition, based on and expanded from the previous iPhoto portfolio print edition “Kantha - A Primer”.

ISBN 978-0-9937268

i

• Kantha •

ii

• Copyright and Dedication pages •

To Margarete Walter, my maternal grandmother who instilled in me a sense of adventure in mark-making with needle and thread.

To Colin, my husband and steadfast supporter who tirelessly encourages me in the pursuit of artistic endeavors and life.

To my students who have supported me, cheered me on and challenged me to “put pen to paper”.

Copyright pg. i Dedication pg. ii Chapter 1 - A Passion for Kantha pg. 4 - Embroidery or Quilting? A Brief Introduction pg. 7Chapter 2 - The Supplies pg. 9Chapter 3 - The Stitches pg. 11 - From Simple to Complex: The Humble Running Stitch pg. 12 - The Method pg. 13 - Variations pg. 14 - The Kantha Outline Stitch pg. 15 - Sample 1: Chatai Fish pg. 18 - Sample 2: Chatai Variation Fish pg. 19 - Sample 3: Dhaan Chori Fish pg. 20 - Sample 4: Golak Dhaga Turtle pg. 21 - Sample 5: Jhinge Phool Turtle pg. ` 22 - Sample 6: Jaal Turtle pg. 23 - Sample 7: Golak Dhaga Girl pg. 24 - Sample 8: Jaal Girl pg. 25 - Sample 9: Dorma Girl pg. 26 - Sample 10: Jaal Bird pg. 27 - Sample 11: Jhod Bird pg. 28 - Sample 12: Dorma Bird pg. 29Chapter 4 - Kantha Bag - Step-by-Step Instructions pg. 30Chapter 5 - Kantha Gallery pg. 43Appendix pg. 51 - Outline Stitch: Quick Reference pg. 52 - Sample Motifs pg. 53 - Suggested Reading pg. 56 - Webliography pg. 57 - Conclusion pg. 58

- Author Biography pg. 59 - Glossary/Index pg. 60 through 71

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• Table of Contents •

• CHAPTER 1 •

It all began in 1998 while working toward London City & Guilds Certification. The homework assignment included research into Kantha embroidery. Not much had been written about this specific technique. Little by little I began to embark on a personal quest to learn about this simple, yet effective form, of Indian embroidery.

A PASSION FOR KANTHA

Welcome to an exciting journey you may embark on without a passport, the purchase of expensive airline tickets, and the worry about lost luggage or language barriers. I invite you to join me as I continue to explore the ancient technique of Kantha. From the comfort of your studio, favorite armchair or your daily commute you will add to your embroidery and quilting knowledge. My promise to you is this: You will be mesmerized by the simplicity of this technique. At the same time you will be yearning to try out the stitches in small samples which may lead to larger projects in the future.

My personal journey into the Kantha technique began in 1998. An assignment for my first City & Guilds Certificate read “Research Kantha and create a small sample to prove proficiency.” It sounded simple enough but remember: It was 1998. Google was not nearly as popular as today, and all I could find was a Piecework Magazine from 1994 with one short article and small project exploring the subject. This general lack of information presented a challenge that continues to dominate my creative life today.

The Piecework article and the book “Embroidered Textiles” by Sheila Payne from 1990 were my only text and image sources. The main objective was to create a sample, and I soon realized that all I needed to do was outline a motif and fill it in with running stitch. Additional running stitches in a neutral color to add texture to the negative space completed the sample. Despite its small size, a significant amount of time was invested which deterred many of my peers from delving deeper into the subject. I love challenges and won’t let off until I have fully exhausted a technique or theme.

Kantha would become my personal obsession, and I soon developed a passion for the humble running stitch. I am a full-time artist and much of my time is spent sharing my knowledge of art and design,. Kantha projects are very portable and my luggage often contains a small bag with the latest Kantha project.

During the past decade I have taught countless classes covering the basics of Kantha, and continually expanding my own knowledge base as a direct result. My early classes were small, often with only three or four participants. Today I lead workshops that are fully subscribed with up to 25 students and a waiting list. Simple handouts in place and limited personal samples, I felt compelled to explore traditional Indian designs in depth. During the summer of 2011 I immersed myself further into combining running stitches to create increasingly complex fill patterns for a variety of motifs.

Each completed sample heightened my awareness of how versatile the Kantha technique truly is. From this in-depth study my self-published book “Kantha - A

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My First Kantha, 1998

Primer” emerged. This book was printed by Apple, and the 20 page spiral bound portfolio provided information beyond the basics, supporting my class handouts. It was not very economical to produce, and I yearned for a better way to disseminate my f indings. I am thri l led about the opportunity to compile my research and supporting images into a format that will speak to the demographic that is turning to electronic devices and e-books to expand their reference library.

Let’s move ahead and explore historical details that will become the building blocks for your personal journey.

My past research revealed that the Sanskrit word kontha means ‘rags.’ It refers to its original singular use of piecing together scraps of cloth to be worn by Buddha’s disciples.

Indian folklore and limited written records help us understand better how to employ embroidery and quilting stitches to extend the life of an old sari or saree. Originally, Kantha embroidery/quilting, was worked with threadbare sari cloth,

carefully layered to create an even, strong surface for stitching. These intricately embroidered treasures were designated to cover sacred statues and offerings to Hindu gods.

T o d a y , a s i n t h e p a s t , I n d i a embroidery motifs are taken from flora, fauna or mythical characters. These are o u t l i n e d i n c o n t r a s t i n g t h r e a d . Traditionally colored threads were taken from the selvedge edges of the sari. Once the motif is established additional threads are pulled through the layers of fabric for strength and to fill in the motif. These stitches add rich texture to an otherwise plain background. Ultimately, worn fabrics take on a new life as Kanthas.

Historical Kantha embroidery was comprised primarily of running stitches to create specific patterns and textures. Motifs were steeped in religion and emulated the natural surroundings of the embroiderer. Today’s Kanthas are often produced for sale to Western markets. Motifs appear more simplistic and stylized to make them appeal to a broader market. Embroiderers continue to capture their

natural surroundings and every day tasks when creating Kantha cloth.

I already mentioned that my 2011 research ignited a newfound passion and interest in Kantha. Each time I began a new sample my excitement grew. I was transported back in time: As a four year old I spent all my free time with my grandmother eagerly learning to make marks with needle and colorful thread. At the same time I had a passion for coloring books. Opening a new, unspoiled coloring book was a special time for my younger self. This mood was recreated when I started each Kantha sample featured in “Chapter 3 - The Stitches”.

Consider this your invitation to join me on this journey into history. Familiarize or reacquaint yourself with the humble running stitch. Combine, regroup, recreate and invent new ways to make your mark with needle and thread on cloth. Embrace the process!

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• CHAPTER 2 •

Kanthas have been produced for centuries. Imagine the setting: A humble dwelling with dirt floor, dusty front stoop, children playing and household chores to attend. With only a few moments to spare each day the embroiderer keeps her supplies to a minimum ensuring portability and affordability.

THE SUPPLIES

• CHAPTER 3 •

From Outline Stitch, simple running stitch to creating complex fill patterns when combining running stitches the options are limitless.

Thread your needle and follow along!

THE STITCHES

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• The Kantha Outline Stitch •

The Solid Outline Stitch Once the artist selects a motif, the basic shape is transferred to the fabric with the help of a chalk pencil or a fabric marker of choice.

I encourage the embroiderer to work a small sample of the featured stitch, especially if this is the first time she/he is exploring this time and thread saving technique. Following the step-by-step instructions will aid in a better understanding of the stitch sequence and reduces the probability of taking stitches out in the actual project.

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• Sample 1 •

Chatai Fish Sample 1 features a simple fish. The motif was outlined in stem stitch and filled in with Chatai. The focus was on the even distribution of the stitches within the fish motif.

The background was worked in the same manner. I began by echo stitching worked in evenly spaced rows that subsequently created the ripple effect associated with the Kantha technique.

Materials: - 3 layers of turban cloth- single strands of cotton floss- hand quilting thread to match the background

Time to complete:- 5 hours

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• Sample 5 •

Jhinge Phool Turtle Sample 5 features the turtle motif from Sample 4 in a very different presentation. Outline stitch was once again used to define sections. Jhinge Phool was worked in carefully planned running stitch formations. The diagram showcases four colors to help dissect the complexity of the all-over flower pattern.

The background was worked in echo stitching.

Materials: - 3 layers of turban cloth- single strands of cotton floss- single strands of silk floss- hand quilting thread to match the

background

Time to complete:- 5 hours

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• Sample 7 •

Golak Dhaga Girl The female figure’s sections in Sample 7 were defined in outline stitch. Horizontal and vertical rows of running stitch were used to fill in these sections. This is a variation of Golak Dhaga. Compare this sample with Sample 4 with the same pattern name.

The background was filled with simple running stitches to create the wavy, ridged Kantha texture.

Materials: - 3 layers of turban cloth- single strands of cotton floss- single strands of silk floss- hand quilting thread to match the

background

Time to complete:- 7 hours

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• Sample 10 •

Jaal Bird Defined in outline stitch the bird was filled in with a third variation of Jaal stitch. Compare this compound stitch example with Samples 6 and 8.

The background was filled in simple running stitch sections to achieve the Kantha texture.

Materials: - 3 layers of turban cloth- single strands of cotton floss- single strands of silk floss- hand quilting thread to match the

background

Time to complete:- 8 hours

• CHAPTER 4 •

The samples created for this book sparked further interest in exploring the traditional aspects of Kantha. During my research I came across several figurative images on Kantha cloth and decided to develop a “Dancing Girl.” The initial sample quickly grew into a group of Dancing Girls, perfect for the bag project I am sharing here.

KANTHA BAG

• CHAPTER 5 •

Creating Kantha inspired work based on the information I have gleaned during the course of my research is a continuous focus. Handling fabrics, experiencing threads as they pass through my fingers, and feeling the resulting wavy, rippled textures renew my commitment to sharing this ancient craft.

KANTHA GALLERY

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My First Kantha, 1998, 8” x 8”

Worked with three layers of Kona cotton, silk floss for the motif and rayon floss for the background Kantha stitching. The stitch motif was based on my City & Guilds “Sea and Sky” design research.

Time to complete: 21 hours

Preparing this book for publication has been an adventure. From the time the first page glared back at me without image or text to proof reading the final version you are holding in your hand, I have learned a tremendous amount. This was not just a “drop and drag” process of existing material. Each sentence, paragraph and image have been reviewed, adjusted and refined to

result in the most professional product a first time e-book author is able to present.

In meeting my personal goal of sharing to keep handwork techniques alive I am including additional resources and templates in the hope that you will embrace the ancient technique of Kantha embroidery/quilting.

A p p e n d i x C o n t e n t s

1. Outline Stitch: A Quick Reference

2. Kantha motif templates. Choose one or all, or step out of the box and alter the motif to suit your personal style.

3. A list of Suggested Additional Reading is provided. It includes books and magazine articles featuring the Kantha technique.

4. A Webliography sharing urls that were live at the time of this book’s publication.

5. Final thoughts.

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• Appendix •

Additional Resources

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Thank you for supporting my personal quest into Kantha. I stumbled upon the following quote while conducting research for this book. It is fitting to include and place it close to the end. It summarizes my experience with Kantha:

Join me in this continued exploration. Embrace the process, as that is how you have to view and experience each Kantha inspired creation. It is not something that is quickly finished. Kantha teaches patience, problem solving skills and ways to adapt to new situations. It is part of life, whether we live in India or elsewhere in the world. We can employ the Kantha technique to tell stories of our lives.

I look forward to hearing from you as you embark on your personal journey into Kantha. Please email me to share your experiences and images. Stay creative and enjoy the process.

Anna <anna@annhergert.com> March 2014

"Kantha is like a personal diary, a letter one writes to a particular person, and is not meant to be read by all. In East Bengal the Kantha was a personal expression, an art-craft that was made spontaneously, even whimsically. It was never commissioned by rulers, nor ordered by the landed gentry. No two pieces are the same. It was the craft that was practiced by women of all rural classes, the rich landlord’s wife making her own elaborate embroidered quilt in her leisure time, and the tenant farmer’s wife making her own thrifty, coverlet, equal in beauty and skill. The Kantha is an invocation to the gods and spirits for the prosperity and protection of the family. A real Kantha is able to narrate a story, and is much more compact in design, and it is made out of used materials. It has been passed on for generations, from mothers to daughters and is largely a “dowry” tradition."

Krishnadas Kaviraj

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! Ms. Hergert holds London City & Guilds Diplomas in Art, Design, Contemporary Embroidery as well as Patchwork and Quilting. Her strong focus on the arts makes her an enthusiastic and committed artist, well informed teacher, lecturer and writer.

Anna is a full time professional artist. Her work has been exhibited internationally in solo shows and traveling group exhibitions. Venues include Canada, the US, Korea, Germany, Austria and Italy. Commissions are found in Canadian, US and European homes and public spaces. She has received numerous awards for her innovative approaches to quilting and surface design across the country including the Saskatchewan Craft Council and the Grand National Juried Show. She has been nominated for Teacher of the Year by Professional Quilter in 2006 and Willow Bend Creations in 2012.

In 2007 Anna moved to Saskatchewan and now makes her home just north of Moose Jaw at Buffalo Pound Lake with husband Colin. She creates art in her dream studio overlooking the breath taking scenery that serves as constant source of inspiration.

Website: http://www.annahergert.comEmail: anna@annahergert.comBlog: http://annahergert.me

About the Author

Born and educated in Germany, Anna Hergert was exposed to fiber art at an early age. Handwork was a regular part of the weekly school curriculum, naturally aiding in developing her passion for art and textiles as a lifelong pursuit.