This Kolkata-based exhibit gives a rare glimpse of the lesser-known textiles of West Bengal and Bangladesh

“Bengal clothed the world,” says Darshan Shah as I speak to her in the midst of the first walkthrough of Textiles of Bengal: A Shared Legacy. Shah, a self-trained textile enthusiast and founder of the Weavers Studio Resource Centre, recalls travelling for symposiums and exhibits around the country. Amidst the lauded Coromandel chintz and celebrated fabrics of Rajasthan, Bengal’s textile contribution appeared vastly underrepresented. “Bengal has been impacted by so much—from the rise of Mughal karkhanas to the rivers changing course, Baluchar going underwater, and the extinction of the Jala loom. But how, when, and why? These questions churned inside me like a cauldron.”

An obsessive curiosity led Shah to helm this mammoth project, five years in the making, with its inception in the thick of the pandemic. The result is an exhibit that invites viewers to observe and experience many under-the-radar pieces with fascinating origin stories and significant cross-cultural influence. On view until March 31, the curation spotlights fabrics of visual simplicity, such as the gossamer Begum Bahar—wispy muslin coveted by ladies of polite society. The quintessential Jamdani, dipped in indigo and known as Nilambari, is displayed alongside a modern rendition of a vibrant non-repeat pattern specially created by Chinar Farooqui of the beloved craft label Injiri.

For centuries, textiles have conveyed powerful narratives. Behind their aesthetic beauty and intricate craftsmanship lie stories that define the zeitgeist. This quiet storytelling is central to the curation, with each weave whispering tales of the quotidian and the mythical.

A TIME CAPSULE

Amidst an array of serious textiles lies a magnificent tapestry personally acquired by Shah—one of many historical pieces in a special archive open to all. This Nakshi Dhakni Kantha, dating back to the early to mid-20th century, is a canvas of scattered abstract motifs—a cacophony of birds and slithering serpents juxtaposed with embroidered cutlery. These vibrant pieces, often used as home textiles, exude surprising complexity. “The Nakshi Kantha reflects the life, aspirations, and culture of the women of Bengal. The motifs used are symbols that have given Kantha a special place in the folk-art tradition,” Shah says. The lion symbolises the carrier of Goddess Durga, while the fish represents fertility and good fortune, often gifted during weddings. Birds are regarded as God’s messengers on earth, while the elephant is associated with royalty and wealth. “What truly caught my eye in this seemingly playful textile is the Dutch flag insignia at the centre—the creator was exposed to this emblem of the times. The unique spacing, choice of iconography, and colours make this an intriguing piece,” she shares.

This marquee piece is mounted in a room full of other exquisite designs showcasing diverse workmanship. An intricate Kantha sweeping across a wall is embroidered with the face of Bengali poet Madhusudan Dutt, amidst a mosaic of creepers and floral motifs. Elsewhere, we see one half of a spectacular Partola Sujni Kantha, believed to have been divided by its family upon separation. Contrary to popular perception, these textiles, often considered whimsical, offer a layered depth. “The exhibition conveys the cosmopolitanism and inherent sophistication of the textile arts of Bengal, which have often been mistakenly perceived as only the folk as they are made in rural parts of the region,” says Mayank Mansingh Kaul, Chief Curator. “Kantha demonstrates a great mastery of image-making. Many works feature names of patrons, reflecting their pride. These textiles were crafted for posterity, and sometimes we see names of artists too—who wanted to establish their identity through their work. This sense of ownership straddles various realms and challenges common perception.”

A MIRROR TO SOCIETY

“It was only when my daughter was getting married that I realised Bengal does not have a traditional wedding sari. The Baluchari was one rare textile that could command that status and attention,” says Shah. Picture European gentlemen sipping wine on trains and hookah-smoking bibis, handwoven with dexterous precision against a canvas of lustrous silk. Inspired by Kalighat paintings that depicted anglicised babus in a tongue-in-cheek manner, Baluchari is a narrative textile capturing the socio-political milieu of 19th-century Bengal. These luxury products offered vignettes of everyday life—from the opulence of Murshidabad’s elites to the flora and fauna of riverine Bengal.

Baluchari weaves also illustrate Bengal’s transition from the Nawabi era to British colonial rule, chronicling imitations of Western behaviour with motifs of sahibs in trains and boats, seated on Victorian chairs, sporting buckled shoes with their primly pleated dhotis. “The production and design of these Baluchari saris were copyrighted by woven signatures of the weavers, with techniques and motifs carefully guarded. It is said that one of the last known Baluchari master weavers, Dubraj Das, never passed on his knowledge of weaving Baluchars on a Jala loom, and this craft gradually faded into oblivion. Present-day Baluchars are now woven on the Jacquard loom. Moreover, in the early 20th century, the Bhagirathi River changed course, presumably submerging the Baluchar village. This coincided with the weavers’ loss of patronage, as the elites gradually moved to Calcutta, the emerging hub of the British Empire,” says Shah.

THE UNLIKELY CROSSOVER

Imagine a supple tapestry of Tussar silk intricately embroidered with biblical Christian and Roman mythological themes, with the unusual appearance of a Hindu nagin. Primarily created for export, the Portuguese Colcha (wall-hanging or spread) is an obscure yet precious textile signifying Bengal’s cultural transfer. The gradual Indianisation of these large-scale embroidered quilts illustrated the European collector’s knowledge and power. Circulated by private merchants, these exotic objects often portrayed mythical creatures such as winged dragons and double-headed eagles. The exhibit juxtaposes rare textiles dating back to the 16th century with a contemporary creation by Karishma Swali, Creative Director of the Chanakya School of Craft. Embroidered on 150-count indigo-dyed khadi, it features naturally yellow-hued Tussar and Muga silk threads, executed entirely in fine chain stitch with a single yarn.

“Bengal’s textile traditions have long interwoven mythology with everyday life. For our interpretation, we looked to the Sundarbans—a vast, storied landscape that has shaped Bengal’s cultural imagination for centuries. Home to the Bengal tiger, this region carries a sense of mystery, appearing in folklore, literature, and craft,” shares Swali. Amidst a calligraphic surface replete with alligators and monkeys, we also see the motif of a hybrid angelic creature floating in the clouds. “Composite figures excite us today because they depict what may not conform to a certain scientific, empirical reality—they blur the boundaries between the tangible and intangible. Textile is one of the most versatile nonverbal forms of communication. We need to receive it for its deep symbolism and very real meaning,” concludes Kaul.

Photographs: Weavers Studio Resource Centre

This article first appeared in Bazaar India's March-April 2025 issue.

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