The Lahari Katha of Chapainawabganj is not merely a textile craft but a living embodiment of cultural heritage, artistic expression, and intergenerational skill. This traditional art form, rooted in the northwestern region of Bangladesh, stands as a vibrant testament to the creativity and craftsmanship of its artisans, weaving together history, identity, and community pride. Known for its distinctive wave-like patterns, Lahari Katha encapsulates the rich storytelling traditions and cultural diversity of Chapainawabganj, earning its place as a unique marker of the region's artistic identity (Zaman, 1993; Ahmad, 1997). Emerging from the hands of skilled women artisans, Lahari Katha is deeply intertwined with the social fabric of rural life. Each piece tells a story, capturing the essence of daily life, emotions, and experiences through intricate designs and motifs. 

The craft not only represents a medium of artistic expression but also serves as a vital tool for preserving cultural identity and fostering a sense of community pride among its creators. As a result, Lahari Katha has transcended its practical origins to become a cherished cultural symbol of Chapai-nawabganj (Ghuznabi, 1981; Zaman, 2012).

In an era where industrialization and globalization have significantly reshaped the landscape of craftsmanship, Lahari Katha remains a powerful example of sustainable and handmade artistry. Its continued existence highlights the importance of preserving traditional crafts that embody eco-friendly practices and human-centric values. However, the craft faces challenges such as diminishing demand, lack of recognition, and the waning interest of younger generations, making its survival increasingly precarious (Benhal Craft, 2009; Quilt (Kantha) Art of Bengal, 2008; Inocencio, 2025).

This study explores the multifaceted world of Lahari Katha, delving into its patterns, heritage, and artistic identity. In examining its cultural significance, design diversity, and role in defining the artistic identity of Chapainawabganj, the study seeks to shed light on the enduring legacy of Lahari Katha and the urgent need for its preservation and promotion in modern times (Mukerjee, 1964; Zaman, 1993). Through this lens, Lahari Katha emerges as more than just a craft-it is a symbol of resilience, creativity, and the timeless power of tradition.

The traditional Lahari Katha of Chapainawabganj, celebrated for its intricate patterns, cultural heritage, and artistic identity, faces significant challenges that threaten its survival in an era dominated by industrialization and globalization (Zaman, 1993; Ghuznabi, 1981). Once a symbol of pride for the region, this handcrafted art form has seen a sharp decline in demand due to the proliferation of mass-produced textiles and changing consumer pre-ferences. The allure of low-cost, machine-made alternatives has diminished the appreciation for handmade crafts, directly impacting the livelihoods of artisans and threatening the sustainability of this ancestral tradition (Zaman, 2012).

A critical barrier to the preservation of Lahari Katha lies in the lack of widespread recognition and documentation of its cultural significance and design diversity. Despite its unique identity as a fusion of patterns and heritage, insufficient academic research and limited promotional efforts have left this art form vulnerable to being overshadowed by more commercialized crafts (Ahmad, 1997; Benhal Craft, 2009). The challenges are further compounded by a generational shift in interest. Younger generations in Chapainawabganj are increasingly drawn to modern, urbanized careers, often showing little inclination to learn or continue the craft. This decline in interest jeopardizes the intergenerational transfer of traditional skills and knowledge, which is essential for maintaining the authenticity of Lahari Katha (Dutt, 1995; Zaman, 1993). Additionally, artisans face limited access to financial resources, raw materials, and modern markets, restricting their ability to innovate and adapt to contemporary demands. Without adequate institutional support or infra-structural development, they struggle to compete in domestic and international markets, leaving their craft at the mercy of dwindling local patronage (Ahmad, 1997). Addressing these issues is not merely a matter of economic survival but a cultural imperative. Preserving the patterns, heritage, and artistic identity of Lahari Katha is crucial for maintaining its status as a vibrant symbol of Chapainawabganj's legacy. This requires immediate and collaborative efforts to document its history, promote its artistry, and empower artisans to thrive in a rapidly changing world (Mukerjee, 1964; Zaman, 1993). This study is significant as it sheds light on the unique artistic and cultural dimensions of Lahari Katha, an age-old textile tradition deeply rooted in the heritage of Chapainawabganj (Zaman, 1993; Ahmad, 1997). By exploring the intricate patterns, design diversity, and cultural significance of this craft, the study not only celebrates the artistry of the local artisans but also highlights the historical and sociocultural narratives woven into each piece (Dutt, 1995; Zaman, 2012; Fairooz et al., 2024).

Preserving traditional crafts like Lahari Katha is crucial in an era of rapid globalization, where cultural identities are increasingly at risk of being overshadowed by homogenized practices (Benhal Craft, 2009). This research emphasizes the importance of safeguarding such traditions, providing insights into how they can be sustained and revitalized in the face of modern challenges (Ghuznabi, 1981; Zaman, 1993; Fairooz et al., 2023).

Objectives of the Study

The objective of this article is to explore and document the intricate patterns, cultural heritage, and artistic identity of Lahari Katha in Chapai-nawabganj, highlighting its significance, challenges, and potential for preservation and promotion in the modern era. Additionally, the study contributes to academic and practical discussions on heritage conservation, sustainable crafts, and cultural tourism (Ahmad, 1997). It aims to inspire policymakers, researchers, and stakeholders to invest in the promotion and protection of Lahari Katha, thereby fostering economic opportunities for artisans and ensuring the continuity of this cultural legacy (Zaman, 2012). By documenting and analyzing Lahari Katha's artistic expression and cultural significance, this study serves as a vital resource for future efforts to integrate traditional crafts into broader development and cultural preservation initiatives.

To explore the patterns, heritage, and artistic identity of Lahari Katha in Chapainawabganj, this study employs a mixed-method approach, combining surveys (n=31), case studies, Observation and KIIs. The survey targets a diverse group of stakeholders, including artisans, traders, and consumers, to gather quantitative data on their perceptions, challenges, and aspirations regarding Lahari Katha. 

Structured questionnaires focus on aspects such as design preferences, market demand, and the socio-economic impact of the craft on local communities. Complementing the survey, an in-depth case study approach is used to document the experiences and practices of select Lahari Katha artisans. Through direct interviews, observation, and documentation of their craftsmanship, the case studies provide rich qualitative insights into the techniques, cultural narratives, and intergenerational knowledge associated with the craft. Together, these methods offer a comprehensive understanding of Lahari Katha's artistic significance and the challenges it faces, laying the groundwork for actionable recommendations to preserve and promote this traditional art form.

Findings of Quantitative Survey

Demographic Profile of the Respondents

The data indicate that the majority of participants belong to the younger age groups. Specifically, 45.2% of respondents fall within the 18–24 age category, while an equal percentage (45.2%) belong to the 25–34 age group. Together, these two categories account for 90.3% of the total sample. Only a small proportion of respondents are aged 35–44 (6.5%) and 45–54 (3.2%) and all respondents (100%) are female. This indicates that Lahari Katha production in Chapainawabganj is an exclusively women-led activity within the surveyed group. This distribution suggests that the practice and engagement with Lahari Katha in Chapainawabganj are predominantly sustained by younger women. 

The limited representation of older age groups may indicate a generational transition in artisan involvement, with youth playing a central role in maintaining the craft tradition. The complete female representation highlights the gendered nature of traditional textile craftsmanship in rural Bangladesh. It reinforces the idea that Lahari Katha is not only a cultural artifact but also a medium of women's economic participation and empowerment within the local socio-cultural structure.

The marital status distribution shows that 80.6% of respondents are married. Additionally, 9.7% are divorced and 9.7% are widowed. The dominance of married women in the sample suggests that Lahari Katha production may be closely associated with household-based economic activities. The presence of divorced and widowed respondents further indicates that this craft potentially serves as an important income-generating opportunity for financially vulnerable women, thereby contributing to socio-economic resilience. Survey data demonstrates that 54.8% of respondents have completed secondary school education, while 45.2% have attained higher secondary education. No respondents reported primary or no formal education. This finding indicates a relatively moderate level of educational attainment among Lahari Katha artisans. The absence of respondents with no formal education suggests that literacy and basic education may play a role in market participation, communication, or organizational involvement related to the craft sector.

Regarding occupation, 93.5% of respondents identify as Lahari Katha workers, while 6.5% are Lahari Katha owners. This distribution implies that the production structure is predominantly artisan-based, with a small proportion involved in ownership or managerial roles. It reflects a labor-intensive, craft-centered production model rather than a large-scale industrial structure. The limited number of owners also suggests that market control and capital concentration may remain relatively small within the community.

Duration of Involvement with Lahari Katha

Fig. 1: Duration of Involvement with Lahari Katha.

Fig. 1 presents the length of time respondents have been involved in Lahari Katha production. The data reveal that 93.5% of respondents have been engaged in the craft for 5–10 years, while 6.5% have 10–20 years of experience. This indicates that the majority of artisans are relatively mid-level practitioners rather than newly initiated or highly senior artisans. The dominance of the 5–10 year category suggests a period of stable engagement, reflecting sustained participation rather than short-term involvement. It also aligns with the earlier finding that most respondents are young adults, indicating that engagement often begins at an early working age in Chapainawabganj.

Socio-Economic Status (Monthly Household Incom

Fig. 2: Socio-Economic Status (Monthly Household Income.

Fig. 2 shows that 93.5% of respondents belong to households earning BDT 10,000–20,000 per month, while only 6.5% fall within the BDT 20,000–30,000 income bracket. This concentration in the lower-middle-income category suggests that Lahari Katha artisans largely come from economically modest backgrounds. The absence of higher-income categories indicates that the craft sector primarily supports lower-income households. Therefore, Lahari Katha appears to function not only as a cultural expression but also as a livelihood strategy contributing to household economic sustainability.

Perceived Uniqueness of Lahari Katha

The analysis demonstrates unanimous agreement among respondents (100%) that Lahari Katha is unique due to a combination of patterns and designs, cultural significance, and handmade craftsmanship (“Patterns and designs, Cultural significance, handmade craftsmanship”). This complete consensus strongly reinforces the multidimensional identity of Lahari Katha. It is perceived not merely as a textile product but as a synthesis of artistic design, cultural heritage, and manual skill. The uniformity of responses also suggests a deeply shared collective understanding among artisans regarding the defining characteristics of the craft.

Cultural Importance of Lahari Katha

Fig. 3: Cultural Importance of Lahari Katha.

According to Fig. 3, 90.3% of respondents consider Lahari Katha “Very important” to the cultural heritage of Chapainawabganj, while 9.7% regard it as “Important.” No respondent selected moderate or negative options. This overwhelming positive perception indicates that Lahari Katha holds a central place in the cultural identity of the region. The strong valuation reflects its role as a heritage symbol, reinforcing local pride and collective memory. The absence of neutral or negative responses highlights the emotional and cultural attachment artisans maintain toward the craft.

Perception of Youth Interest in Continuing the Tradition

Fig. 4 reveals that 93.5% of respondents believe the younger generation is interested in continuing the Lahari Katha tradition, while 6.5% are unsure. No respondent expressed a negative view. This finding suggests optimism regarding intergenerational transmission.

Fig. 4: Perception of Youth Interest in Continuing the Tradition.

The high level of confidence in youth engagement implies that the tradition is perceived as sustainable in the near future. However, the small proportion expressing uncertainty may reflect concerns about market demand, modernization, or alternative employment opportunities.

Challenges Faced by Artisans

Fig. 5 identifies the major challenges encountered in the creation and sale of Lahari Katha. The data show that 54.8% of respondents consider limited awareness as the primary challenge, while 45.2% identify competition from industrial products as a significant obstacle. This suggests that the craft suffers more from visibility and promotional limitations than from production constraints alone.

Fig. 5: Challenges Faced by Artisans.

 Limited awareness indicates insufficient marketing, branding, and public recognition beyond local boundaries. Meanwhile, competition from machine-made or factory-produced textiles reflects the pressure exerted by mass production and lower-cost alternatives. Together, these challenges highlight structural market disadvantages faced by artisans in Chapainawabganj.

Fig. 6 outlines the forms of support considered most beneficial for preserving Lahari Katha. A majority (51.6%) emphasize financial support, followed by 41.9% who prioritize training programs, and 6.5% who identify improved market access. The prominence of financial support indicates the need for capital investment, possibly for raw materials, equipment, or expansion of production. The significant proportion favoring training programs suggests a demand for skill development, design innovation, and capacity building. The comparatively lower emphasis on market access may reflect reliance on existing informal sales channels, though structural market integration still appears limited. Overall, the findings suggest that preservation requires both economic and institutional intervention.

Fig. 6: Types of Support Needed for Preservation.

Impact of Globalization

The data reveals unanimous agreement (100%) that globalization has negatively affected the production and demand for Lahari Katha. This perception reflects concerns about the influx of cheaper, industrially produced textiles and changing consumer preferences influenced by global fashion trends. The complete consensus indicates a shared belief that globalization poses a threat to traditional craftsmanship by reducing demand for handmade products and weakening local cultural industries.

Most Appealing Design Elements

According to data, all respondents (100%) selected “All of the above,” indicating that color patterns, wave-like motifs, and material quality collectively contribute to the appeal of Lahari Katha. This unanimous response underscores the multidimensional aesthetic value of the craft. Artisans recognize that Lahari Katha's attractiveness lies not in a single feature but in the integration of traditional patterns, symbolic motifs, and quality craftsmanship. It reinforces the artistic identity dimension of the study.

Primary Purchase or Sales Channel

The data shows that 100% of respondents purchase or sell Lahari Katha directly from artisans. This indicates a highly localized and informal market structure. The absence of online platforms, exhibitions, or organized retail channels suggests limited commercialization and digital integration. While direct artisan-based transactions preserve authenticity and community bonds, they may restrict broader market expansion.

Strategies for Expanding to International Markets

Fig. 7: Strategies for Expanding to International Markets.

Fig. 7 presents diverse opinions regarding strategies for enhancing appeal in foreign markets: 45.2% recommend increased promotion, 22.6% emphasize enhanced quality, 25.8% selected “Other”, 3.2% suggest modernized designs, and 3.2% mention better accessibility. The dominance of increased promotion highlights the perceived need for branding, advertising, and cultural exposure. Enhanced quality suggests interest in meeting international standards. The relatively low emphasis on modernized designs indicates a preference for preserving traditional authenticity rather than altering core artistic elements. The substantial proportion selecting “Other” suggests additional ideas not captured in predefined options, possibly including government support, international exhibitions, or certification schemes.

Discussion on Quantitative Findings

The quantitative findings reveal that Lahari Katha production in Chapainawabganj is demographically vibrant yet economically fragile. The craft is overwhelmingly sustained by young women aged 18–34 (90.3%), with 100% female participation, indicating strong youth engagement and a women-centered economic space embedded within household-based production (80.6% married). All artisans possess secondary or higher secondary education, suggesting readiness for entrepreneurship training, digital marketing, and cooperative development. 

However, the production structure remains largely labor-based and decentralized, with 93.5% working as artisans rather than owners, limiting capital formation and scalability. Most respondents have 5-10 years of experience, reflecting a stable skill base, yet 93.5% belong to lower-middle-income households (BDT 10,000–20,000), highlighting economic vulnerability. Despite these constraints, cultural consciousness is exceptionally strong: 100% recognize the craft's uniqueness and its central role in local heritage, and 93.5% express optimism about generational continuity. Major challenges stem from limited market access, low visibility, industrial competition, and the absence of organized retail or digital platforms, as all sales occur directly through artisans. While artisans prioritize promotion over modernization to protect authenticity, they also acknowledge the need for financial assistance and skill development. Overall, the findings present a clear paradox-Lahari Katha is culturally resilient and youth-driven, yet economically constrained, suggesting that structured institutional support, branding initiatives, and market diversification are essential to transform it from a subsistence-oriented practice into a sustainable heritage-based industry.

Qualitative Findings and Discussions

Analysis of Information Obtained from the Case Study

A Life Woven with Threads of Tradition: The Struggles and Dreams of Lahari Kantha Artisan Akhtara Begum

Ms. Akhtara Begum (40), a housewife and Lahari Kantha artisan, is a resident of Gohalbari village in Baliadanga Union of Chapainawabganj District. Having studied up to the fifth grade, Akhtara Begum is a member of a five-member family; she has two sons and one daughter-in-law. She has been involved in Kantha stitching since childhood. She learned the basic techniques of Lahari Kantha from her mother, Monowara Begum. Family tradition and skills inherited from her mother form the foundation of her artistic practice. Later, with the encouragement of local entrepreneur Runa Begum, she became motivated to continue this work regularly. To her, Lahari Kantha is not merely a source of income; it is an inseparable part of her childhood memories, family heritage, and cultural identity. Lahari Kantha is a distinctive type of embroidered quilt developed around the wave motifs of the Mahananda River. 

The word “Lahari” signifies waves or ripples, which are clearly reflected in the design characteristics of this Kantha. As heard from grandmothers and elders, it is popularly known as “Lahari Kantha” or “Lahariya Kantha.” Akhtara Begum uses motifs such as bamboo leaves, koitor khupi (a local motif), trees, betel leaves, and designs of two-roofed and four-roofed houses. She draws and stitches the designs entirely by hand without using any print or tracing, which gives her artwork a distinct identity. Pair stitch, broken stitch, and wave-like lines resembling water ripples are distinctive stitching techniques of Lahari Kantha. As materials, she uses karpa cloth, than cloth, orbindo cloth, cotton and Singapore threads, needles, stones, and nails. Although inspired by others' designs, she incorporates her own creativity to introduce variation, ensuring the quality of her work.

From a socio-economic perspective, Lahari Kantha has had a positive impact on her life. Before receiving training, she had no personal income; currently, she earns approximately BDT 1,000 per month, and occasionally BDT 5,000–10,000 depending on orders. Although this income is not high, it makes a meaningful contribution to the household economy and enhances women's financial capacity. According to her, this craft plays a role in empowering local women by creating opportunities to earn through their own skills. She prefers to work independently to maintain the quality and consistency of her stitching. In terms of marketing, Lahari Kantha remains confined to a limited scope. Akhtara Begum sells her products in the town market through entrepreneur Runa Begum. Generally, refined and aesthetic consumers are the main buyers. As it is relatively expensive in the local market, demand is low. Limited access to international markets and the lack of government or private support are major constraints. She believes that proper promotion, exhibitions, and branding could increase the visibility and demand for Lahari Kantha. However, several challenges threaten the sustainability of this craft. Completing a single Lahari Kantha takes approximately 4–6 months, requiring immense patience and labor. The remuneration received is not adequate compared to the effort invested. The easy availability of lower-priced embroidered quilts in the market discourages the practice of traditional Lahari Kantha. Nevertheless, Akhtara Begum wishes to preserve its continuity by teaching the craft to the next generation. She believes that financial support for artisans, training, expanded market systems, and government recognition would help preserve and develop this art form. Above all, increasing public awareness and establishing Lahari Kantha's status as a cultural heritage are essential conditions for its sustainable preservation.

Personally, Lahari Kantha is a part of her very existence-it is a symbol carrying the memories of her childhood, family, and culture. She calls upon the people of the country and the world to learn about Lahari Kantha, understand it, and work collectively to sustain this fading tradition. This case study demonstrates that the Lahari Kantha of Chapai-nawabganj is not merely a handicraft; it is a unique blend of artifact, tradition, and artistic identity, capable of attaining national and international recognition with proper patronage and acknowledgment.

Self-Reliance in Wave Motifs: The Story of Lahari Kantha Artisan Farida Begum of Chapainawabganj

Ms. Farida Begum (42), a housewife and Lahari Kantha artisan is a resident of Gohalbari village in Baliadanga Union of Chapainawabganj District. Having studied up to the fifth grade, Farida Begum is a member of a four-member family. Since childhood, she has been engaged in the practice of Lahari Kantha art. From approximately the age of 10, she mastered the techniques of this craft by observing the work of her grandmothers and learning hands-on from her mother. Later, with the encouragement and guidance of local entrepreneur Runa Begum, she began producing Lahari Kantha regularly. To her, this craft is not merely a profession; rather, it is a cultural responsibility to preserve regional heritage and maintain the continuity of family legacy. Lahari Kantha is a distinctive design style inspired by the waves of the Mahananda River, where “Lahar” means wave. These wave-symbolic lines and curved stitches are the primary characteristics of Lahari Kantha. Farida Begum creates Kanthas using motifs such as bamboo leaves, koitor khupi, two-roofed and four-roofed house designs, and water-wave patterns. Notably, she draws and stitches the designs entirely by hand without using any print or template, which gives the craft its uniqueness. Pair stitch and broken stitch are the main stitching techniques of Lahari Kantha. As materials, she uses worn old sarees, karpa cloth, pleza than cloth, medium-sized needles, and Sundari or Singapore cotton threads. By using high-quality fabric and durable thread, she ensures the quality of her work. Her selection of designs mainly reconstructs traditional old motifs, preserving heritage while presenting it in renewed form.

Economically, Lahari Kantha has brought significant change to Farida Begum's life. Before receiving training, she had no personal income; currently, she earns approximately BDT 10,000 per month, which contributes effectively to family improvement. Depending on orders, she also earns between BDT 5,000–10,000. This craft plays a supportive role in increasing women's financial capacity and reducing poverty in the local community. She believes that working together with other artisans helps generate new ideas about designs and stitches and enhances creativity. In terms of marketing, representatives of various organizations collect her Kanthas directly from her home; they are also sold at folk fairs. Generally, refined and aesthetic consumers are the primary buyers. However, as it is relatively expensive in the local market, demand remains limited. Machine-made Kanthas are cheaper and faster to produce, making them easier to sell; in contrast, a Lahari Kantha, being entirely handmade, requires 6–8 months or more to complete. As a result, it is difficult to obtain appropriate value compared to the labor invested. She has not received any direct support from government or private organizations. In her view, expanding markets through NGOs and local organizations and increasing participation in various folk fairs could enhance the visibility and demand for Lahari Kantha.

Several major challenges threaten the survival of Lahari Kantha: its time-consuming production process, low wages relative to labor, the easy availability of low-cost alternative Kanthas in the market, a declining number of artisans, and limited promotion on social media. These factors are reducing the interest of the younger generation. 

Farida Begum believes that it is essential to encourage the younger generation through awards and honoraria, increase artisans' wages, and ensure national and international recognition. Additionally, adapting Lahari Kantha designs into modern garments such as sarees, scarves, shawls, panjabis, and three-piece outfits could increase its market and acceptance. Personally, Lahari Kantha represents memory, emotion, and the creativity of women's labor. She believes it is not merely a quilt for warmth; rather, it carries the warmth of mothers' hands, the sentiments of rural life, and the cultural continuity across generations. Her appeal is that protecting Lahari Kantha means preserving our roots and heritage. This case study makes it clear that the Lahari Kantha of Chapainawabganj is not merely a handicraft; it is a profound cultural expression of artifact, tradition, and artistic identity. With proper patronage, market expansion, and institutional recognition, this craft has the potential to achieve an important position at both national and international levels.

From Childhood Learning to Support the Household: The Economic Empowerment of Chayanita Rani through Lahari Kantha

Miss Chayanita Rani (26), a resident of Gohalbari village in Baliadanga Union of Chapainawabganj District, is a housewife and Kantha artisan. Having studied up to the tenth grade, Chayanita is a member of a large ten-member family, where alongside family responsibilities she is also required to contribute economically. Inspired by entrepreneur Runa Begum, she became involved in the Lahari Kantha craft. Her desire for financial stability and interest in acquiring her own skills led her to enter this field. For approximately the past 2–3 years, she has been regularly producing Lahari Kantha, having learned the techniques of this craft from Runa Begum. In her words, her strong interest in making Lahari Kantha motivates her to continue working despite all challenges. Chayanita Rani's process of making Lahari Kantha is entirely manual and labor-intensive. She first folds 4–5 layers of old worn saree cloth and places pleza or than cloth on top. She then draws various designs with a pen and brings them out through fine stitching. The materials she uses include than cloth, orbindo cloth, needles, Singapore thread, Sundari thread, stones, and nails. Pair stitch and broken stitch are the primary stitching techniques of Lahari Kantha. Long hours of patient and precise stitching ensure the quality of her work. Although she does not know the exact origin of the name “Lahari,” it is commonly known by this name in local usage, serving as a bearer of local tradition.

In terms of training, Chayanita Rani has gained both institutional and non-institutional experience. She received three months of training from the Department of Women Affairs in Chapainawabganj and has been receiving training for 2–3 years from the Rural Society Women Development Organization. This training has played an important role in improving her skills and increasing her income. Before training, her monthly income was only BDT 1,000–1,500; currently, it has increased to BDT 4,000–5,000. Although the income is still limited, it has created a stable source of personal earnings and contributed to improving family solvency. She believes that this craft plays a positive role in creating employment opportunities and promoting economic empowerment for local women. She is also active in collaborative work. Working together with other artisans helps maintain stitching quality, correct mistakes quickly, and ensure balanced work speed. This maintains uniform product quality and increases market acceptability. However, there are some limitations in marketing. She sells Lahari Kantha in the town market through entrepreneur Runa Begum, where mainly refined and aesthetic customers are the buyers. As it is relatively expensive in the local market, demand remains low. Competing with low-priced machine-made Kanthas is difficult. Moreover, completing a single Lahari Kantha takes approximately 6–8 months, requiring patience and labor. Not receiving appropriate value compared to labor is another major challenge. She has not received any direct support from government or private sources.

According to Chayanita Rani, to increase the visibility of Lahari Kantha, it is necessary to expand publicity through mass media, newspapers, and other media outlets, and to develop a broader market system. Additionally, using Lahari Kantha designs to produce modern products such as handbags, kameez, blouses, scarves, table banners, and wall hangings could enhance its acceptability and market expansion. She believes that providing specific training, financial assistance, and cultural recognition for artisans would ensure the long-term sustainability of this craft. To her, Lahari Kantha is not merely a profession; it is her strength, inspiration, and means of survival. It is the center of her financial progress and a source of self-respect. She wishes to preserve this tradition by teaching the next generation hands-on while working beside her. Her appeal is to learn about Lahari Kantha, study it, and establish research and training centers. Holding firmly to indigenous heritage, she urges everyone to come forward to preserve this craft. The discussed case study demonstrates that the Lahari Kantha of Chapai-nawabganj is not merely a handicraft; it is a unique testament to the labor, patience, and creativity of local women. With proper patronage, market expansion, and cultural recognition, this traditional craft has the potential to establish a stronger position at both national and international levels.

Bearer of Folk Heritage (Rubaiya Akter Riya): The Art and Struggle of Lohori Kantha Across Generations

Mosammat Rubaiya Akter Riya (15), a resident of Gohalbari village under Baliyadanga Union of Chapainawabganj district, is a homemaker and a Lohori Kantha artisan. Having studied up to the eighth grade, Riya is part of a small two-member family. From an early age, she became involved with the art of Lohori Kantha. At just eight years old, she began her artistic journey by receiving hands-on primary training from her grandmother. Through regular practice since childhood, her interest in stitching and design deepened. Later, she learned various technical skills of Lohori Kantha from local entrepreneur Runa Begum. She creates kanthas in her leisure time amidst household chores. Encouragement from her mother and mother-in-law, along with her own sense of joy, inspires her to continue practicing this craft despite various challenges.

In making Lohori Kantha, Riya follows traditional methods. Used old sarees, lungis, or other fabrics are placed as inner layers, covered with a layer of “than” or plaza cloth on top. Designs are first drawn with a pen and then stitched using various colors of cotton and Singapore threads. Her main materials include old saree cloth, than cloth, needles, and thread. “Jora phor” (double stitch) and “bhanga phor” (broken stitch) are important stitching techniques in Lohori Kantha. Notable motifs in her work include water wave patterns, two-roofed and four-roofed house motifs, and floral and creeper decorations. She develops new designs by observing other artisans' patterns and combining them with her own creative ideas. The curved stitching style inspired by the waves of the Mahananda River gave rise to the name “Lohori”-derived from “lahar,” meaning wave. Regionally, it is also called Lohoriya Kantha. 

Traditionally, this kantha is presented as a gift to brides during weddings, which further reinforces its cultural significance. Riya has received training for three years from the Department of Women Affairs in Chapainawabganj. This institutional training has played a supportive role in improving her skills and enhancing her professional confidence. Before the training, her monthly income was approximately 15,000 taka; currently, it has increased to 25,000 taka. Making Lohori Kantha contributes significantly to ensuring her family's financial stability. She believes that this craft plays an important role in the economic development and employment of local women and serves as an effective means of women's empowerment. Working collectively with other artisans creates opportunities for discussion, exchange of experiences, and gaining new ideas, which help improve the quality of work.

In terms of marketing, Riya mainly sells her Lohori Kantha by participating in various folk fairs and exhibitions. Urban, aesthetic-conscious consumers are her primary buyers. However, demand in the local market is limited as the product is comparatively expensive. Rising prices of fabric and thread, the time-consuming production process, and not receiving fair value for labor are major challenges to market expansion. At the international level as well, achieving expected prices becomes difficult due to the lack of proper marketing and patronage. So far, she has not received any direct government or non-government assistance. In her opinion, ensuring financial security for artisans, raising awareness about the heritage of Lohori Kantha in educational institutions and seminars, and organizing fairs and festivals at home and abroad would significantly increase the visibility and demand for this craft. Regarding the sustainability of Lohori Kantha, she mentioned several significant threats. It is primarily an orally transmitted folk tradition of Chapainawabganj; due to lack of preservation and documentation, it is gradually at risk of extinction. The loss of senior artisans, declining interest among the younger generation, and insufficient promotion have placed this heritage in a vulnerable condition. However, she remains hopeful that through hands-on training, regular workshops, and intergenerational transfer of skills, this craft can be preserved. Her aspiration is for Lohori Kantha artisans to receive the highest recognition at national and international levels.

Personally and culturally, Lohori Kantha represents for Riya her childhood memories, family heritage, and regional pride. It is not merely a handicraft; rather, it is a bearer of the ancient heritage of the Chapai region. Her message is that people at home and abroad should give importance to Lohori Kantha and promote it widely. Through increased awareness, establishment of training centers, research and documentation, and product development aligned with modern tastes, Lohori Kantha can be preserved and enriched. From the discussed case study, it is evident that Lohori Kantha of Chapainawabganj is not merely an artistic artifact; it is a profound expression of women's labor, heritage, and cultural identity. With proper patronage, market expansion, and institutional recognition, this traditional craft can attain a stronger position in both national and international arenas.

Culture in the Fineness of Needle and Thread: The Struggle for Survival of Lohori Kantha Artisan Mariyam Begum

Mosammat Mariyam Begum (22), a resident of Gohalbari village under Baliyadanga Union of Chapainawabganj district, is a Lohori Kantha artisan. Having studied up to the fourth grade, Mariyam is a member of a five-member family. From childhood, she became involved with this craft by learning the techniques of making Lohori Kantha from her mother and aunts in a family environment. Her practice of the art began out of personal interest; however, after marriage, due to family financial pressure, she started producing Lohori Kantha commercially. At present, she is also learning various designs and technical skills from entrepreneur Runa Begum. Her personal interest and the need to financially support her family-these two motivations encourage her to continue working despite challenges. In making Lohori Kantha, Mariyam follows traditional methods. Used old clothes are folded in several layers, and a covering of new “than” or Orbind cloth is placed on top. After drawing the design, stitching is completed through small, fine stitches. “Jora phor” (double stitch) and “bhanga phor” (broken stitch) are mainly used in her work. She uses quality fabric and threads of various colors to highlight the designs. The materials she uses include old cloth, plaza or than cloth, karpa cloth, needles, cotton thread, and Singapore thread. 

In selecting designs, she prioritizes her own creativity; although she does not mention the influence of any specific story or cultural motif, the fine stitching and distinctive patterns in her work carry artistic characteristics. Although she does not know specific information about the origin of the name “Lohori,” she has heard it used as the traditional name from elders.

Making Lohori Kantha contributes significantly to her family income. Currently, she earns approximately 4,000–5,000 taka per month and assists her husband in managing household expenses. Although this is not a large amount of income, in the rural context it is a notable example of women's economic participation. In her view, this craft creates income opportunities for local women and opens the path to financial self-reliance. When several artisans work together, the work is completed more quickly and productivity increases; such a cooperative environment positively influences her work. In terms of marketing, Mariyam Begum mainly sells her Lohori Kantha in urban markets through entrepreneur Runa Begum. In the local rural area, people usually make quilts for their own needs, so the market there is limited. As she does not have the opportunity or capacity to go directly to the city to sell, she has to rely on intermediaries. Moreover, it takes about 4–6 months to complete one Lohori Kantha; compared to the long labor involved, fair wages are not received. 

The availability of machine-made or other embroidered quilts at lower prices in the market is also a major competitive challenge. So far, she has not received any institutional support from government or non-government sources. In her opinion, if specific sales opportunities are created in local markets and online business is expanded, the demand for Lohori Kantha could increase.

For the sustainability of Lohori Kantha, the time-consuming production process, low remuneration compared to labor, and market competition are emerging as major threats. Nevertheless, she believes that if the new generation can be engaged through training and motivation, this heritage can be preserved. Providing cultural and state recognition as well as financial grants to artisans would increase their interest. In her view, Lohori Kantha does not need to be modernized separately; its unique characteristics are what make it distinctive. Rather, increasing public awareness and collective initiatives for heritage preservation will help sustain this craft. Personally, Lohori Kantha is for Mariyam Begum one of her main sources of income and an important bearer of rural culture. It is part of Bengal's folk heritage, and losing it would mean losing one's own culture. Her appeal is that all government and non-government sectors should work together to take initiatives for the preservation and promotion of the heritage of Lohori Kantha. From this case study, it is evident that Lohori Kantha of Chapainawabganj is not merely a handicraft; it is an expression of women's labor, struggle, and cultural identity. If appropriate patronage, market expansion, and institutional recognition are ensured, this traditional craft will be able to achieve a stronger position in the future.

Key Findings of the Case Studies

Family Tradition and Intergenerational Transfer of Skills: Analysis of the case studies reveals that Lohori Kantha has primarily survived through family tradition across generations. Most artisans receive their initial training in this craft from their mothers, grandmothers, or elder family members from early childhood. Rather than institutional education, family-based and informal learning serve as the main means of acquiring skills. The continuity of the craft is maintained through oral instruction and hands-on training.

Women's Economic Participation and Empowerment: Lohori Kantha has become an important source of income for rural women. Although the monthly income is comparatively low, it contributes effectively to household expenses. In some cases, the income of trained artisans has increased significantly, indicating the positive impact of skill development. This craft plays an important role in enhancing women's self-confidence, achieving social recognition, and establishing economic self-reliance.

Traditional Techniques and Distinct Artistic Features: The use of traditional techniques is evident in the production process of Lohori Kantha. Old cloth is layered and covered with new fabric, and “jora phor” (double stitch) and “bhanga phor” (broken stitch) are used as the main stitching techniques. Wave-inspired patterns, floral and creeper motifs, and house designs give this craft its distinctiveness. The commonly held belief that the name “Lohori” originated from wave-shaped stitching is considered part of the cultural identity of the craft.

Time-Consuming Production Process: The process of making Lohori Kantha is highly time-consuming and labor-intensive. It takes approximately four to six months to complete a single kantha, resulting in limited production. Compared to the long hours and labor involved, the remuneration received is often not satisfactory, which poses a major challenge for artisans.

Limitations in Marketing: Various obstacles are observed in marketing. The rural market is limited, and urban buyers are the main consumers. Many artisans are unable to enter the market directly and thus depend on intermediaries. Although folk fairs and exhibitions are major sales channels, online marketing systems have not yet been adequately developed, limiting market expansion.

Lack of Institutional Support: Most artisans are deprived of direct government or non-government support. Although trained artisans have experienced increased skills and income, serving as a positive example, the need for financial grants, easy loan facilities, and marketing support is evident. Institutional patronage is extremely important for the sustainable development of the craft.

Competition and Crisis of Sustainability: The easy availability of low-priced machine-made quilts in the market and the rising cost of raw materials pose major challenges to the Lohori Kantha industry. Additionally, the declining interest of the younger generation and the lack of proper documentation and preservation create the risk of extinction for this craft.

Prospects for Preservation and Development: However, there is significant potential for the preservation and development of this craft. Organizing hands-on training and workshops, increasing promotion through national and international fairs and exhibitions, and developing online marketplaces and branding could enable market expansion. Furthermore, ensuring cultural recognition and state patronage could open new horizons for the preservation and growth of the Lohori Kantha industry.

In summary, Lohori Kantha is not merely a handicraft; it is a symbol of the labor, heritage, and cultural identity of the women of the Chapainawab-ganj region. However, without ensuring market expansion, institutional support, and intergenerational transfer of skills, this heritage may face risk. With proper planning and coordinated initiatives, Lohori Kantha can achieve an important position at both national and international levels.

Analysis of Data Obtained from Observation

Observation of the Nakshi Kantha specimens preserved at the Bangladesh National Museum reveals that Nakshi Kantha is a rich folk art of Bengal, developed through a combination of aesthetics and practicality. Among the approximately 1,400 Nakshi Kanthas preserved in the museum, Lohori Kantha occupies an important place. Variations in design, stitching techniques, use of color, and composition are noticeable across regions. The kanthas of Jessore, Kushtia, Jamalpur, Mymensingh, Rajshahi, and especially the Chapainawabganj region possess distinct artistic characteristics. Observation indicates that Nakshi Kantha is not merely an item for protection against cold; rather, it is an expression of women's creativity, craftsmanship, and regional cultural identity. Analysis of the physical structure of the Lohori Kanthas collected in the Bangladesh National Museum shows that most of the kanthas are constructed on 4/5 layers of thick white karpa cloth. This multilayered structure has made the kanthas heavy and durable, which aligns with practical needs. In almost all kanthas, red, blue, and white threads are predominantly used on a white base; in some cases, yellow and black threads are also observed. The limited yet well-coordinated use of color highlights the aesthetic simplicity of Lohori Kantha.

From the perspective of design characteristics, most kanthas display wave-like or zigzag arrangements across the width, which is the main identifying feature of Lohori Kantha. Some kanthas feature column based colorful arrangements along both length and width. The presence of four-roofed, diamond, triangular, and parallel line-based designs is also noticeable. In particular, the combined use of four-roofed and Lohori motifs indicates the traditional influence of the Chapainawabganj region. 

In some kanthas, three-row borders are present along the edges, and in some cases fringes have been added, serving as decorative elements. Observation of stitch or sewing techniques shows that the application of double stitch is more prominent, through which parallel and wave-like lines have been created. In some cases, broken stitch and cross stitch have also been used, creating varied textures in the design. From the density of stitching and the amount of thread used, it is evident that these were constructed through time-consuming and labor-intensive processes. Observational analysis further clarifies that kanthas with older collection numbers (collections from the 1970s–1980s) carry the continuity of traditional designs. They exhibit the uniqueness of craftsmanship and the fineness of handmade work. Overall, the Lohori Kanthas preserved in the National Museum can be considered important documentary evidence of the heritage, technical skill, and aesthetic taste of the Chapai-nawabganj region.

Key Findings of the Observation

Layer and Material Characteristics: Most of the observed Lohori Kanthas are constructed on 4–5 layers of thick white karpa cloth. The use of multiple layers has made the kanthas heavy and durable, suitable for practical purposes including protection against cold. Thick thread and dense stitching have strengthened the structure of the kanthas.

Color Harmony and Regional Aesthetic Taste: The predominance of red, blue, and white colors is noticeable in almost all kanthas. In some kanthas, yellow and black colors have been added. This limited but strong combination of colors reflects the distinct aesthetic taste of the Chapainawabganj region.

Prevalence of Lohori and Geometric Designs: The Lohori (wave-like) pattern has been used as the main decorative element in almost every kantha. Alongside this, the presence of four-roofed, diamond, triangular, and zigzag designs reveals the artisans' inclination toward geometric arrangements.

Arrangement of Columns and Borders: The structural framework of the designs has been created through parallel or zigzag columns along the length and width. Most kanthas display three rows of borders, where the red and blue borders are comparatively wide and the white border is relatively narrow. The repetitive arrangement of borders has balanced the overall design.

Stitching Techniques: The use of double stitch, thick stitch, and dense sewing is evident. Through the continuity and density of stitching, a wave-like texture has been created on the base, which is a distinctive feature of Lohori Kantha.

Uniformity of Shape and Structure: All the observed kanthas are rectangular. The base is generally white, upon which designs are created with colored threads. This structural uniformity indicates the traditional continuity of Lohori Kantha.

Variation in Ornamentation: In some kanthas, fringes (made of red and yellow cloth) have been added, while in others the entire base has been ornamented with parallel borders, bringing variation in décoration.

Historical Continuity: From the collection numbers and collection years (1970s–1980s), it is understood that Lohori Kantha has long been a traditional art form practiced and preserved in the Chapainawabganj region.

Evidence of Technical Skill: The balanced borders, parallel lines, repetitive motifs, and precise arrangement of texture demonstrate the artisans' skill and aesthetic awareness.

Integration of Utility and Artistry: Lohori Kanthas are, on the one hand, practical items suitable for protection against cold, and on the other hand, rich examples of folk art in design, color, and craftsmanship, indicating a successful blend of utility and artistry.

Analysis of Data Obtained from Key Informants

Analysis of interviews with key informants reveals that Lohori Kantha of Chapainawabganj is not merely a handicraft; rather, it is a deeply traditional and cultural practice that has survived across generations within the family sphere. Artisans acquire this craft from an early age through hands-on learning from elder female members of the family. Therefore, the process of learning Lohori Kantha is not institutional; rather, it is dependent on oral and practical training. This continuity has established the craft as a living cultural heritage.

The analysis further shows that the artistic characteristics of Lohori Kantha are distinct from other Nakshi Kanthas. Its main identity lies in the wave-like stitches created with needle and thread on white cloth. It does not use visible decorative motifs; rather, wave-inspired designs are formed through the aesthetic arrangement of double stitch and broken stitch. Four-roofed, two-roofed, Lohoria (Lik Lohori), and bamboo-leaf designs have been identified as the fundamental design patterns of Lohori Kantha. These designs reflect the structure of local houses and the natural environment, indicating the geographical distinctiveness of the craft.

However, data analysis clearly indicates that the practice of Lohori Kantha has currently become limited. As the production process is highly time-consuming and labor-intensive, artisans do not receive sufficient financial benefits. The expansion of easily and quickly produced Sujani, Lik, and Carpet Kanthas in the market has comparatively reduced the demand for Lohori Kantha. Not receiving fair prices and the lack of interest among the new generation have been identified as major challenges to the sustainability of the craft. According to the opinions of key informants, institutional initiatives are necessary for the preservation of Lohori Kantha. Establishing training centers, organizing exhibitions at local and national levels, providing recognition and awards to artisans, improving marketing systems, and obtaining GI recognition could help revive this craft. Through proper branding and international promotion, Lohori Kantha can also be presented on a global platform. Overall analysis indicates that Lohori Kantha is a distinct cultural asset of Chapainawabganj, which can regain its heritage and dignity with proper preservation and patronage. In short, Lohori Kantha is not just a Nakshi Kantha; it is a symbol of Chapainawabganj's cultural heritage, the skill of women artisans, and their social dignity. Its preservation and promotion will not only make artisans economically self-reliant but also safeguard the country's cultural heritage for future generations.

Key Findings from Discussions with Key Informants

Importance of Tradition and Intergenerational Transmission: Lohori Kantha is a unique cultural heritage of the Chapainawabganj region. It has mainly been passed down from generation to generation through family-based learning. From childhood, women learn this craft from their mothers, grandmothers, or elder family members. Through this process, not only the art of design but also the region's tradition and cultural identity are preserved. Lohori Kantha is deeply connected with the geographical and social characteristics of Chapainawabganj, which makes it essential for heritage preservation.

Economic and Social Impact: Lohori Kantha is not only a tradition but also an important source of income for rural women. Through making kanthas, women become economically self-reliant and contribute to their family income. Moreover, the craft enhances women's self-confidence and increases their social status, thereby strengthening their position within the family and society.

Reasons for Decline: The production of Lohori Kantha is a time-consuming and labor-intensive process. As a result, there is increasing demand in the market for nakshi kanthas that are easier and quicker to produce. Many artisans do not receive fair value for their labor, which reduces their interest in continuing the craft. In addition, the younger generation is losing interest in this art form. Together, these factors have increased the risk of Lohori Kantha disappearing.

Cultural and Artistic Distinctiveness: The artistic features of Lohori Kantha distinguish it from other nakshi kanthas. It incorporates precise artistic elements such as geometric patterns, seven layers of cloth, geographically influenced designs, and motifs inspired by houses. Due to this distinctiveness and traditional craftsmanship, no other nakshi kantha has been able to replace this art form.

Possibilities for Preservation and Promotion: To ensure the sustainability of Lohori Kantha, initiatives such as establishing training centers, organizing local and national exhibitions, providing awards, and improving marketing systems are important. Product diversification, such as table runners and cushion covers, along with international promotion, can also enrich the craft. Furthermore, obtaining GI recognition and proper branding will support the preservation of the art and help introduce Lohori Kantha beyond the country.

The Lahari Kantha of Chapainawabganj is not merely a handicraft; it is a women-centered cultural heritage and a bearer of regional identity and social history. Triangulated analysis indicates that although the craft is culturally strong, aesthetically distinctive, and promising in terms of intergenerational continuity, it remains at risk due to economic fragility and market limitations. On the other hand, physical observation highlights its technical craftsmanship, multilayered construction, pair stitch, Lahari and geometric design distinctiveness. However, limitations in marketing, low remuneration, dependence on intermediaries, competition from industrialized products, and lack of institutional support collectively place Lahari Kantha in a “culturally robust but economically vulnerable” position. In other words, despite its traditional strength, the absence of market structure and policy support is making its long-term sustainability uncertain. With appropriate policy support, market expansion, skill development, and cultural branding, Lahari Kantha can be transformed into a sustainable heritage industry. Through coordinated initiatives, it has the potential to become a national model for heritage preservation and a unique representative of Bangladesh's folk art in the international market.

By integrating triangulated data sources (key informants, physical observation, case studies, and statistical findings), the following recommendations were drawn -

• Institutional Support and Policy Recognition: It is necessary to introduce training programs, easy loan facilities, raw material subsidies, and artisan registration processes at both government and non-government levels. Achieving GI (Geographical Indication) recognition would help preserve the regional identity of the craft.
• Market Expansion and Digital Marketing: It is essential to develop online marketplaces, e-commerce platforms, and social media-based marketing systems. Alongside local sales, co-operative-based marketing models can be established to ensure access to national and international markets.
• Technical Skill Development and Entrepreneurship Creation: Training should be provided in design development, product diversification (such as table runners, cushion covers, wall hangings, etc.), and branding. Developing skilled artisans as entrepreneurs would bring sustainability to production and market management.
• Ensuring Fair Pricing: A fair pricing mechanism should be formulated in alignment with the labor-intensive production process of artisans. Dependence on intermediaries should be reduced, and direct sales systems should be encouraged.
• Preservation and Documentation: Written and digital documentation of designs, stitches, motifs, and technical techniques is essential. The tradition can be institutionally preserved through archives, exhibitions, and research publications.
• Maintaining Youth Engagement: Since most artisans are young women, ensuring increased income opportunities and social recognition would help sustain the interest of the next generation.

Both the authors contributed in conceptualizing and designing the study. J. N.: contributed in data analysis and report writing. L.B.: contributed in preparing article from the study.

First and foremost, the authors are grateful to Almighty Allah. The authors are also thankful to anonymous reviewers and editors for their helpful comments and suggestions.

The author declares no conflict of interest.