Patrick J. Finn has travelled across India researching the country’s many wonderful quilting traditions. His book “Quilts of India: Timeless Textiles” (Niyogi Books), five years in the making and published recently, opens one’s eyes to the effort that goes into the intricate designs — from koudis of Karnataka, kanthas of Bengal and ledras of Jharkhand to gudris of Rajasthan.
For most of us who have seen quilts being stitched, or hung them up out to air in balconies, but have never really appreciated them as a fine craft, Finn reveals the historical and social context in which they are made and discusses at length the imagery — inspired by mythical stories, cave art, rituals and paintings — the quilt-maker uses.
Divided state-wise, the book comprises more than 400 photographs taken in villages, museums and urban settings. From the simplest utility quilt to the most elaborate Indo-Portuguese coverlet, the photos have captured details of the varied techniques and several quilting traditions that have not been previously documented. Minutely, the author goes on to cover even the lesser-known traditions that are on their way back from near-extinction.
Finn writes of his time in a Gujarati village: “As a guest one evening, I watched my hostess make up a charpoy (bed) for me. In consideration, she layered many quilts — lesser ones underneath, finer ones on top. Then, almost ceremoniously, she laid a finely embroidered and quilted cover on the pillow with a flourish.”
Such anecdotes are in abundance in the book, offering a peek into the lives of the people behind the quilting traditions. “Whether made for use at home, to signify religious asceticism, or to be given as gifts, the quilts are infused with spiritual significance and folk meaning,” he writes.
As a photographer, author and researcher, Finn says he has consulted on Indian textiles for procurement and identification purposes.
“In 2003, I released two books: ‘Notes to Myself: Portraits in India’ and ‘The View from Wolf Ridge’. For the past 10 years, I have divided my time between the US and India, with most of that time spent in India. At first I resided in Uttar Pradesh and then during the past 18 months, I gave the finishing touches to the ‘Quilts of India’ in Goa,” Finn says.
He remembers how his love for quilts began: “Our family was on summer vacation in Iowa [in the United States]. I was five years old and at bedtime my aunt led me up the long staircase to the attic. I’d sit in the twilight on an old iron bed and run my fingers over a mosaic of cloth, fascinated by the patterns and colours — these were the first quilts I’d ever seen.
“In college, 15 years later, these memories motivated me to devote every Saturday to search for old quilts at farm sales across the Amish countryside near my university. The collection spilt from my four-poster bed into trunks and cupboards. When I left college I sold them all. Fifteen more years later, I was standing by the roadside in Varanasi [in India] captivated by the preparation of the warp threads for the famous brocade saris. My love for textiles had swelled to embrace the timeless textiles of India.
“Even as India races into the 21st century, her quilts still represent a living tradition dating back 4,000 years to the Indus Valley Civilisation. Today, the quilters of India preserve the unbroken thread of that story.”
In the book’s afterword, Finn writes, “India is half a world away from my grandmother’s house in Iowa where I saw my first quilt. I have now seen enough, which if placed end to end would traverse the distance from New Delhi to Grandma’s home in Belmond. Nonetheless, my head still whips around to catch a passing clothesline, just in case another gem is hanging there among the pants, shirts and saris. I’m insatiable, so I remain in India where the array of quilts is endless, as are the adventures of uncovering them.”
Finn told Weekend Review more during an interview. Excerpts:
How did the unusual idea of exploring India’s quilting traditions strike you?
Before embarking upon the book, I was a textile dealer between India and the United States. One of my clients wanted to know more about kanthas, so I began my research. Then in 2005, she connected me with the International Quilt Study Centre and Museum in Lincoln, Nebraska. Eventually, that evolved into the idea of writing a book about the quilts of India.
What kind of research went into the project before you actually set out traversing the length and breadth of the country?
Before I began the fieldwork, I did extensive research on the internet and in libraries. I also spoke with textile experts and academics from various colleges and universities.
Having covered several states, can you now tell where a quilt is from?
I can identify many Indian quilting genres — some are easy to tell, such as the kanthas from West Bengal and Bangladesh. Others are more difficult to identify, such as the variety found in the Sindh region, which covers Pakistan, Rajasthan and Gujarat, where there is a similar culture.
You must be used to travelling in comfort, so how was your overall experience in India?
Travelling in India is not always easy, but a good driver can make all the difference when travelling by car. However, late flights or trains causing missed connections were difficult. One time in Karnataka, we had a local man taking us to his home. We headed down the highway then turned on to a dirt road. The road kept getting worse, until finally it just ended! After that, we set out on foot down a narrow path through the forest. A half-hour later we reached his home and saw some wonderful quilts made by his wife.
Wasn’t language a barrier? Or you know Hindi and hence managed to follow the local dialects?
I speak a little Hindi and where people didn’t speak Hindi or English, I had a translator. Sometimes my driver knew enough English to act as a translator.
What myths about quilting traditions were shattered during your journeys through India?
The one thing that surprised me was the variety of styles followed by just one lady. Especially along the coast of Saurashtra in Gujarat, many women would use more than one style and come up with an array of different designs.
Don’t you feel most women in villages are continuing with the practice of making quilts for survival rather than to keep the traditions alive?
I believe that home-quilting will always remain a craft in India — although it may change. I met women who are taking up the craft the same way it is done in the West, where it is not so much a “culture of poverty” but a personal expression of creativity.
Despite being uneducated and not exposed to different cultures, are women in the villages still artistically inclined as far as expression of creativity is concerned?
Some of the women who make quilts are highly educated — I met a teacher and a doctor who made quilts. Even in small villages women are exposed to other cultures through television. There is a wide diversity of creative talent expressed through Indian quilt-making — some are simple, while others are very elaborate.
In the five years that you worked on the book, how much time was spent on travelling?
I spent two and a half years doing fieldwork.
Were you intrigued by the fact that no elaborate work (such as your book) had been done on quilts?
A few books had been written — such as the ones on ralli quilts and kantha quilts, but none covered all of the different styles found across India.
Do you feel documenting the craft will help the dying art in many regions?
Some quilting genres are already dying out, such as the balaposh and the more intricate kanthas from Bengal. I hope that the book brings attention to this craft or at least documents the existence of the art form for the future generations.
What must the state governments do to save this cultural heritage?
Most of the work to save this cultural heritage is done by many NGOs across India, sometimes with state and national government aid. It is a popular revitalisation movement.
Nilima Pathak is a journalist based in New Delhi.
