[4] Nakshi kanthas are made throughout Bangladesh, primarily in the areas of Mymensingh, Jamalpur, Bogra, Rajshahi, Faridpur, Jessore, and Chittagong.

[7] Early kanthas had a white background accented with red, blue, and black embroidery; later, yellow, green, pink, and other colours were also included.

[12] Like any other folk art, kantha making is influenced by factors such as the materials available, daily needs, climate, geography, and economic conditions.

Rural women worked during their leisure time or the rainy season, so it was common for a kantha to take months or even years to complete.

When a kantha is being made, the sarees are first joined to achieve the required size, and then layers are spread out on the ground.

In some types of kanthas (such as carpet, lik, and sujni), wooden blocks were used to print the outline.

These kanthas are further divided into soja (straight or simple), Kabutar khupi (pigeon coop or triangle), and diamond.

The Lik or Anarasi (pineapple) type of kantha is found in the Malda, Chapainawabganj, and Jessore areas.

Hindu women in the 19th century used human and animal forms to tell stories of gods, goddesses, and their Vahanas.

Bengali women were free to draw inspiration from their rich indigenous surroundings as well as contemporary stories.

In the mid-19th century, the colour schemes and designs began to change to make them suitable for use on modern garments.

In 1940, Kabiguru Rabindranath Tagore and his daughter-in-law Pratima Devi trained Santali women in Birbhum District, and quality work was produced under the tutelage of Kalabhaban artists.

The motifs may include images of flowers and leaves, birds and fish, animals, kitchen items, and even toilet articles.

Although traditional motifs are repeated, individual touches are evident in the variety of stitches, colours, and shapes.

The sun is linked to fire, which plays a significant role in Hindu rites, both religious and matrimonial.

Religious motifs such as mosques, stars, Arabic calligraphy, and Islamic arts, as well as motifs from Jamdani, which is part of the Muslim heritage of Bangladesh, are used in nakshi kantha, particularly for religious activities such as prayer rugs and covers for the Quran.

As a motif in Indian art, it dates back to the Indus Valley Civilisation and is a symbol of good fortune.

The influence of this motif in Bangladeshi art and culture (as with kantha) can be traced back to the Indus Valley Civilisation.

Vines and creepers play an important role in kanthas and symbolise the same meanings as the Tree of Life.

The Bangladeshi authorities, however, later passed the "Bangladesh Geographical Indication (Registration and Protection) Act, 2013"[24] in parliament.

With the necessary preparations now in place, they are awaiting the next application cycle to claim the Geographical Indication for Nakshi Kantha in Bangladesh.