Elements
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EE00002591
Tshemzo: The art of Tailoring, Embroidery and Appliqué
Tshemzo includes three forms of art - tailoring, embroidery and appliqué under one name. Tailoring involves stitching all kinds of garments while embroidery, which is called tshemdrub, and appliqué or lhemdrub are done for making thangka and thongdroel. According to Lam Nado (Druk Karpo, 1986), the art Embroidery called tshemdrub and appliqué was introduced in Bhutan by Drung Damcho Gyaltshen, secretary of Zhabdrung Ngawang Namgyal. He was not only a scholar but was also highly skilled in the art of Tshemzo. Later the art was widely spread by Penlop (Chieftain) Drakpa Jamtsho and Choeje (Nobility) Jamgon Ngawang Gyaltshen subsequently. Tshemdrub involves working with thread and needle to produce designs while lhemdrub involves fixing the cut patches of either silk or brocade to produce bigger images. Monks normally practice the art of embroidery and appliqué.Monks produce large religious scrolls known as Thangkas that portray Buddhist deities and saints. Seven different kinds of embroidery are practiced: • Lhugtshem-light coloured embroidery • Sitshem- the bold coloured embroidery • Nyitshem- double-embroidery • Chagthagtshem- Iron-chain embroidery • Zurtshem- lining embroidery • Dongtshem- front embroidery • Chedtshem- outline embroidery a. Sewing Traditional Garments: Common practice among the people is lagtshem (hand sweing) or thrultshem (sewing by using a tailoring machine). These tailors are skilled at sewing the traditional Bhutanese garments. They stitch gho and kira, the national attires for men and women respectively. They also design and stitch tego and wonju (blouse) worn by Bhutanese women. Traditionally, lagtshem- to stitch costumes with bare hands using the thread and needles were practiced and were done mostly at home. Today, however, with the advancement in technologies, tailors use modern sewing machines, which are more effective and carried out with much ease.
Bhutan -
EE00000395
‘Nooruz’ celebration
Nooruz is the New Year by solar calendar in Central, South and SouthWest Asia countries. March 21 marks the start of the year in Kyrgyzstan. Nooruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place. An important tradition practiced during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits given to relatives, particularly the elderly and neighbors. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, public rituals involving water and fire, traditional sports and the making of handicrafts. These practices support cultural diversity and tolerance and contribute to building community solidarity and peace.
Kyrgyzstan 2016 -
EE00001651
ABRBANDI
Traditional technology of the designing fabrics. Designer wrappes some area of the threads and puts in paint for desired color. After certain time master takes out and opens the wrapped areas. This method is used in designing adras, atlas, alocha and shahi fabrics.
Tajikistan -
EE00001652
ADRASBOFI
Weaving a local traditional fabric called as adras. This fabric is weaved with silk and cotton threads. Adras fabric is used for sewing women dresses, men’s turban, blanket and etc.
Tajikistan -
EE00002048
Aghash Oyu – wood carving
Wood carving is widespread in Kazakhstan as a traditional craft. The yurt’s frame is entirely made of wood, including the shanyrakh (cylindrical top part), uykh (poles that are embedded in the shanyrakh and fixed to keregeh, or greedwall) and sykhyrlauikh (doors). The internal furniture is made of wood as well. including abdireh or sandykh (chests), tosekaghash or keruet (bed), besyk (cradle), assadal (buffet), kebezheh (kitchen cabinet) and dastarkhan (low table). Kitchenware is partly made of wood, including kubyi (butter making jar), tegeneh (cups for kumis, fermented mare’s milk), ozhau (ladle), tostaghan (bowls), saptiyayak (water dippers), astau (bastau, a large plate for boiled meat) and tabakh (plate). As well, special wooden stands (zhukh ayakh) are carved for protection against humidity. Wood carving is also used for production of musical instruments, souvenirs and horse-saddles (yer). Wood carving is widespread in Kazakhstan as a traditional craft. The yurt’s frame is entirely made of wood, including the shanyrakh (cylindrical top part), uykh (poles that are embedded in the shanyrakh and fixed to keregeh, or greedwall) and sykhyrlauikh (doors). The internal furniture is made of wood as well. including abdireh or sandykh (chests), tosekaghash or keruet (bed), besyk (cradle), assadal (buffet), kebezheh (kitchen cabinet) and dastarkhan (low table). Kitchenware is partly made of wood, including kubyi (butter making jar), tegeneh (cups for kumis, fermented mare’s milk), ozhau (ladle), tostaghan (bowls), saptiyayak (water dippers), astau (bastau, a large plate for boiled meat) and tabakh (plate). As well, special wooden stands (zhukh ayakh) are carved for protection against humidity. Wood carving is also used for production of musical instruments, souvenirs and horse-saddles (yer). In forest-rich Eastern and Northern Kazakhstan, hardwood trees are used for carving, including red birch, maple, black or red alder, ash, nut tree, and oak. In Southern Kazakhstan, trees like elm, nut tree, pear, acacia, elaeagnus (djygyda), plane tree (chinara) are used for carving. As well, tree roots and knots are used. In South-East of Kazakhstan, elm, apple, nut tree, and buckthorn are usually used by woodcarvers. Table and chair legs, and some yurt parts are usually carved from pine, aspen or poplar. Other hardwood used for carving includes mulberry tree, and in softwood, juniper. Every wood carved product is decorated with ornament. Pattern and design of wood carved objects are also based on the balance of foreground and background, vertical symmetry, importance of central piece and border pattern. Traditional woodcarving includes several techniques and cuts, such as contour, relief and three-sided hollow carving. Relief carving is used for decorating chests, cabinets, doors, beds and kitchenware. Painted relief carving is used for decorating yurt doors and buildings of worship. Three-sided hollow craving is used for making geometric patterns. Cutout is mostly used for floral ornaments. To make dishes water resistant, they are soaked with boiled animal fat. Carved objects can be combined with paintings. Usually the background is unpainted, while the foreground is painted red, blue, green and yellow. Objects can also be decorated with inlaid bones, silver and other metals. Metallic details can be decorated with precious and semi-precious stones.
Kazakhstan -
EE00001329
Aitys – the art of improvisation
Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints. Akyns compete with each other without any preparation, minutely composing poems mutual answers to questions of concern to society. Deep philosophical reflections in the witty, bubbly manner often turn into a form of poetic ridicule and criticism. Akyns compete in their resourcefulness and originality.
Kazakhstan 2015 -
EE00001654
AJUBASOZI hushtaksozi
Making figures of fantastic dragon, animal toys and whistles with clay. A’jubasozi is a part of pottery. In the past people had some beliefs related to this figures.
Tajikistan -
EE00000073
Ak-kalpak craftsmanship, traditional knowledge and skills in making and wearing Kyrgyz men’s headwear
Ak-kalpak is a traditional Kyrgyz felt headwear. Kalpak is appreciated and worn by all men regardless of age and status. Kalpak is one of the most iconic and recognizable elements of the Kyrgyz culture. The word Ak has several connotations in Kyrgyz language. One of the meanings is “sacred”, “pure”. The kalpak’s shape has not changed in centuries because this shape symbolizes the heights of surrounding mountains and the purity of the folk spirit. There are many varieties of kalpak. Based on various techniques of felting, cutting and sewing, there are more than 80 types of kalpak. Almost all kalpaks have embroidery patterns on them. Each pattern has its own sacral meaning and history. Two varieties are most popular at the moment. One has one small cut in front and the other one, called Bakai kalpak, has two cuts on the sides. Bakai kalpak is worn by people of older age. Various colors on kalpak edges are used to symbolize the age of the kalpak owner, although these rules are not set in stone and there are many exceptions to this rule in everyday life. - Green edged kalpaks are for children. Young boys wore those kalpaks. Green is a color of youth and shows that they are at the beginning of their life paths. - Blue edge is a color for adolescents. This was the color for men over 20s. The color of sky symbolized maturing. - Brown edged kalpak was worn by men over 30 years old. Brown symbolized that the person already has a family and as a head of the family have accumulated enough life experience and is ready to serve the country. - A beige colored edge was worn by mature men over 40, when they could serve as an example for the younger generation. - Black edged kalpak was born by elderly men over 60. Black edge on a white felt symbolizes wisdom. An elderly widower wore a white kalpak with black felt edge. It meant that his kids allowed him to marry again. - The most honorable completely white kalpak was worn by wise elders. Such kalpak is given to acknowledge his leadership and authority.
Kyrgyzstan 2019 -
EE00002148
Akgijang (Musical Instrument Making)
[National Intangible Cultural Heritage, Republic of Korea] Akgijang refers to the skill of making instruments used to play the country’s traditional music or to an artisan with such a skill. It is presumed on the basis of murals dating from the Goguryeo Period displaying wind, string, and percussion instruments that such artisans existed during the Three Kingdoms Period (57 BC – 668 AD). During the Joseon Period (1392 – 1910), musical instruments required by the government were made at an independent institution named Akgijoseongcheong (the Office of Production of Musical Instruments) within the Royal Court. The number of types of the country’s traditional musical instruments comes to 60 – 70. Gayageum (twelve-stringed zither) and geomungo (six-stringed zither) are the leading ones, followed by ajaeng (seven-stringed zither), daejaeng (fifteen-stringed zither), and hogeum (two-stringed fiddle). Wagonghu (harp), sugonghu (vertical harp), dangbipa (four-stringed Chinese mandolin), hyangbipa (Korean mandolin), yanggeum (dulcimer), geumgwasul are produced, but rarely used. Generally, the sounding board of a string instrument is made of Paulownia wood. The bottom board is made of chestnut and pine wood. The wood of the jujube tree, ebony, and Chinese juniper tree is used to make pieces decorating instruments. Paulownia, in addition to being rot resistant, has good resonance properties and does not crack during drying. Akgijang is protected through designation as important intangible cultural heritage. Buk (drum) making skills were integrated into Akgijang in March 1995.
Republic of Korea -
EE00000066
Ala-kiyiz and Shyrdak, art of Kyrgyz traditional felt carpets
Traditional felt carpets represent one of the identity codes of the Kyrgyz people, and their recognizable, ethnographic features are an integral part of Kyrgyz cultural heritage. Kyrgyz people traditionally produce two types of felt carpets: Ala-kiyiz and Shyrdaks. Knowledge, skills, diversity, the semantics of ornaments, and the ceremonies of creating carpets, are all important cultural components. They provide Kyrgyz people with a sense of identity and continuity. Both types of felt carpets are included into the set of a traditional bride’s dowry. Shyrdaks sometimes are gifted for house-warming parties. The making of Kyrgyz felt carpets is inseparably linked with the everyday lifestyle of nomads, who used felt carpets to warm and decorate their homes. Ala-kiyiz are usually placed in the kitchen and the entrance area of the house. Shyrdaks are more complicated to produce and are more expensive, thus they are placed at the honourable part of the dwelling. The felt carpets ornaments reflect their creators’ outlooks and ideas about the Earth, water, mountains, celestial bodies and fertility.
Kyrgyzstan 2012 -
EE00001617
ALOCHABOFI zebak, farangi, abreshimi.
Skills and knowledges of the weaving the traditional fabric alocha. It is designed with red, black, green, blue and other color threads.
Tajikistan -
EE00001692
ANDOVAGARI, andovamoli, loyandova
A kind of traditional craft related to the construction of houses. Andova is applying special prepared clay to the walls.
Tajikistan