ALL
bead
ICH Elements 8
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Traditional knowledge related to the technique of metalworking and jewelry
Art metal processing works made by masters found in museum funds of Kyrgyzstan and those that are passed from generation to generation shows that the Kyrgyz possessed metal processing techniques from the ancient times. The Kyrgyz metalwork masters are named as ‘usta’ or ‘zergher’. Distinct features of different techniques of metalworking can be observed in the works of the Kyrgyz masters, such as forging, molding, appliqueing, notching metal with silver, engraving, minting, pattern plating, pelleting, fretwork and black finishing. Silver is the most common metal used by the Kyrgyz. Masterpieces distinct to the Kyrgyz jewelry making have been created with a help of simple tools used in metalworking. The kit of jeweler’s main instruments included an anvil, hammers for different purposes, dies, stamps, chisels, puncheons, mandrels, cutters, poin-tools, etc. Motives of the ornaments used in jewelry and metal works are very diverse. Of a particular interest are the Kyrgyz traditions of metalworking expressed in details of the horse equipment. They are richly decorated with metal braces covering joints of belts made by embossing technique and notching. Kyrgyz jewelers broadly used the technique of denting, that is coating notched iron plates with silver. Such coated plates of different size and forms were then used to embellish harness elements, man’s belts, knives, fire stones, trunks, cases for dishes, etc. Quite often jewelry articles were framed with granules. This technique was primarily used in woman’s adornments, such as ear-rings, rings, seal-rings, bracelets, and etc. Like formerly, granulation was combined with filigreeing and incrustation. Community of craftspeople metalworking was a purely masculine craft, but women zergers are also known.
Kyrgyzstan -
Traditional skills of crafting and playing Dotār
The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned. Dotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody. The crafters also repect nature as they use dead and dried wood for making Dotār. It is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.
Iran 2019 -
MUHRAKASHI, muhrabofi
Skills of making necklace from colorful beads with needle and treads. This craft belongs to women. There are different kinds of necklace, such: khafaband, gardi khazinam gardanband, dastpona, peshovez and etc.
Tajikistan -
Tussau kessu – Kazakh family rite
Tussau kessu (kaz."Tussay kessu") is one of the most common traditions and customs among the Kazakh nation, which has ethnographic features. This custom is considered one of the most significant events in the child's life. The origin of the custom is associated with magical belief in the hidden strength of the fetters that hold back unstable steps of a toddler. And if they are cut, then the toddler begins to walk confidently. This belief is found among many people of the world. In particular, it has been preserved to this day among the people of Central Asia. There is another belief, that if toddler takes his first steps and reached the family not stumbling then he would be very capable. The main purpose of giveaways is association of aul neighbors, relatives, friend around the principles of humanity and respect. Gifts are also given to the toddler. If he is a boy, then a horse might be given as a gift.
Kazakhstan -
Choe-lhag-ni: Scripture Recitation
Choe-lhag-ni is a Dzongkha (National Language) term for recitation of Buddhist scriptures especially Sanskrit Tripitaka at the various religious institutions or at the individual houses by either a monk, lay monks or by ourselves. Reading scripture is not only one a virtuous act (ge-wi-la) in accumulating merits to oneself but also helps other to arouse faith and aids in realizing the Buddhahood nature. It also a ritual (rim-dro) which helps in clearing and overcoming the obstacles and hindrance created by malicious spirits our daily activities and purifies our sins and defilements as well. While conducting Choe-lhag-ni program, the reader or the reciter is normally called Choe-neb and Choe-yon or Jin-dha for sponsors and patrons. Normally, such program can be conducted or organized as an annual program or carryout as and when there are sicknesses or can when an astrologer or a Spiritual masters either advices or make divination. This Dharma activity is always conducted in consultation with astrologer or a Spiritual masters seeking favourable elements that coincides Lha-za (spirit/vital-day) and if not possible, then on the Sog-za (life-force day) of either a sick person or the main family member. Performing on that particular day is said to be more effective and beneficial than conducting on other days which are called Gang-tong (neutral days). It is instructed and also believed not to conduct any virtuous activities be it the Recitation of Scriptures on Shey-za (bad days) as it causes harm than benefiting oneself and the patrons. As mentioned above, recitation of whole set of Tripitaka comprise two sets namely; Kan-guyr (direct word of Buddha) with 99-108 volumes and Ten-gyur (its commentaries) with 200-228 volumes is a great and enormous activity which one need huge number of readers as well as enough financial assets for an individual therefore, Institutions such as; Monastic body, government’s initiative or a joint private individuals can only organize such program intendent for wellbeing of sentient beings and particularly to the people of the country. In a rare case, out of interest, benefit the sentient beings or to enlighten oneself, an individual sometimes engage themselves in reading whole Kan-gyur volumes. Normally, Buddhist followers who want to clear the unforeseen obstacles, ward off illnesses, counterforce mishaps and sometimes as a routine basis reads mostly either 16 volumes of Skt. Prajnaparamita (Perfection of wisdom Sutras) and more often the single volume called Do-mang or Zung-due, where there is numerous collection of important Buddhist texts. Reciters or readers can be a person or more depending on the sponsor’s wish nevertheless, often if the recitation is not in haste or an emergency then, a person will stay in the sponsor’s house until the completion of the scripture. But, in case a ritual of a sick person and have limited time, the patron will invite numbers of Reciters as to complete the whole set in a day. The tradition of reading Buddhist scriptures for wellbeing and performing meritorious deeds had been common from the days of Buddha Shakyamuni in India. Having translated these teachings translated into Tibetan as early as 7th century and thereafter, introduced the tradition of reading them. Later in the 8th century, when King Thrisong Detsan (755-797 or 804) was having the Indian Dharma translated into Tibetan, the translator Ba Ratna Manju (?) was translating the greater Prajnaparamita Sutra. In his dream, he saw the entire land of Tibet was filled with the scripture of Prajnaparamita. This was an omen that there would be purely Mahayana practitioners born in the land of Tibet. When looking at the Prajna of hearing and contemplating in the mountainous land of Tibet, though training was done in all the schools, the experiences in Drub-jue sing-ta-gyed (Eight Chariots of Practice Lineage) in all the four Schools of Dharma Tradition are essentially Mahayana, and particularly the practice in the Sa-ngag (Secret Mantra) is as per the prediction of this omen. When Ba Ratna Manju offered this to the King, the king was pleased, brushed his hand over his head and gave great rewards for his services. It also shows the King’s deep faith in the Prajnaparamita Sutra. As much as his faith in this outstanding text among all the excellent teachings, it was King Thrisong Deutsan who had started the tradition of reading the scriptures in Tibet. It is said that the twelve volumes of Bum (hundred thousand stanza) scripts used to be read, from beginning to end every morning by dividing the scriptures among some 300 monks at Samye Monastery, Tibet. From Tibet, the tradition gradually flourished to the neighbouring countries including Bhutan which the people of Bhutan still practice the culture not only for remedial purpose but also to uphold the sacred doctrine and inculcating the faith to the future generations. However, the modernization couldn’t make much affect for this reading culture while it had somewhat impacted other ICH for its survival.
Bhutan -
Pawo: Shaman
Part of the Bon tradition that still exists in Bhutan is the practice of shamanism. Shamans are sought out in times of illness, misfortune, or for divination. The practice of shamanism is common in almost all regions and is referred to differently in each region. It is also distinguished by ethnic groups, which can be divided into three major regions. Shamanism in Bhutan, as in other parts of the world, is deeply rooted in religion and involves supernatural powers. Since the practice of shamanism is based on religion, the religious origin and affiliation of the practice of shamanism in western and eastern Bhutan is Buddhism, while in the south it is Hinduism. There are two types of Bon practices: Bonkar and Bon nag. While Bonkar does not require animal sacrifice, Bon nag requires blood and animal sacrifice. Bon nag is virtually non-existent in Bhutan now that Buddhism is widely practiced. Popular shamanistic practices in the east include Pawo (male medium), Pamo (female medium), and Jab (Possessor or a deity). Nel-jorm (term for Pawo and Pamo in the West), Terda (male medium), and Jomo (jab of the East) are practiced primarily in the West. In the south, Jak-ri/Dha-mi is practiced, which is further divided into four categories: Ban-jhak-ri (abduction by a wild shaman), Naag-mata (female shaman), Ghalley-pawo (practiced by the Ghalley caste), and Rai-pawo (practiced by the Rai caste). Pawo Tashi Penjor (60) from the Shaba Gewog (block) under Paro Dzongkhag (district) has been a shaman for almost 21 years and is a well-known figure in the Gewog. His services are also sought by people from other Dzongkhags. During the Thangka Bonko, the Pawo asks the deity for help for the welfare of the community and for peace and prosperity. A shaman does not become a shaman by choice or interest. It is not necessarily hereditary. It depends on the choice of the deity or god. Before a person is identified as a shaman, he or she falls seriously ill and is confirmed by a divination from a lamb. After that, the person dedicates himself to a Yidam (protective deity) who is able to guide the person to a good Pawo. Pawo Tashi Penjor also became a shaman at the age of thirty and continues to assist the community with psychological and healing tasks. According to him, people continue to seek the help of shamans while seeking the assistance of technology and science. The amount people offer him does not deter him, whether it is small or large, because he only wants to help people. People seek the help of a shaman in times of illness, misfortune, or accidents that are beyond the control of medicine or other forms of intervention. A shaman acts as a medium between the people and the spirits or gods. He invokes the god or spirit, finds the causes of the illness and misfortune, and makes predictions about the actions or solutions. On such occasions, shamans are either invited to their homes, or they are performed only at the shaman's place. It is also performed during local village festivals or events such as Bon-kor, when the intervention of the Pawo or Nel-jorm is required. In such cases, the shamans help the village or community by predicting unforeseen mishaps or epidemics and suggesting appropriate solutions. On such occasions, shamanism is performed in a common place, either in a village Lhakhang (temple) or in a designated open space where local festivals are held.
Bhutan -
Cheoyongmu
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Cheoyongmu refers to a court dance performed by five dancers in five directions (west, east, north, south, and center). Hence it is also called Obang (quintet) Cheoyongmu. It is unique in that it is the only form of a court dance performed using human masks. Designated Important Intangible Cultural Heritage on January 8, 1971, Cheoyongmu is a grandiose, mystic dance performed by male dancers. At the end of the Silla Kingdom (57 B.C. – A.D. 935), King Heongang went on an excursion to the seaport of Gaeunpo (present-day Sejuk Village area in Hwangseong-dong) in the southeastern city of Ulsan. On his way back home, the king felt strange about the sky covered with dark clouds and fog and asked his retainers the reason. “As it is caused by the dragon in the east sea, it should be resolved by conducting good deeds,” a court astronomer replied. Therefore, when the king had a temple built for the dragon, the dark clouds disappeared and the dragon, along with his seven sons, emerged from the east sea and danced. One of the dragon’s sons, named Cheoyong, followed King Heongang to the capital, married a beautiful woman and held an official rank. One night, when Cheoyong returned home, he found the spirit of smallpox trying to attack his wife. As Cheoyong sang and danced, the smallpox spirit presented itself and kneeled in apology. Since then, people have attached an image of Cheoyong to the gate to dispel evil spirits and invite auspicious energies. Until the late Goryeo (918-1392) era, Cheoyongmu had been performed by a dancer, while by the reign of King Sejong (r. 1418-1450) of the Joseon Dynasty it was danced by five performers. According to the Akhak Gwebeom, or the Canon of Music, Cheoyongmu was performed twice at the narye ceremony, which was conducted on New Year’s Eve to ward off evil spirits and the god of death of the passing year. The five dancers are clad in white, blue, black, red and yellow, symbolizing the west, east, north, south and center respectively. Based on the theories of Yin and Yang and the Five Elements, Cheoyongmu symbolizes the repelling of misfortune. The stately and vigorous movements reveal a valiant spirit and magnanimity. Cheoyongmu begins with proceeding toward the king to the music of sujecheon (“Long Life as Eternal as the Heavens”), singing the first line of “Cheoyongga” (Song of Cheoyong) with the words “silla seongdae soseongdae” (“Silla, the period of brightness and greatness”) in the lyric song rhythm of eolnak. Then, the dancers bow to the king and move to the center of the stage to the music of hyangdang gyoju (ensemble by Korean and Tang instruments). To the slow tempo music of seryeongsan (“Mt. Seryeongsan”), they form a square to dance sanjak hwamu (“Scattering in the Form of a Flower”) and rotate to the right. As the formation is changed to a cross, the music is also changed to samhyeon dodeuri (slow 6/4 beat music by three strings). After the dances of suyang sumu (“Dangled and Raised Hands Dance”) and mureup dipimu (“Moving Knee to Change Direction”), the dancers change the formation into a circle and rotate to the left. As the formation is changed to a straight line again, they recite a verse from the Song of Cheoyong, saying “sanha cheolniguk” (“To mountains or fields that are far away”) in the lyric song rhythm of pyeonak and then leave the stage, dancing nakhwa yusu (“Falling Petals and Flowing Streams”) to the music of songgu yeojigok (a sort of dodeuri). In light wine color, the Cheoyong mask features white teeth, tin earrings with a lead bead, and a black official hat decorated with two blossoms of peonies and seven peaches. The light wine color and peaches symbolize warding off the evil spirit, while peonies signify inviting auspicious energies.
South Korea 2009 -
Chinese Zhusuan, knowledge and practices of mathematical calculation through the abacus
With the abacus as a tool, mathematical algorithms as a theoretical facility, Chinese Zhusuan is figure-based knowledge and practices through moving beads on an abacus according to the defined formulas. The abacus is made of bamboo or wood in the shape of a rectangle, divided horizontally into two decks with a string of five beads (one in the upper deck and four in the lower) or a string of seven beads (two in the upper deck and five in the lower). Each bead in the upper deck has a value of 5 while each in the lower has a value of 1. Atypical abacus has 13 to 19 rods connecting the beads. Zhusuan practitioners can perform mathematical calculations including addition, subtraction, multiplication, division, exponential multiplication, root, equations of higher degree, thus demonstrating the wonderful wisdom and creativity of the Chinese people. This time-honoured tradition has played a vital role in giving impetus to mathematical studies, promoting algorithmic practices, and nourishing intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent the specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after moderate trainings, while proficient practitioners usually develop an agile mind. Through oral teaching and bodily practice, Chinese has maintained and transmitted Zhusuan for generations. With a scientific theoretical system and a simple operation method, Zhusuan has long been popular in various aspects of Chinese living and production. As an important legacy of mathematics and cultural tradition, Zhusuan has become a national symbol of cultural identity.
China 2013