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fabrics
ICH Elements 41
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Craftsmanship of Nanjing Yunjin brocade
In the Chinese tradition of weaving Nanjing Yunjin brocade, two craftspeople operate the upper and lower parts of a large, complicated loom to produce textiles incorporating fine materials such as silk, gold and peacock feather yarn. The technique was once used to produce royal garments such as the dragon robe and crown costume; today, it is still used to make high-end attire and souvenirs.
China 2009 -
Traditional knowledge related to patchwork techniques ‘Kurak’
Kurak is a Kyrgyz craft of quilting. Quilting is a process of sewing pieces of fabric together, which at the end create a common pattern. Pieces of fabric, leather and felt of various size and color are used for quilting. Kyrgyz people say that kurak is a renewal of the old, creation of something big from something small. Nowadays, kurak is still very popular craft in the Kyrgyz Republic. Quilted items are always included into a bride’s dowry. Many household items such as blankets, pillow cases, wedding curtains, table cloths, spoon bags, tea bags and other items are quilted. The quilting techniques can be divided into two categories: 1.\tquilting that uses triangular and rectangular pieces of fabric of different color arranged in a way that creates sophisticated patterns; 2.\tquilting done with thin strips of fabric of different color. One of the most wide-spread patterns is black triangle on a white background called tumracha (small amulet) or turna (crane). Another ancient ornament used in quilting is a black square put on one of the inside angles of a white square. This ornament is called boto köz (baby camel’s eye). There are more sophisticated patterns. For example, kattama kurak (layered quilting) is a square with triangles going around it. A red square and white triangles make a pattern called alma kurak (apple quilting). A square with diagonals made out of lozenges and triangles is called scissor quilting. It is used to decorate various pillows and cushions.
Kyrgyzstan -
Maqom (melodic mode) art
Maqom is the system of melodic modes used in traditional music of eastern peoples. Maqom and maqomat (the science of maqom) is the phenomenon of spiritual culture of Cenral Asia and more generally of the people of the East. Though, its artistic and historical value can be felt much beyond the region, where it was widely spread. As a highly developed musical genre, throughout many centuries of its existence, it became a key component in defining the idea of classical music of the East. Maqom is art and philosophic belief, which encourages spiritual nourishment and self-perfection, contemplation and enjoyment of heavenly beauty, which is expressed through sounds of music and poetry. For the people of the East it became national artistic heritage, which in many ways reflects ethnic mentality. Maqomat of Uzbekistan, at present, includes maqom cycles of "Shashmaqom", "Khoresm maqoms", "Ferghana-Tashkent maqoms", local maqom cycles, instrumental and vocal maqom pieces as well as maqom pieces of bastakors (composers). Each of these has its own peculiarities and performance styles.
Uzbekistan -
Mongol garment
Mongol deel is a long gown with diagonal or square lapels that can be affixed on both sides. It is the main costume of the Mongol nations and it has lost neither its fundamental design nor style even after centuries of use. The ancientness of the design of the deel is suggested by the appearance of pre-historic people wearing sheep skin coats in ancient petroglyphs. The deel has developed to be compatible with the health, physiological characteristics, and daily life of the pastoral nomads of Mongolia. This garment is also uniquely suited to the harsh weather condition to which the Mongolian lifestyle has adapted. The accessories to the deel also serve many purposes: the long cuff at the end of the sleeves can be used as a glove or liner and the wide belt worn with the deel is designed for protection against kidney disease and back aches, while also serving as a blanket or pillow on long journeys.
Mongolia -
Keste - Kazakh embroidery
Keste - traditional Kazakh hand-made embroidery with colored thread and needles or hooks (biz/ilgek/ilme) and hoop (kergish). A Kazakh word keste means 'a scheme or painting'. Direct analogues of colored woolen threads embroidery are found in artifacts of the Berel burial in East Kazakhstan, dating from the IV. BC. The embroidery is often made on velvet, plush, cloth, felt, velveteen, cotton and silk with woolen, cotton, silky, golden, silver threads and spun gold. Gimp, beads, coral, pearl beads, silver details are frequently applied. There are about 40 kinds of complex and simple Kazakh embroidery: biz keste - tambour embroidery created with a thin awl-hook; tizbek tigis, shyrash tigis, tyshkan iz, kұs izi (a “bird” seam) shynzhyr, shym keste (tight cover seam without gaps), koykusak, kigash, albyr keste (distichous seam) are the names and versions of tambour embroidery with needle; oraypek/oraypa is a kind of albyr keste; kebeke is a seam similar to Russian embroidery on canvas; zhorme, zhormeme, orys keste, aykas tigis is a cross-stitch embroidery; kereghe bas tigis is a “goat” seam. Baspa is a couched hemstitch technique and shyralzhyn is a simple one. A satin stitch with bedding bedel keste creates relief forms. A columnar seam zhormeu makes zigzag weave. The techniques can be used in combination. Embroidered products are made for domestic purposes and various ceremonies, which led to the species diversity. In festive men's and women's clothing: shapans, dresses koylek, flared skirts beldemshe, sleeveless jackets beshpet, hats, scarves oramal; in interior items: tablecloths, korzhyn etc.
Kazakhstan -
Kishuthara: The Silken Kira (Bhutanese women dress)
Kishuthara (The Silken Kira (Bhutanese women dress)), is a native intricate patterned silk textile particularly Khoma Gewog (block) under Lhuentse Dzongkhag (district) where it become the production hotspot of the Bhutanese woven textile in the country. Kishuthara adhere its origin from the Tibetan king Songsten Gampo’s (Reign: c. 618 – 650) wife, Ashi Jaza (Bhrikuti) who introduced the backstrap loom and weaving traditional wear in Bhutan. According to oral source, the design of Kishuthara was tweeted by the bird called Tsheringmo when Azhi Jaza was wondering about motif. The bird tweeted; “chi tu nee nun, nee thu sum nun” (pick one left two, pick two and left three”) Kishuthara- tema design was thus born. Thus, hereafter Azhi Jaza taught her weavers the procedure of weaving loom textile. Later, Khoma women were able to incooperate the patterns of Kishuthara while they were trading with Tibetan merchant. Additionally, in the eight century, during the visit of Guru Rinpoche and his consort Khandro Yeshey Tshogyel at Khoma, Khandro also blessed the progress of Kishuthara as villager’s livelihood and primary source of income. When Tibet was officially incorporated into the territory of China’s Yuan Dynasty during mid- 13th century, some Tibetan fled to Bhutan. Some steeled at Khoma and from there, villagers learnt the patterns of Kishuthara in full swing. Another source traces back to Azhi Jaza’s merchant Tshonpon Norbu Zangpo, the most influential trader around the world, once reached at Khoma for trading purpose. While staying at Khoma, he had fallen in love with one Khomapa girl and as a token of fidelity, he presented kushung to her. Kushung is the name of patterning technique in their local dialects and thara in tshangla dialect means kira. Then girl learnt the motif by looking at kushung and some believe that motif was taught by the same bird Tsheringmo to the girl. Kushung is later called as Kushuthara due to mispronunciation. On contrary, according to the textile Arts of Bhutan, by Susan S. Beans and Diana K Myers, kushuthara was flourishing as early as the 17th century, local noblewomen commissioned more elaborately kiras until kushuthara become a distinct regional fashion. Today Khoma people are depending mainly on Kishuthara as their livelihood because Kishuthara is the primary source for income generation thus, weaving the patterns of their life. Past few decades, people were engaged in farming and when agriculture season is over, women in group set up their backstrap looms in the harvested paddy field and sheltered by bamboo canopies. However, at present few household are engaged in faming activities while rest of the women are busy with Kishuthara throughout the year.
Bhutan -
Bumthang Yathra: Woolen textile of Bumthang
Yathra weaving is found in six gewogs (Chungphel, Zhurey, Kertsho, Bhim, Terzoe and Yeerangbi) in Chummey village. The raw material or fabric for Bumthap Yathra is traditionally sheep wool and yak hair. However, the importation of raw material from India is a result of the decline in sheep population. In addition, wool from Bhutan was considered to be of higher quality, but the prices are unusually high. For this reason, Indian wool is now in demand because of its cheaper price. The cheapest made-up and bleached wool costs Nu 300 per kg in India, while the highest quality wool costs Nu 1,200 per kg. To keep production costs low, Yathra manufacturers rely on imported wool. Yathra factory owners receive between Nu 10,000 and Nu 15,000 for weaving 15 pieces of yathra. People in Bumthang are forced to use yathra as bedding, raincoats, and jackets due to the long, bitter winters in the region. Likewise, yathra is one of the most sought-after commodities in the local handicraft industry, as yathra can be hand-woven as jackets and floor coverings because it is warm. Recently, Yathra products are becoming popular worldwide through Bhutan's digital fashion site such as Bhutan Street Fashion. In addition, Yathra coats and other pieces of fabric made from Yathra are used as costumes in fashion events because of their intricate patterns. The global and local levels of the economy are interdependent, with the lives of locals of Chummey village, known for Bumthap Yathra, being improved by international tourists buying Yathra as souvenirs and fashion items despite its high price. The economic activity of Bhutanese goods like Yathra locally and globally leads to a financial landscape where money flows across borders and generates revenue for the country.
Bhutan -
Sericulture and traditional production of silk for weaving
Cocooning is a complex of raising silkworms, growing cocoons, and is one of the main branches of agriculture that supplies raw materials for the silk industry. As a cocoon industry, the establishment of mulberry groves as a source of food for cocoons, the creation of new varieties of mulberry, the creation of silkworm breeds and durapillas, breeding work, raising silkworms and raising their eggs, preparing live cocoons for the silk industry, drying the cocoons and making them meet the requirements of the dry cocoons standard. includes tasks such as transfer to enterprises, preliminary processing of cocoons.
Afghanistan,Azerbaijan,Iran,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2022 -
Farmers’ dance of China’s Korean ethnic group
Farmers’ dance of China’s Korean ethnic group is a performing art danced at seasonal rites and festivals. It is one of the most representative artistic performances of the Korean ethnic group. It is also a symbolic artistic form showing nationality identity. The team leader waves a flag reading “farming, the root of the world”. Players with musical instruments of suona horns, small gongs, bell-shaped gongs, long drums, round drums and hand drums will play the instruments while dancing. They are accompanied by masked or unmasked farcical clowning dancers. Farmers’ dance is usually acted out in villages and fields. Farmers’ dance is closely associated with farming sacrifice ceremony. Before acting out the dance, players will hold a ceremony treading God of Land and sacrificing, to show respect to nature and pray for happiness and luck. Since it is generated in farming activities, farmers’ dance imitates manual labor with shrugging acts and walking field ridges. Farmers’ dance is widely known in the Korean ethnic group. People largely learn basic dancing skills through family influences and neighborhood exchanges. But to master superb dancing skills and music performances, players have to formally acknowledge seniors as teachers. Farmers’ dance art has been inherited under the mouth-heart teaching method. Players of lofty skills are highly respected and enjoy unusual prestige in communities. This plays a crucial role in passing along the art for generations. To date, people of Korean nationality in Wangqing County, Antu County, Helong City, Longjing City, Huichun City, Tumen City and Yanji City under Yanbian Korean Autonomous Prefecture, Wangqing County Farmers’ Dance Protection Development Association, China Korean Nationality Folk Protection Development Association, and 52 spreaders like Jin Mingchun are committing themselves to protecting and passing on farmers’ dance. The art has been handed down for six generations. Players spread from farmers to people of all walks in cities, enterprises and schools. Starting from the Korean Peninsula, farmers’ dance was introduced to China by Korean immigrants at the end of the 19th century. It has been innovated and improved in new environments by means of integrating agricultural production in high latitude areas and multi-ethnic group customs. Influenced by Han ethnic culture, “elephant caps” replace previous black cloth with red silk fabrics. Clustered waving belt is processed into two layers from the original single layer. “Elephant caps” are developed from original two varieties to current short, medium and long ones. Long “elephant cap” color belt is continually extended to amount to maximum 28 meters. Tossing “elephant cap” develops from “flat tossing” and “left-to-right tossing” to “vertical tossing” and “shaking dews”. Players also create “crossing circle skill” and “three-color-belt tossing skill”. As regards music, original four musical instruments are expanded to collaboration of wind instruments and stringed instruments. Women are admitted to play musical instruments, compared with previous whole-colored men players. All these contribute to cultivate Korean ethnic farmers’ dance of striking Chinese characteristics. Farmers’ dance is a product of arduous labor and wisdom of the Korean ethnic group over a long period of time. People of the Korean ethnic communities have realized it is their historic duty to carry forward farmers’ dance. So far, farmers’ dance groups of various sizes have spread all over villages of Korean ethnic groups. Most residential quarters and schools in Yanbian prefecture have also set up all sorts of farmers’ dance performance teams. Farmers’ dance teams, traditionally of 30 people each, will act on folk-custom festivals. One site will accommodate a number of teams at the same time. Farmers’ dance music, dance skills and players have been collected in Complete Works of China Folk Dance. Piao Yongguang, a famous scholar, has bought farmers’ dance into History of Korean Dance, furnishing theoretical basis for studying Korean history and ethnic features.
China 2009 -
Tbanh Sot (Silk Weaving)
Silk weaving is a traditional business and an important intangible cultural heritage of the Cambodian people. Pure silk with natural dyed is very expensive and famous abroad. Therefore, in ancient times, only royal or aristocratic families could afford it. Nowadays, the affluent can also buy silk skirts, but they are made of imported silk and dyed with chemical colors. Silk can be woven into skirts, scarves, or temple ceilings. Normally, people don’t wear it at home, they only wear it on special occasions or festivals. If worn at home, it is usually only sarong (for men only). Making a silk skirt is a time-consuming process because it has many steps to make one. First, raising silkworms and planting mulberry trees to get the leaves to feed the worms. When the silkworms are mature, the silk cocoon will be put on a spinning tool (manually) to harvest silk threads. Next, the threads would be steamed with “Kboung” water (a kind of water) to wash away pupae and whitening the silk. That process is called “Promok”. After that, the silks will be sundried before dyeing. In the old day, people used natural colors made from animals and plants to color the silks, for example, the red color was from a red insect hive; the yellow color was from Prohot tree shell; blue color or grey was from Trom leave; black color was from Mak Khler fruit, or Kjounh; brown color was from Sangke tree bark; light green was from banana leave or Bromat Monus leave, Sdov leaves, or bamboo leaves. Nowadays, silkworm farming and silk dyeing from a natural resource are rare. People prefer imported silks that are dyed in chemical colors because those are cheaper and time-saving. Among all silk fabrics, Hol has the finest texture called “Korm”. Therefore, to weave silk thread into Korm, a technique called "Jorng Keat" is used, which means that a banana string is used to tie the silk threads, leaving the area that needs to be dyed open. The string is then dyed in various colors until the desired color is obtained. But before tying and dyeing the new color, the silk is washed and dried. When it is done, the silk is taken into Kna for weaving. The final step is the weaving process into a skirt. To get 3 or 4 meters of silk, it takes 2 to 4 months to weave, including the dyeing time. This requires a lot of patience.
Cambodia -
Sericulture and silk craftsmanship of China
Sericulture and Silk Craftsmanship refers to the craftsmanship applied in traditional sericulture, silk dyeing and weaving process, which has been handed down from generation to generation, and relevant folk-customs derived thereby. China’s sericulture and silk craftsmanship boasts a history of 5000 years. The silk fragments, preliminary loom and potteries decorated with silkworm patterns excavated from sites dating 4000 years ago in the Taihu Lake area; demonstrate the time-honoured history of the sericulture and silk production in the region. Alongside the historical process, traditional manufacturing craftsmanship develops, and the main elements include: Mulberry planting: including cultivation of mulberry seedling, mulberry trimming, and various methods of engraftment; Silkworm production: including the selection, hybridization, and breeding of silkworm eggs, incubation, instruments for silkworm rearing, control of the temperature and humidity, and frame mounting methods; Silk reeling: including sorting and stripping of cocoons, ways for preserving the cocoons such as drying and salting, temperature control and process for boiling the cocoons, facilities and techniques for silk reeling, etc; Silk floss making: including techniques of water rinsing and tearing; Weaving tools: including various looms such as treadle looms, multi-shaft and multi-treadle patterning looms, lesser draw looms, greater draw looms, etc, and arrangement of heddle drafts and programming of patterns on draw looms; Design and weaving of fabrics: including the design and weaving of various structures and patterns, such as the Shuanglin silk damask which is calendared by stamp rocks, the Hang gauze with warps crossed, the Shu silk with warp-faced patterns, the Song-style silk in lampas weave, and Kesi woven in tapestry structures.
China 2009 -
Traditional art of Jamdani weaving
The art of Jamdani weaving is a time-consuming and labour-intensive form of fabric production by hand on a traditional loom built with wood and bamboo and with little use of metal. Jamdani weaving is based on the traditional knowledge and skills dating back to the fourth century BCE. The distinguishing hallmark of Jamdani weaving is that its designs are neither embroidered nor printed but created directly on the loom in the process of weaving. The product from this style of weaving is called Jamdani, a highly designed cotton fabric which owes its origin to Muslin, the finest and most transparent cotton cloth ever woven by human hand. Of classic beauty, Jamdani effectively combines intricacy of design with muted or vibrant colours. Jamdani is also a highly breathable cotton cloth which brings relief to its users in the hot and humid climatic condition of Bangladesh. The Jamdani weavers have remained in the weaving profession from generations to generations as a means of family livelihood. The element represents Bangladesh’s rich textile heritage, contains significant historic value and has been designated as a unique element of the intangible cultural heritage of the country. Jamdani weaving has survived and thrived due to growing popularity of Jamdani fabrics among Bengali women both at home and abroad. Almost the entire production of Jamdani is carried on in the form of sari, the principal dress of Bengali women. Sari is a long flowing piece of cloth, part of it wrapped around the waist, and the remaining climbs and flows over the shoulder. Women wear more charming or elaborately designed Jamdani saris during festivities and on formal occasions.
Bangladesh 2013