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ICH Elements 50
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Acupuncture and moxibustion of traditional Chinese medicine
Acupuncture and moxibustion of TCM(traditional Chinese medicine) is a traditional knowledge and practice for regulating the body’s balance and maintaining health. It is based on the holistic concept of the ‘unity between man and nature’. Under the guidance of the theories of the channels and acupuncture points, its practice involves the insertion of needles into points or the burning of moxa to warm the superficial part of the body. The holistic concept of the ‘unity between man and nature’ views the living individual as a component part of the universe, and explains life activities with the theory of yin and yang. It holds that the occurrence of disease is due to either an imbalance of yin and yang within the body, or an imbalance of yin and yang between the human body and universe. The theories of acupuncture and moxibustion hold that the human body is a small universe, each part of which is connected by channels. Through long-term practice, points on the channels have been discovered, gradually developing into a systematized theory, of which the 12 channels correspond to the 12 months, and 365 acupuncture points to the 365 days of the year. Palpation on the three portions of the body (upper, middle and lower) and three needling depths (superficial, moderate and deep) are associated respectively with heaven, man and earth. The principle of selecting points on the lower body for diseases in the upper, or of selecting points on the right for diseases on the left reflects clearly this TCM holistic view of seeing the human body as an integral whole. The practice of acupuncture and moxibustion includes two treatment modalities: acupuncture and moxibustion. In acupuncture, needles are properly selected according to the individual conditions and used to puncture and stimulate the chosen points to dredge the channels with “lifting”, “thrusting”, “twirling” and “rotating” methods, or with comprehensive needling techniques, for both prevention and treatment of disease. Nine needles of different shapes and dozens of different needling techniques were recorded in Zhen Jing (Classic of Acupuncture, 针经) in the 2nd to 3rd century B.C. Needles were mainly made of special stones, or metals (such as bronze, iron, gold and silver). Modern needles are mostly made of stainless steel. Moxibustion is usually divided into direct and indirect moxibustion, in which either moxa cones are placed directly on points or moxa sticks are held and kept at some distance from the body surface to warm the points so as to adjust the yin and yang of the body and restore balance. Moxa cones and sticks are made of moxa wool processed from moxa leaves which have been dried up and ground into wool. They are inflammable with an even warmth and burn for a long period of time. Artemisiae, the raw material of moxa, is an aromatic plant. It grows widely in China, and has been extensively used in moxibustion because since ancient times the Chinese have believed that it can dispel pathogenic factors. Acupuncture and moxibustion has been re-created in response to its environment and interactions with nature and history. Therefore, characteristics of regional, group or individual schools have been formed. The “three-step needling techniques” improved upon by Cheng Xinnong (1921-) and the “three-free-flow needling techniques” summarized by He Puren (1926-) have brought a far-reaching influence on promotion of the continuing existence of this tradition. A great deal of common sayings, such as “Hegu (LI4) is used for diseases of the face and mouth, Weizhong (BL40) for the back and lumbus” and "without knowledge of the channels, mistakes when needling are inevitable”, objectively explains that acupuncture and moxibustion manifests itself in the culture integrated highly by knowledge coupled with practice. Therefore, to be an identified tradition bearer demands long-term accumulation of knowledge and practical experience. Acupuncture and moxibustion has been transmitted through teaching by personal examples as well as verbal instruction in inherited lineages formed by master-disciple relations or members of a clan. These tradition bearers are identified by their reverence for Huang Di and Fu Xi (two founders of acupuncture and moxibustion). The bronze figure of acupuncture points cast in 1026 (Song Dynasty), Zhen Jiu Jia Yi Jing (Systematic Classic of Acupuncture and Moxibustion, 针灸甲乙经) compiled in 259, Zhen Jiu Da Cheng (The Great Compendium of Acupuncture and Moxibustion, 针灸大成) written in 1601 and other works, are a testimony to the inheritance and development of this tradition, which have served as important reference materials in the study of acupuncture and moxibustion, and have been playing a significant role in their viability and re-creation. Among the Chinese, there are sayings such as “one needle and a bundle of herbs keeps you healthy into your old age” and “hanging moxa leaves in front of your house gate on the 5th day of the 5th lunar month keeps the doctor away all year round”. This shows in all aspects that acupuncture and moxibustion has produced a great impact on people’s lives and reflects its relevant visibility and awareness. Acupuncture and moxibustion, an embodiment of the wisdom of the Chinese nation and a reflection of the uniqueness of Chinese culture, has been playing an important role in promoting people’s healthcare with its steady rate of development and systematized theories inherited in history.
China 2010 -
Drametse Ngacham: The Masked Drum Dance of Drametse
The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.
Bhutan 2008 -
Indonesian Angklung
Angklung is a simple, original bamboo musical instrument of Indonesia documented since at least 1704. The word Angklung comes from the Sudanese angkleung-angkleungan. Angka means pitch/tone, and lung means broken. 2-4 bamboo resonating tubes carved and tuned carefully are suspended in a rectangular partitioned frame made of white bamboo tightly bound with rattan cords. Lugs on the bottom of the tubes move in rectangular shaped slots in the bamboo base tube of the frame. The resonator tubes sound when the frame is shaken or tapped. The 2 or 3 resonating tubes are tuned to the same note in different octaves. There are also 3 and 4 tube angklungs with tubes tuned to the notes of a chord. Making and tuning the resonator tubes is a great skill taking years to master. Udjo Ngalagena, founder of Saung Angklung Udjo, referred to the sound of angklung as ‘the music of nature'. The form of the angklung itself contains symbolism and philosophical values. The large and small tubes symbolize that the great, strong and rich must always protect and shelter the small, weak and poor. Each angklung has at least 2 resonating tubes, symbolizing that human beings should never isolate themselves or be egoistic, but rather always live within a society. The tubes are arrayed from small to large. This symbolizes that every day, human beings must strive to be better than yesterday, and that some people are created small and some big, but there is nothing to be regretted, as it is all due to fate. The angklung will sound nicely if the large and small tubes move at the same time, within their limits. This symbolizes that if everyone is aware of his or her rights and responsibilities, life will be harmonious. The tubes will sound if the lugs at their bottom ends touch the base tube of the frame. Similarly, one may become great, speak and be of good character if one does not forget one’s identity and culture, while if one forgets then one cannot become anything. The three tubes of an angklung symbolize tritangtu, (in Bali trihitakarana) -- to perform good action with mind, body and words. Each angklung produces a single note or chord. Thus many players each holding a single instrument must collaborate together to play melodies. This develops teamwork, mutual respect (learning to live together), discipline, and artistic sense, even among players from different communities or nationalities. Traditional angklungs use pentatonic scale, while modern/Padaeng angklungs use dialtonic scale. Angklung is closely related with traditional customs, arts and cultural identity in West Java and Banten Provinces and elsewhere. Traditional angklungs are played during ceremonies, eg. rice planting time with the hope of a bountiful harvest, harvest time, circumcision, etc. Traditional angklung culture is transmitted from parents to children, or through non-formal education. Now modern Angklung Padaeng is taught in educational institutions from kindergarten to university level, and is proven to have a positive effect.
Indonesia 2010 -
Coaxing ritual for camels
The Traditional Coaxing ritual expresses the peculiar relationship between a man and animal. The ritual comes under the domain of “social practices, rituals and festive events” and in cases where there is participation in the ritual by a singer and musician, or by a few musicians, it might also come under the domain of “performing art”. While elsewhere spring is a pleasant season for peasants, it isn’t convenient for Mongolian herdsmen. The mother animals give birth to their young in a harsh and dusty spring, so there is a big risk of losing a mother or a baby animal. Mongols have a variety of rituals relating to husbandry in traditional Mongolian society. One of them is a chanting ritual for a new-born baby animal and its mother. To chant is to stimulate, through the use of special words and melody, the adopting of a baby animal to a mother. There are different gestures, melodies and chanting techniques for the five types of livestock in Mongolia. Coaxing (khuuslukh) a camel is a ritual for a mother who rejects her baby; or for adopting an orphan baby to another female who has lost her baby, because only a suckling mother will have milk in harsh spring time. For the nomadic Mongols the camel milk has been not only the source of food and drinks in the severe Gobi Desert conditions, but also the basic means of preventing illness or for healing diseases. Therefore, the coaxing rituals originated from the everyday occurrence of the herdsmen and became one of the important elements of Mongolian folk knowledge and ritual. The performance of the ritual continues for a few hours at early morning or at twilight and requires a high skill of handling camels and a singing talent or skill for playing on a musical instrument such as the horse head fiddle or flute. Most herdswomen engage in techniques and methods of coaxing, but these techniques and methods aren’t enough sometimes, for performing the ritual successfully. If there isn’t a singer or musician in the family, the owner of the camels will invite a coaxer or a few masters in coaxing and players of a musical instrument, from another place. In this case, the coaxing ritual will compose of a small performance by several actors: a singer along with a horse head fiddle, flute or mouth-orlgan players. A mother is tied close to the calf, nearby to a yurt. A singer will begin gently their monotone song ""khuus"", ""khuus"" with a horse head fiddle or without any musical instrument. A mother will bite, savage or spit and show her ignorance to a calf at the beginning of the ritual. The coaxer can change their melody, depending on the mother’s behavioural reaction. Most musicians will perform the ritual traditional Mongolian -sad stories about camels- songs such as “Unchin tsagaan botgo”, “Goviin undur” etc. The musician performs his play with different sounds of walking, running and bellowing of a camel and absorbs words into poems, songs and epochs. When a mother camel is being coaxed into accepting a rejected or an orphan calf, it is said to break into tears at the gentle sound of ""khuus"" and the enchanting melody of the horse head fiddle sung and played by someone skilled in the art of casting spells on animals. In some cases, to perform the ritual more effectively herdsmen use additional techniques such as skinning a dead calf and covering the orphan camel calf with the hide, tying a mother together with a baby quite a far distance from the ger camp for the whole night, or soaking the calf in salt, saltpetre or in the mother’s milk. Also it was common to place the ankle bone of a wild sheep (there is a myth that wild ewes never reject their babies) around the neck of a mother or a calf. But nowadays it is very hard to find these anklebones, as wild sheep are enlisted to the endangered-species list. There is also an exotic remedy in the coaxing ritual where the mother is led to a ger at twilight and shown the fire inside. (A camel can’t enter a ger, because of its size.) All participants in the ritual wear good clothes, remain attentive and focused, using their own psychic vision and imagination in the coaxing process, because the participants express their gratitude to gods of the camels, mountains and waters within the ritual. After finishing the ritual a coaxer or small group of masters will be honoured guests of the family. A person, who had performed coaxing rituals prosperously, will be invited again and again by the families in need of the ritual. When, where, how many times they have been invited - is the main criteria for evaluating the talent of a cultural bearer of this ritual. The evaluation is a prerequisite to their popularity in a society. The coaxing ritual has been transmitted from generations to generations and been enriched by the exchange of camel herding knowledge between the herders of Umnugovi, Bayankhongor, Dundgovi provinces, which are the main territories of Mongolia’s Bactrian camel population. “We should not forget this ritual while we are herding camels, because in both the animal and the human - it transcends genre to become a deeply affecting allegory about the importance of patience and acceptance in so many relationships” that is the conception of elders, the cultural bearers’ communities and camel herders. The knowledge and skills relating to the ritual’s transmission occurs from parents and elders to youth, in home tutoring: Elders with long experience of herding, herdswomen with singing talent and the talented musicians, who can influence the camel’s behaviour, are the main actors of the coaxing ritual. The ritual acts as a symbolic medium for creating and maintaining the social ties of individual nomadic families and dependencies to the community, because it is one part of the traditional intangible cultural heritage of the relationship between man and livestock.
Mongolia 2015 -
Turkish coffee culture and tradition
Turkish coffee culture and tradition goes back to the 16th century when coffee started to be served at coffeehouses in Istanbul. The tradition has two distinguished aspects which make its taste unique and provide means toward socialization. As a beverage Turkish coffee carries special preparation and brewing techniques. It is one of the oldest coffee making methods still in use. The traditional techniques used in preparing coffee led to development of special tools and silverware such as like the boiling pot (cezve), coffee cup (fincan), mortars which have artistic value. Turkish Coffee leaves a long lasting taste at someone’s palate due to its preparation techniques which require time and its freshness. It is softer, more aromatic and more concentrated than other types of coffee. It is easy to distinguish from other coffees with its aroma, ground and foam peculiar to it. Turkish Coffee is not only a beverage but also a communal practice that brings together cultural spaces, social values and beliefs within a context of socialization process. Its role socialization can be traced back to opening of the first coffeehouses with its noticeable decorations in Istanbul. Coffee houses were then, and still are the places where people drink coffee, converse, share news, read books and socialize. The tradition itself is a symbol of hospitality, friendship, delicacy, and entertainment. All these are reflected in the famous Turkish proverb “the memory of a cup of coffee lasts for forty years.” This saying represents how important and profound coffee is in Turkish culture.
Turkey 2013 -
Falconry, a living human heritage
Falconry is the traditional art and practice of keeping, training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. The falcon and her prey have evolved together over millions of years; their interaction is an age-old drama. The falconer’s task is to bring the actors together on nature’s stage. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom. Nowadays falconry is practised by people of all ages in local communities in more than eighty countries. Falconry expresses itself in multiple cultural domains, in particular ‘social practices, rituals and festive events’, as well as ‘knowledge and practices concerning nature and the universe’. These include traditional skills, traditional knowledge about the biology and behaviour of birds and the environment, the making of traditional falconry equipment, as well as linguistic and artistic expressions found in idioms, painting, sculpture, poetry, rituals and music. Falconry has its own set of culturally-shaped traditions and ethics; while falconers come from different backgrounds, they share universal values, traditions and practices. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, such as mentoring, learning within families, or formalized training in clubs and schools. The process of transmitting falconry heritage activates not only the historical memory of the falconry community but also enriches its cultural identity. In recent times falconry has seen a renaissance. Falconry provides modern man with links to nature and strengthens local identities. It is an important cultural symbol in many countries. The modern practice of falconry aims at safeguarding not only falcons, quarry, and habitats but also the practice itself as a living cultural tradition.
United Arab Emirates,Austria,Belgium,Czech Republic,Germany,Spain,France,Hungary,Italy,South Korea,Kazakhstan,Morocco,Mongolia,Pakistan,Portugal,Qatar,Saudi Arabia,Syria 2016 -
Mongolian art of singing, Khoomei
Mongolian Khoomei (also known as “Hooliin Chor” or “Chor”) refers to the art of singing in which the singer produces, at the same time, a chorus of dual or heterophony purely with his or her own vocal organs, namely, a diversified harmony of two or more voice parts produced by one singer with the overtone based on his continued bass part from his throat in harmony with his continued bass part. It is the only form of singing technique in the history of human singing, a unique creation and outstanding contribution of the Mongolian people.
China 2009 -
Mazu belief and customs
As the most influential goddess of the sea in China, Mazu is at the centre of a host of beliefs and customs, including oral traditions, religious ceremonies and folk practices, throughout the country’s coastal areas. Mazu is believed to have lived in the tenth century on Meizhou Island, where she dedicated herself to helping her fellow townspeople, and died attempting to rescue the survivors of a shipwreck. Local residents built a temple in her honour and began to venerate her as a goddess. She is celebrated twice each year in formal temple fairs, when Meizhou residents, farmers and fisherfolk temporarily suspend their work to sacrifice marine animals, venerate statues of Mazu and enjoy a variety of dances and other performances. Smaller worship ceremonies take place throughout the year in the other 5,000 Mazu temples around the world and in private homes; these may involve floral tributes; candles, incense and firecrackers; and evening processions of residents bearing ‘Mazu lanterns’.
China 2009 -
Traditional knowledge related to making of beverage – ‘Kumys’
Since ancient times, nomads used to drink ‘kymyz’ from mare, cow and camel milk. Even now on ‘jailoo’ (pastures), the way of making kymyz remained the same as centuries ago. The most valued kymyz is made of mare’s milk. From spring until the late autumn, horses grace on mountain pastures. During this period, mare’s milk is collected. Traditionally, both men and women are engaged in the process. After the collection of the milk, it is poured into the leather bag ‘saba’ where the leaven of kymyz is always kept. Then the milk inside the cube is whipped thoroughly, for about half an hour using a stake. It takes about 12-15 hours for the kymyz to reach the condition.
Kyrgyzstan -
GANDUMKUCHA kashk, dalda, dangicha, boj
Gandumkuch is a spring meal, usually people prepare that during the Navruz holiday. Technology of cooking a kind of dish with crumbled wheat, bean, peas, beef, some kinds of herbs and water.
Tajikistan -
Ging Tshogling Cham: Wrathful War Dance
One of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. According to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. Outside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity. A similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. After seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. Due to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.
Bhutan -
Yoga
Yoga is a time honoured Indian holistic system of personal, physical, mental and spiritual wellness focused on all-round unification of body, mind and soul. Traditionally handed down over the centuries from teacher –Guru to disciple –Shishya, who after attaining mastery become a Guru to teach others. While Indian mythology traces the origin of yoga to the God Shiva as the first teacher its presence is well documented in Indian textual tradition from the Rigveda dated between c. 1500–1200 BCE to Satapatha Brahmana texts of 300 BCE to the philosophical treatises of the Upanishads – Mundaka and the Bhagvad Gita dated before fifth or fourth century BCE. The sage Patanjali systematised the text in his treatise -Yogasutras dated 400 CE while many other great sages and Yoga masters contributed to the furtherance of the system and its practice through their writings. The practice of Yoga leads to the union of individual consciousness with universal consciousness to attain harmony between the elements. The aim of Yoga is to realize the inner self, to mitigate all kinds of sufferings and to pave way for attaining the state of liberation. Yoga practices include Yama or five abstentions, Niyama-five observances, Asana –postures, Pranayama -Suspending Breath, Pratyahara –Abstraction, Dharana –Concentration, Dhyana –Meditation, Samadhi - Full integrated consciousness, Bandhas –Lock, Mudras – Gestures, Shat-karmas - Cleansing practices, Yukta-ahara - Holistic food, Yukta Karma -Right Action and MantraJapa -Chanting sacred words. Yogic practices have helped many millions learn to maintain a balanced way of life.
India 2016