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wooden
ICH Elements 126
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Calligraphy art
Calligraphy is one of the branches of fine art, it is also often called the art of beautiful writing. Calligraphers of Central Asia actively developed their craft and thus brought it to the level of art. There were even separate schools of calligraphy: Tashkent, Kokand, Khorezm, Samarkand and Bukhara. Each school had its own distinctive features, and experts could easily determine who wrote this or that inscription. Various styles of Arabic writing began to be used in architecture, carving and painting on ganch and wood. She was even present in the design of household utensils, clothing and other types of artistic creation. Among the most common writing styles are naskh, raikhani, rivo, suls, kufic and others.
Uzbekistan -
Traditional Turkish archery
Traditional Turkish Archery is an intangible cultural heritage element, consisting of its principles, rituals and social practices, craftsmanship of traditional equipment, archery disciplines and shooting techniques evolved over centuries, which has been shaped around a sportive activity. In traditional Turkish archery, there are different types of disciplines practiced on foot and on horseback. The archery on foot discipline includes “Menzil” (Long-Distance), “Darp” (Pounding) and “Puta” (Target) shootings. Horseback archery discipline includes “Kıgaç”, “Kabak” and “Tabla” shootings. Bearers and practitioners of the element train individually or collectively to improve their archery skills, carry out individual shootings, and take part in competitions and festive events. Archers learn from masters the traditional shooting techniques and skills which allow them to perform either foot or horseback shootings. In all stages of practice, archers strictly act in accordance with the certain principles, rules and rituals related to the element. Craftsmanship of traditional archery equipment is also important component of the element. These equipments are made by craftspeople who have the skills and knowledge of materials as well as patience and mastery. Making the equipment requires raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather, and so craftspeople should have an advanced knowledge of nature, including plants, animals and climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry.
Turkey 2019 -
Pangtse makhu: Extraction of Oil from Symplocos paniculata Fruits
The extraction and production of Pangtse Makhu were effectively practiced from the 1970s until 1990s, and have remained to be a part of an income source and source of oil until now to the people of Toed-Wang Gewog (block) under Punakha Dzongkhag (district). “As the plant is highly adaptable and grows naturally on barren, degraded land and dry areas but for better yield, the plant is also grown on the terraces,” said the villagers. But today it is said and observed by the grandparents in the community that because of the country’s speed of development and with advancements in technology and intellectual, the tradition of extracting Pangtse Makhu in the community has significantly declined over time due to the availability of cheaper imported refined oils in the markets. It is also said that during the olden days with abundant Pangtse Shing and with more extractors, people did not have to buy oil rather oil extracted from Toed-wang gewog was sent throughout the region. However, with an increased number of youths going to school and colleges during the harvesting and production time, and also with less market value over more hardships, it has been a challenge for the few people maintaining this practice in the locality to share the value to the younger generation. Today, the community is on verge of losing the tradition of extracting Pangtse oil because of its labor-intensive nature with a tedious and time-consuming procedure. And also, it’s because of people’s choice for the cheaper imported oil over the one that has been naturally extracted and produced which has a slightly higher price in the market. Despite the challenge, the local producers are looking forward to a government intervention in the conservation of the losing tradition.
Bhutan -
Yig-zo: Calligraphy
The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan. Thereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now. Some of the remarkable calligraphers that are enlisted in the Bhutanese history were; 1.\tDenma Tsemang 9th century 2.\tNgawang Penjor as Dzongpon and Ngedup Penjor (1964) 3.\tDrungyig Zimchenpa Tandin Wanggyel 17th century 4.\tLopen Wangdue 17th century 5.\tLopen Phuentso 17th century 6.\tTshewang Dorji 17th century 7.\tLopen Gangchen, also called Kuenga Pelden, 19th century during the reign of Desi Jigma Namgyal (1825-1881) 8.\tDrungyig Tshewang Ngodrup, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck (1862–1926) 9.\tGonpo Tenzin from Lingzhi, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck 10.\tZhongar Dzongpon Kuenzang Wangdue, 20th century during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 11.\tDrungyig Tsowo Dasho Kezang Dawa, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 12.\tTangbi Kezang, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 13.\tUra Yeshey Wangdi, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 14.\tSonam Peljor, 15.\tDasho Gaydon Thinley Dorji (?) 20th century during the reign of His Majesty the 2nd and 3rd King Jigme Dorji Wangchuck (1929–1972) 16.\tDasho Shingkhar Lam Kuenzang Wangchuk (?) 17.\tSey Dopola Aka Dasho Phuntsho Wangdi (1892-1953) 18.\tLam Norbu Wangchuk (?), 21st century during the reign of His Majesty the 4th King Jigme Singye Wangchuck (1955–) 19.\tYarab Aja Lama Drodul Zhenphen Dorji Tenzin (1921-2005) 20.\tLam Pema Tshewang, (1926-2009), 21.\tLopen Gonpo Tenzin from Chumey, Bumthang 22.\tLam Nado from Namgyal Dratshang (?) 23.\tDasho Tenzin Dorji (1928-2012) 24.\tLam Tenzin from Ramjar, Tashi Yangtse 25.\tChabje Geshey Gedhun Rinchen (1926-1997) 26.\tChabje Khenchen Ngawang Tenzin Doendup, 68th Je Khenpo (1925-2020) 27.\tLopen Daupo from Bartsham 28.\tLam Kuenzang Wangdi (aka Lam Nyingkhula) 29.\tLopen Yonten Gyaltshen, Central Monastic Body 30.\tDasho Sangay Wangchuk Generally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write. However, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.
Bhutan -
Forest Spirit Worship Ritual of the Pu Péo
The community worships the forest god in the forbidden forest according to their legend. They hold the Feast on June 6 at the edge of the forest behind the village. The altar is made from small branches and returns to the forbidden forest. Presiding over the worshiping ceremony is a shaman chosen by the villagers according to their own principles. There are two main rituals, as follows: Offering offerings: The villagers present an offering of live chickens and goats along with other offerings. The priest prays according to the set steps so that the gods can witness the ceremony, then let the people slaughter chickens and goats in turn. Main offering: The goat is charred, leaving the internal organs to serve the main ritual. The goat blood is blessed by the sorcerer to save the lost soul. In the end, they cook and eat on the spot together. The ceremony shows the community's sense of forest protection.
Viet Nam -
Dey-zo/Shog-zo: Paper Making
Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combines, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing. Perhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on. Gradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose. Paper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang. Although, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country.
Bhutan -
Kui-tha: Himalayan Nettle Fabric
The different species of nettle grow at different altitudes between 1200 and 3000 meters. The tradition of weaving cloth from nettle yarn, which was practiced for decades by the women of Ney village in Gangzur Gewog (block) in Lhuentse Dzongkhag (district), had once disappeared from the village. According to them, it has been more than 40 years since they saw their grandparents weaving cloth from the nettle plant. People used to make thak-pa (rope), khor-ga (bag), shing-ka (old women's clothes), pha-tsa (sacks), bra-gar (old men's clothes), etc. Nettle fabrics are still used for traditional bowstrings in different parts of the country. Nettle plants are readily available in villages, but a series of processes are required to turn them into a fine yarn. It is said that making yarn from nettle plants lost popularity after cotton became readily available. This is also because it is available as a finished product, which reduces the workload. An elderly resident from Ney, Tenzin Wangmo, tells how they use nettle fiber for weaving. She tells that they used to use a different process. First, a hole was dug in which the nettle bark and the hardwoods needed were placed to heat the stone. Then ash mixed with water was applied to the nettle bark and it was placed in the previously dug hole. The bark coated with ash and the hot stone were alternately placed in the hole and covered with thick ash to prevent the fibers from being destroyed by combustion, and kept for 2 to 3 nights. The last process was washing the fibers in a draining river by continuous beating until they were white.
Bhutan -
Yang-nor: Ritual for enriching wealth
Generally Bhutanese Buddhists have several terms for building wealth such as yang, yang-gug or phya-gug. This is a ritual dedicated to the goddesses of wealth- Tshering ma chey-nga, the five sisters of longevity, and Nam-sey (Skt. Kubera), and it also makes tribute to the symbolic precious cow yang-nor who represents the best of the cattle who served one’s ancestors by feeding and providing for them. The ritual is performed alongside an annual ritual locally called Lha-sey which gives thanks to tutelary deities. The people of the Nurbugang community conduct yang rituals mostly dedicated to the Yang-nor. Practices such as displaying the horns of a prosperous cow or ox; and tools from cattle like Wong-ka a blowing tool made of wild buffalo horn, Thang-nang Nam--bu rung large flute, and Sen-za Nam-bu rung common musical instruments including rope and other associated tools and materials. In practice, after the ritual the villages include several unique mundane activities that are not prescribed in the Buddhist texts. These traditional practices fall within religious practice, and it is said there are only few households who organize such ritual in the community. According to the Buddhist terminology, yang-gug is the ritual of wealth enrichment, also known as phya-gug but, depending on the usage and understanding the meaning of the ritual different local terms are given such as; yang and Yang-nor. However, both yang and Yang-nor is the ritual dedicated to deities Tshering ma and Namsey and giving thanks to the Yang-nor or the most prosperous cattle of the family. When witnessing the ritual performance, the prayers are mostly dedicated for the enrichment and prospering cattle and making tribute to the cattle who had served their forefathers to receive the blessing of enrichment. In accordance to Namkhai Norbu (1984) The Necklace of gZhi: A Cultural History of Tibet. The ritual performance of yang was one of the thirteen rituals performed by Bon-po (Bon tradition practitioner) ever since the enthronement of Tibetan King Nya-tri Tsanpo, well before the arrival of Tibetan Buddhism in Tibet. The twelve Bon rituals are as follows; 1.\tGon-shey Lha-bon:\tBon-po who can liberate sentient beings. 2.\tYang-shey Cha-bon:\tBon-po who can accumulate wealth through yang ritual performance. 3.\tdro-shey lud-tong:\tBon-po who can clear the obstacles by performing exorcism . 4.\tdur-shey sid-gshen:\tBon-po who can overcome barriers. 5.\tTsang-shey sel-dep:\tBon-po who conducts purification ritual and overcome obscuration. 6.\tdrol-shey ta-bon:\t Bon-po who can treat horse. 7.\tFen-shey men-che:\tBon-po healer. 8.\tKoe-shey tse-khen:\tBon-po astrologer. 9.\tmra-shey to-gu:\t\tBon-po who can perform nine types of rituals by preparing sacrificial cakes. 10.\tdeng-shey sha-wa:\tBon-po who can make a stag effigy fly. 11.\tful-shey ju-thig:\t\tBon-po who has the capability to make effigies fly in the sky. 12.\tdro-shey thrul-bon:\tBon-po who can triumph over the obstacles by miracle. The tradition of Yang-shey Cha-bon was later reformed and incorporated in the Buddhist tradition of Guru Padmasambhava in late 8th century. The deities Namsey (god of wealth) and Tsheringma (god of longevity), widely revered in Bhutan, were appointed to bring prosperity through the performance of Yang rituals. Many Bhutanese practitioners include these two deities among their tutelary deities Lha-sey (lha-soel). The Yang or Yang-nor ritual is conducted at the final part of other rituals as afterwards the house has to be confined at least for three days to keep the accumulated blessings. Every single thing that belongs to the house owner has to be impounded. It is believed that the blessing of the enrichment rest upon the things of the host thus, anything that is sent away from the house after the Yang ritual is a certain sign the blessing will be broken or lost. Yang-nor displaying things Yang-zey: -\tThe sacrificial cakes that represent the gods of the wealth, Namsay and Tshering ma, are prepared along with the Tormas (ritual cakes) of the family tutelary deities in the alter. -\tAt a corner near the shrine, the most beautiful and expensive clothes are displayed. On the spread clothes, three stacked bowls are filled with different cereals and adorned with precious gems are displayed in accordance to the Lama Nor-jam text of the Terton Pema Lingpa tradition. -\tOther related ritual items are grandly presented in front of the stacked Yang-zey. -\tCattle effigies made of dough and decorated with butter and flower are prepared and displayed on the plate. -\tNear the Yang-zey, various yang things; Yang-do, Yang-bum and the horns of prosperous cattle and associated herding tools like; Wong-ka, Thang-nang Nam-bu rung, Sen-za Nam-bu rung and Yai (churning container) Ta-khur (Churner) and other old things handed over by the forefathers are neatly exhibited in a bowl filled with grains.
Bhutan -
Dha-zo: The Art of Making Bow and Arrow
Archery is a game that people in Bhutan have been playing since time immemorial. It is played as a tournament, friendly game and recreationally. Archery has become so popular that it was declared the national game of Bhutan in 1971. With few exceptions, the materials used to make bows and arrows are common and standardized, and differ mainly because of their availability. Here in Paro, one of the western dzongkhags (districts), Mr. Rinchen Gyeltshen from the village of Shari in the Tsen-to Gewog (block) explains that archery was practiced in the days of his ancestors and that bow and arrow making never required formal, certified training or a course, but was learned naturally over time. More than 35 years ago, in the interest of the game itself, he began making bows and arrows. Even today, teenage boys can be seen enthusiastically playing archery in dry rice fields in the villages.
Bhutan -
Traditional knowledge related to the technique of needle grass mats
Needle grass (called chiy in Kyrgyz) is used for traditional handicrafts. Needle grass grows in all regions of Kyrgyzstan. Needle grass is harvested when it is ripe between 15 of August and 15 of September. If harvested too early, needle grass become fragile, if harvested too late, it becomes too stiff at the bottom. Needle grass is harvested with roots because the bottom part is the most durable and looks like a knot that prevents chiy from falling apart. Making such mats requires mastery and patience because a craftswoman needs to wrap every stem of thatch with different woolen thread. The threads must make a pattern at the end. This makes needle grass mat making especially challenging. •\tWhen harvested, needle grass is cleared of leafs and outer layer and then dried on a sun. Depending on a size of a future mat, needle grass is cut accordingly. •\tMats can be prepared manually or by using a special machine. Self-made weaving machine consist of two vertical poles with a hanger at the top. One perpendicular pole is put on top of those hangers. •\tThe perpendicular pole has notches to hang threads. Then, weaving threads are wrapped around two equally heavy stones. •\tStones are hang in such a way that they are located on a different side in relation to a perpendicular pole. •\tNeedle grass stems are a placed in such a way that top of one stem lies next to the bottom of another stem. A craftswomen takes stones and moves them back and forth in such a way that threads wrap each stem creating a pattern. •\tWhen weaving is done, the fluffy edges of needle grass are cut even. The bottom part of the mat is not cut. The edges of mats are strengthened by a zigzag weaving. There are needle grass mats both with and without ornament.
Kyrgyzstan -
Dza-zo: Traditional Art of Pottery
Traditional pottery art in Bhutan is known in Dzongkha as Dza-zo and the artisans are Dza-khem; in Kurtoep dialect they’re known as Phreng, art, and Phreng cho-khan, artisans. Dza-zo traditional form of pottery falls within the scope of recognized traditional Bhutanese arts and crafts. Today, traditional artisans in Gangzur village in Gangzur village block, Lhuentse district continue to make Bhutanese pottery. The nearby village of Maenjabi in Maenbi block formerly practiced the art, but over the past twenty years lost its artisans to age and migration for work. Archaeological evidence shows that ceramics have been important from the time of early settlement in Bhutan. Earthen pots were used as household items in the absence of utensils made of copper, bronze, and iron as we know them today. With the visit of Guru Rinpoche to Bhutan in the 8th century, handicrafts were introduced to Bhutan, including Dza-zo pottery, which was then propagated by Drubchen Thangthong Gyalpo (1361-1485) and Rigzin Pema Lingpa (1450-1521) in the 14th and 15th centuries. The tradition of handicrafts reached its peak in the 17th century when Zhabdrung Ngawang Namgyel (1594-1651) took personal interest in arts such as Lhadri painting, patra engraving, tshem-zo embroidery, chag-zo blacksmithing, and troe-zo silversmithing. He reinforced the practice of these artisanal skills including pottery. Traditional pottery was first practiced in the villages of Rinpung in Paro, Wangbarma in Thimphu, Shar Goenkha in Wangdi and Gangzur in Lhuntse district. From these places, the skills and knowledge have been passed down from generation to generation until today.
Bhutan -
Knife making art
The art of knifemaking is old and ancient, and because knives are made by hand, they are a sought-after product in all countries of the world. Among the most ancient forms of knives, Kazakh, kagyi, tolbargi, panvandli, koshkhovuz and several other types have come down to us. Today's types of these, such as horn sop, yorma sop, suqma sop, kalai sar, mis sarbasta, sadafli, chilmekha, suyaksop, sadafsop, have been formed. The side of the needle is mainly made of hardened steel and steel. Currently, there are about twenty knife-making centers in Uzbekistan, which differ from each other in their work technology, shape and decoration.
Uzbekistan