Ornaments are a very important part of the Mongolian decorative arts. They represent traditional artistic expressions that depict the origin, essence, and meaning of various things and phenomena of our life and the universe. Mongolians describe ornamental figures in three different ways: animal-ornamental patterns with geometric motifs are called khee (pattern), ornamental patterns with round curved grooves are called ugalz (scrolls), and ornamental patterns with dualistic features are called arga bilig (spiral patterns). For their purpose and placement, the ornamental patterns are classified as central ornaments, corner ornaments, angle ornaments, and fringe ornaments. Mongolian ornaments may be classified plant ornament, animal ornament, natural phenomena ornament, geometric ornament and banner ornament.

Ornaments are a very important part of the Mongolian decorative arts. They represent traditional artistic expressions that depict the origin, essence, and meaning of various things and phenomena of our life and the universe. Mongolians describe ornamental figures in three different ways: animal-ornamental patterns with geometric motifs are called khee (pattern), ornamental patterns with round curved grooves are called ugalz (scrolls), and ornamental patterns with dualistic features are called arga bilig (spiral patterns). For their purpose and placement, the ornamental patterns are classified as central ornaments, corner ornaments, angle ornaments, and fringe ornaments. Mongolian ornaments may be classified plant ornament, animal ornament, natural phenomena ornament, geometric ornament and banner ornament.

Ornaments are a very important part of the Mongolian decorative arts. They represent traditional artistic expressions that depict the origin, essence, and meaning of various things and phenomena of our life and the universe. Mongolians describe ornamental figures in three different ways: animal-ornamental patterns with geometric motifs are called khee (pattern), ornamental patterns with round curved grooves are called ugalz (scrolls), and ornamental patterns with dualistic features are called arga bilig (spiral patterns). For their purpose and placement, the ornamental patterns are classified as central ornaments, corner ornaments, angle ornaments, and fringe ornaments. Mongolian ornaments may be classified plant ornament, animal ornament, natural phenomena ornament, geometric ornament and banner ornament.

"Naqqoshlik is drawing an ornament - a pattern built on rhythmic alternation and a combination of geometric or graphic elements, performed by means of painting, drawing, sculpture or embroidery. Uzbek national patterns have their own names, going back in history. Traditional Uzbek ornament is found in decorative art embroideries, in wood carvings, in paintings on clay and ceramics, on Uzbek fabrics, on buildings. At the heart of the ornament is a picture of simple things. For example, knives are designed to protect, a flowering garden is a symbol of fertility and agriculture. Each flower carries information: a scarlet poppy - the image of an innocent girl, a tulip - a symbol of purity, a rose - peace and beauty, wildflowers - a young man. Often, a different meaning was embedded in the image of flowers. For example, they believed that they carried healing power and health.\nThe ornament creates a vector image in which a magical meaning is laid, reflecting the course of human life. This is an oriental vector style with geometric patterns. Geometric patterns have abstract forms:\n- zigzag lines;\n- circles;\n- polyhedra;\n- stars;\n- ornamental motifs - meander;\n- human figures;\n- stylized inscriptions.\nEthnic patterns are folklore images, folk motifs in which a creative union of religion and culture is concluded. They carry a semantic and ritual load.\n"\n

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

ICHCAP published the book Living Heritage Series – Traditional Musical Instruments in collaboration with the ICH NGO Forum’s #HeritageAlive.\n\nProven from a long history, music shares thoughts and emotions among community members who play the instruments and enjoy it. This book was made with the contributions of fifteen writers from countries across the globe. The authors describe the current status of traditional music and provide insight on how to revitalize these traditions based on the 2003 Convention.

This book introduces the tug-of-war traditions of Korea and the three Southeast Asian countries mentioned as well as the tugging traditions passed down in Japan, Thailand, and Ukraine. The book presents studies showing various conditions and perceptions of tug-of-war in each country. So, it will be valuable research material for those interested in tug-of-war.

ICHCAP hosted an international forum, ‘Unlocking the Potential of Tertiary Education for ICH Safeguarding’ on 17 July in Seoul, Republic of Korea, in cooperation with UNESCO Bangkok Office and the Korea National University of Cultural Heritage.\n\nICH education experts from twelve Asia-Pacific countries attended the forum to discuss the main subjects of ICH education in universities in the Asia-Pacific region and community-based approaches for ICH safeguarding. Participating experts shared ICH-related curricula of regional universities and discussed the roles and importance of tertiary education institutions in the safeguarding of ICH through community-based curriculums.

2019 World Forum for Intangible Cultural Heritage