#bhutan #bhutaneseculture #bhutantravel #유네스코아태무형유산센터 #unesco \n\nDey-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 combine, 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.\n\nThe 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.\n\nGenerally 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.\n\nPerhaps, 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.\n\nGradually, 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.\n\nPaper 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.\n\nAlthough, 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.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874507459569673284

Indigenous Medicine of Sri Lanka (Hela Wedakama) is an ancient wisdom tradition of healthcare and healing practices inherited by cultural heritage unique to native people. Indigenous medical knowledge and practices dispersed throughout the country are culture-bound repository of ancestral wisdom prevailed through generations. HELA WEDA MAHIMA is a sector-specific ICH production that presents most of ICH elements pertaining to livelihoods and craftsmanship associated with indigenous medical sector. Therefore selection of captions and stories should be very authentic and genuine to represent the heritage of culture and traditional identities of indigenous medicine in Sri Lanka. \n\nAuspicious uprooting of medicine.\nIndigenous medical practitioners respect nature’s healing properties embedded in the plants with the blessings of divine forces dwelling in the trees. They believe that harvesting of such parts from a plant should be done after performing a special ritual. This ritual claims to gain the permission from the deities dwelling in tree.

Felt making is one of the oldest traditions, bearing an artistic and aesthetic value and symbolism closely associated with folk customs and rituals. The process of collecting wool is twice a year—in autumn and in spring. A story about the historical value and ubiquitous use of rams’ skins. The process and the staged technique of felting. One way to preserve traditional felt making. It is a question of the ecological value of felt, the methods of extraction from natural materials (plants and stones), and the use of certain ornaments associated with nature and animals.

Just like any other communities, the livelihood of Lhops also started with hunting and gathering activities. In the past, Lhops gathered wild edible plants like Burr (Kochu or Colocasia) or Lohbol (Tapoica), and hunted as well as fished. With the recent developments in the community, Lhops have adopted agriculture as their source of food and nutrition, and with the passage of time, agriculture has become a way of life for subsistence and commercial means.

Intangible Cultural Heritage Elements of Ferghana Valley: Traditional Craftsmanship\n\nThe Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.

The Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.