Materials
wood product
ICH Materials 16
Photos
(12)-
Jygach usta (craftsman working with a wood) making a horse saddle
Kyrgyzstan
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Instruments used in woodworks
Kyrgyzstan
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Cookware made of wood
Kyrgyzstan
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Craftsmen in the process of making Komuz (traditional musical instrument)
Kyrgyzstan
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Woodcarving process of traditional musical instrument - komuz
Kyrgyzstan
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Traditional knowledge related to the wood carving and wood product manufacture (horse saddle, dishes, ‘beshik’ (cradle); musical instruments - 'komuz, choor, kyl kyiyak, zhez choor, sybyzgy, kerney, surnay, dobulbas)
forming of the cradle’s sides
Kyrgyzstan -
Traditional knowledge related to the wood carving and wood product manufacture (horse saddle, dishes, ‘beshik’ (cradle); musical instruments - 'komuz, choor, kyl kyiyak, zhez choor, sybyzgy, kerney, surnay, dobulbas)
fixing foundation for a cradle
Kyrgyzstan -
Traditional knowledge related to the wood carving and wood product manufacture (horse saddle, dishes, ‘beshik’ (cradle); musical instruments - 'komuz, choor, kyl kyiyak, zhez choor, sybyzgy, kerney, surnay, dobulbas)
forming of the cradle’s sides
Kyrgyzstan -
Kui Tha (Himalayan Nettle Fabric)
After four decades, women in Ney village in Gangzur Gewog (block) in Lhuentse revived a tradition of weaving fabrics from nettle yarn that was about to disappear. With the assistance of Tarayana Foundation, local women’s group secretary Yangchen Tshomo led the group to revive and promote kui tha the nettle yarn tradition. According to them, it has been more than 40 years since they saw their grandparents’ weaving fabrics from nettles. Earlier people used to make Thakpa (rope), Khorga (bag), Shingka (ancient female dress), Phatsa (sacks), and Bra-ger (ancient male dress). It is still being used for traditional bowstring in other parts of Bhutan. The foundation also supports the women’s work by marketing the product and they weave tablecloths and scarves, which help them in generating income for their families. \n\nTypes of Nettles: Zea Kuley - further distinguished in two categories:\n1.\tNgoi Kuley (Green)- harvested in July and August \n2.\tSer Juley (Yellow)- harvested in November\n\nAn elderly resident from Ney, Tenzin Wangmo, remembers how they used nettle to weave. According to her, in the past they used a different process of degumming. First, they would dig a hole to fit the nettle bark and built a hard wood fire to heat stones. After that, ash mixed with water was applied to nettle bark and it was placed in hole. The ash was applied to the bark in thick layers to protect it as the hot stones were placed alongside the bark. The ash prevented burns from destroying the fibers, and this was kept for two to three nights. Finally, the thread was washed in running river water and beating continuously until it was white.
Bhutan -
Kui Tha (Himalayan Nettle Fabric)
After four decades, women in Ney village in Gangzur Gewog (block) in Lhuentse revived a tradition of weaving fabrics from nettle yarn that was about to disappear. With the assistance of Tarayana Foundation, local women’s group secretary Yangchen Tshomo led the group to revive and promote kui tha the nettle yarn tradition. According to them, it has been more than 40 years since they saw their grandparents’ weaving fabrics from nettles. Earlier people used to make Thakpa (rope), Khorga (bag), Shingka (ancient female dress), Phatsa (sacks), and Bra-ger (ancient male dress). It is still being used for traditional bowstring in other parts of Bhutan. The foundation also supports the women’s work by marketing the product and they weave tablecloths and scarves, which help them in generating income for their families. \n\nTypes of Nettles: Zea Kuley - further distinguished in two categories:\n1.\tNgoi Kuley (Green)- harvested in July and August \n2.\tSer Juley (Yellow)- harvested in November\n\nAn elderly resident from Ney, Tenzin Wangmo, remembers how they used nettle to weave. According to her, in the past they used a different process of degumming. First, they would dig a hole to fit the nettle bark and built a hard wood fire to heat stones. After that, ash mixed with water was applied to nettle bark and it was placed in hole. The ash was applied to the bark in thick layers to protect it as the hot stones were placed alongside the bark. The ash prevented burns from destroying the fibers, and this was kept for two to three nights. Finally, the thread was washed in running river water and beating continuously until it was white.
Bhutan -
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 -
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