Materials
traditional crafts
ICH Materials 315
Videos
(16)-
Uzbekistan Cultural Space of Boysun (Highlight)
Cultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.\nThe current film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.\nStrong aspiration to preserve traditional lifestyles of the local people was observed during filming process during 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Cultural Space of Boysun, Uzbekistan
Representative List of the Intangible Cultural Heritage of Humanity, 2008\nCultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.This film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.Strong aspiration to preserve traditional lifestyles of the local people was observed during filming process in 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Keste—Kazakh Embroidery on Various Materials
The video shows Kazakh keste (embroidery) an original Kazakh folk art and craft. According to experts, the word keste comes from an ancient Iranian word that can be literally translated as “painted”. Since ancient times almost every woman was engaged in embroidery. This art was inherited from mother to daughter. Masters embroidered on domestic canvases, leather, suede, and felt and on imported cloth, silk, cotton, and velvet. Also, experts distinguish the seam biz keste, performed by a conventional tambour seam with the help of a hook. Zeynelkhan Mukhamedzhan, the famous Kazakh artist and master of decorative and applied art, has been reviving this technique. Today, the artist passes his skills to students at the Almaty Art College.
Kazakhstan 2017 -
Bhutanese Traditional Xylographic Printing(CLEAN)
#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #unesco \n\nThe Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet.\n\nFollowing the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972).\n\nStarting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others.\n\nTransmission method\nIn Bhutan, the transmission of the knowledge and skills related to Xylography printing is usually undertaken by teaching or engaging the interested candidates in the printing process. The process normally requires two persons for better results, but one person alone can also do the job in cases of urgency when there is no one else available to help. The woodblock is first placed flat on a printing bench. The following steps are followed for printing.\n\nFor more information please visit \nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874510342886677176&mode=grid&searchText=printing&orderCd=A&countrys=BT
Bhutan 2023-07-01 -
Hela Weda Mahima: The Glory of Indigenous Medicine in Sri Lanka_Eye glasses
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\nEye glasses.\nMaking eye glasses with lens made up of quartz called Diyatharippu is a diminishing craft. It is preserved only by one family and, for obvious reasons, needs urgent safeguarding. Diyatharippu mineral is used as its raw material. This industry is not as popular as other crafts like brass or lace, but, like other craft industries, it also has a history as old as 14th century when Buwanekabahi IV, the first king of Gampola Kingdom, own a pair of Diyatharippu eye glasses.
Sri Lanka 2018-02-19 -
Kazakh Jeweler Art
The video shows how jewelry making differs from making other crafts in Kazakhstan, as it has a professional nature and is predetermined by the specifics of production, including the purchase and use of certain metals, of which silver has sacral value. Historical examples of Kazakh jewelers and traditional techniques of minting metal are shown as are jewelry-making processes. Symmetrical ornaments and patterns dominate jewelry designs and they emphasize the historical heritage.
Kazakhstan 2017 -
Traditional technique of processing skin and hid
Mongols process the animal raw skin and hide (raw skin of cattle). Through long undergone observance and experiments, they were able to elaborate and develop the indigenous traditional technique to process the skin and hide to produce various leather crafts and products. The skin and hide are processed by salting, stripping off, tanning or smoking. For instance, the processed materials from sheep skin can be used to make a deel (traditional garment). The processed materials from hide can be used to produce necessities and equipments such as airag-skin, hide-flask or animal harnesses such as bridle, halter, lasso, tri-hobble, tethering-line, girth and strap of a saddle, and so on. Nowadays, the leather products and crafts made of animal skin and hide are considered as valuable asset in demand for tourist attractions.
Mongolia -
2. Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities
The ICH festivals in the Kyrgyz Republic are a great way to safeguard the cultural heritage. Kyrgyzstan has a rich ICH and embraces all ICH domains including the oral traditions andexpressions, performing arts, social practices, rituals and festive event, knowledge and practices concerning nature and the universe, and traditional craftsmanship. Festivals feature various ICH domains such as arts and crafts, cuisine, folklore, felt, hunting with birds, horse games, etc. For instance, the festivals Kyrgyz Shyrdagy and the Oimo International Festival are held with the aim of safeguarding and popularizing traditional knowledge and skills of handicrafts, for safeguarding and promoting traditional games, various birds of prey festivals are held, such as Salbuurun and Kok Boru. Moreover, festivals are dedicated to safeguarding oral traditions, such as Aitysh, the art of improvisation as well as many other festivals reflecting traditional cuisine, folklore, etc.
South Korea 2020-11-18 -
Loy Krathong: Reverence of the Goddess of Water
Loy Krathong is a ceremony that expresses reverence for the Goddess of Water. It is held on the night of a full moon during the twelfth lunar month of each year, in fall during November on the Western calendar. The event seeks forgiveness for the use and pollution of water by humans, and participants craft lotus-shaped baskets using banana leaves (krathong), hold them against their foreheads to offer prayers, set them adrift on the river, and make wishes. Held across all of Thailand, Loy Krathong includes a krathong-making contest, which effectively sustains popular interest in traditional Thai crafts and transmits such traditions to future generations.
Thailand 2020 -
The Wonder Woman of Wood Painting highlight
Foshan Woodblock Painting is a kind of well-known folk woodblock paintings of South China. It is mainly produced in Foshan City, Guangdong Province, Consequently it was named Foshan Woodblock Painting.\nThere has been much important research on the history of Chinese New Year pictures, but there are still different opinions on how to rescue New Year pictures from the brink of disappearance and how to fit them into the modern life. As far as Liu Zhongping can see, the revival of New Year pictures is not something that can be achieved by making one or two field visits and publishing one or two articles, but something that needs to be acted out. That is to say, it is necessary to carry out social practice that help to activate traditional culture with a focus on inheritors rather than researchers.\nIn this regard, from the “Intangible Cultural Heritage Inheritors’ Training Program” to the “Revitalization Program of Chinese Traditional Crafts” to the recent “New Year Pictures Back to Spring Festival”, some explorations and attempts have been made around the inheritance and innovation of New Year pictures. From inheritor’s study and training to holding exhibitions and cross-disciplinary dialogues, from developing experience-oriented craft courses to developing new products and expanding sales channels, under the guidance of the intangible heritage protection concepts of “Seeing People, Seeing Things, Seeing Life” and “Leading by Usage” in the new era, New Year pictures practitioners, local people and all stakeholders have gradually regained confidence in the revival of New Year pictures.\nThe first step is always the hardest. On top of a good start, further progress is needed. It’s imperative to know the sticky issues and difficulties and come up with targeted, creative and feasible solutions. As a practitioner, She takes the liberty of thinking about several key points in practice, offering advice and suggestions to practitioners and decision-makers, and hoping to contribute to the revival of New Year pictures. China has entered the twenty-first century. The social scenes that endow New Year pictures with meaning year after year have vanished. It is very difficult for us to ask people to change their house gates back to the old-fashioned style, and it is also very difficult for young people to observe the traditional festival customs. However, what we can do is not only to enshrine New Year pictures in museums, but also to keep pace with the times and find a place for New Year pictures in modern life.\nThrough her effort and hardwork, she focuses on the innovation of Foshan Woodblock Painting and meets the needs young people She updates some painitngs, such as the mobil phones shell, schoolbags, notebooks as well as painitng gift packs. By the resurrection of the gods through a number of newly designed derivatives,now the paitings are popular among the local people. And she believes her master's dream as well as hers of continuing and spreading the national intangible cultural heritages have been realized
China 2019 -
Hol
Silk weaving is one of Cambodia’s traditional crafts. The traditional natural silk dyed with natural color is very expensive and well-known nationally and internationally. Silk can be woven into different-sized pieces of textile, to be used as wrap-around skirts (sampot), shirt, scarves (krama) or Pidan (lit. ceiling) for Buddhist temple decoration. There are three main kinds of Cambodian silk textiles: ‘Phamuong’ (plain colored silk cloth) and ‘Hol’ (ikat and tie-dyed patterned cloth), both used for making clothes, and ‘Hol Pidan’ (elaborately designed pictorial silk textile) and it is usually used as “canopy” or “ceiling” above the principal Buddha images in the Buddhist monasteries.
Cambodia 2022 -
Ketupat Weaving - Raya Furniture
The Craft X Design project is part of NHB’s efforts to promote greater awareness of intangible cultural heritage (ICH), raise the profile of local traditional craftsmanship, and increase access of local traditional craft practitioners to new markets, networks and designs. Craft X Design pairs four traditional craft practitioners with four local designers and/or studios to reimagine traditional crafts into innovative and modern products that express and embody Singapore’s rich and diverse cultural heritage.\n\nAnita Tompang, a ketupat weaving practitioner, and designer Andrew Loh worked together and applied ketupat weaving techniques to weave strips of thick felt around foam, creating ketupat-shaped foam modules that can be combined to form different types of furniture.\n\n
Singapore 2022