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Bhutanese Traditional Calligraphy
#유네스코아태무형유산센터 #bhutanculture #bhutan #ichcap\n\nThe 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.\n\nThereafter 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.\n\nGenerally, 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.\n\nHowever, 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.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874511097589678075&mode=grid&searchText=Calligraphy&orderCd=B&countrys=BT
Bhutan -
Bhutanese Traditional Calligraphy
#유네스코아태무형유산센터 #bhutanculture #bhutan #ichcap\n\nThe 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.\n\nThereafter 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.\n\nGenerally, 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.\n\nHowever, 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.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874511097589678075&mode=grid&searchText=Calligraphy&orderCd=B&countrys=BT
Bhutan
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Safeguarding Folk Culture in Darjeeling HillsDarjeeling, famous worldwide for its black tea, is rich in cultural diversity. It is a shelter for sixteen distinct indigenous communities from Tibet, Nepal, and Bhutan in the eastern Himalayas. As part of the Rural Craft and Cultural Hubs initiative of the state government in collaboration with UNESCO, the communities are working to revitalize folk dances and songs.\n\nIn May and June 2018, 466 folk artists participated in workshops, where culture masters or tradition bearers trained the youth in quality performances. The Tibetan community had workshops on the Snow Lion Dance, a performance piece derived from a mythical creature and an integral part of Tibetan folklore. The musical instruments played include drums, flute, cymbals, and dranye. The Tibetans of Darjeeling also have a ritualistic hunting dance called Ngonpai Dhon. Gurung youth learned about the Ghatu Naach celebrating Lossar or the New Year of the lunisolar Tibetan calendar. The nuances of Satighatu Naach performed after a person’s death are also documented.\n\nThe close link between natural and intangible cultural heritage is reflected in traditions like the Chyu Rum Faat Alak Dance, which is performed to pay obeisance to the mighty Himalayas. While the Mangars have their Hurra Dance to celebrate the harvest, the Rai community has two dances for the season known as Sakela Sili and Chowan Sili. The Damai community has very few artists who know Naumati Baja, a unique ensemble of nine traditional musical instruments. The simplicity of the people of Darjeeling is reflected in the Lappay Dance of Bhutias or Sileba Dance of the Sherpas performed to welcome guests.\n\nWith renewed optimism, Darjeeling is set to celebrate the rejuvenation of its earthy tunes and melodies and the nearly forgotten rhythm and steps. The hills are once again warming up to the sounds of its heritage with a new rhapsody being created by the ancient musical instruments of its indigenous communities, whether it is the Chyabrung drum of the Limbu, the tungna of the Lepcha, the chong mridong of the Dhimal, or the murchunga of the Gurung communities.\n\nPhoto 1 : Damai team practicing Naumati Baja, an ensemble of nine musical instruments © Ananya Bhattacharya\nPhoto 2 : Lepcha folk dance © Ananya Bhattacharya\nPhoto 3 : Tibetan musician © Ananya Bhattacharya\nPhoto 4 : Bhutias performing the Yak dance © Ananya Bhattacharya\nPhoto 5 : Damai team practicing Naumati Baja, an ensemble of nine musical instruments © Ananya BhattacharyaYear2018NationBhutan,China,Nepal
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The festival of harvest: OnamOnam is a major harvest festival celebrated in the Indian state of Kerala. The 10-day Onam festival marks the onset of the first month according to the Malayalam calendar called Chingam and generally occurs in the months of August or September every year. Due to the COVID -19, the festival saw major restrictions, however, it was celebrated with much enthusiasm between 12th August until 23rd August 2021 keeping in mind all the COVID protocols.\n\nThe origin of the festival can also be traced from various regional sources. According to the folk song ‘Maveli Naadu Vaanidum Kaalam’, Mahabali was a very kind-hearted and generous king. Under his rule, there were no theft, lies, hunger, or jealousy among his people. It is said that people were so happy under his rule that they no longer felt the need to pray or make offerings to the Gods. He was beginning to rule all three worlds which infuriated Lord Indra and gods. To take control of the situation, Lord Vishnu took his fifth avatar of a Brahmin dwarf named ‘Vamana’. As Vamana, he appeared before Mahabali and made a wish for three feet of land for penance. In his first and second steps, he covered the heavens and the hell. Mahabali, seeing this, offered his own head for the third step. Impressed by this action, Lord Vishnu appeared as himself before Mahabali to bless him. Lord Vishnu granted a boon to Mahabali that he can visit his beloved people once a year. As a result, the homecoming of king Mahabali is celebrated as Onam.\n\nOnam combines elaborate festivities that include food, dance, cultural clothing, flower decoration, etc. Each house performs such functions with sheer enthusiasm and love for our culture while supporting agricultural practices. One of the most popular components of the festival is the food. Onam Sadhya is a multi-course meal that includes 26 different food items prepared with local ingredients. Some of the dishes include Rice, Avial (a dish prepared by cooking vegetables in mango and ground coconut), Olan, Sambhar, Rasam, banana and jaggery chips, Pappadam, followed by at least 2 varieties of Payasam (a milk-based sweet prepared with rice, wheat etc). These are only a handful of items prepared in the diverse state of Kerala also known as the land of spices.\n\nThe other aspects of the festival include elaborate decorations that include the extensive use of local and colorful flowers. Pookkalam (floor designs with flowers) are made every day of the festival and various games like Vadam Vali (tug of war), Puli Kali (folk art from Kerala), Vallam Kali (Boat Race), are played during the festival.\n\nThe festival is a great reflection of the cultural heritage of Kerala. Families are seen wearing traditional attires that include Kasavu/Set Sarees for women and Mundu for men. There is a tradition of gifting new clothes called Ona Kodi to other members of the family. The festival is celebrated with great energy with the enthusiasm of beginning a new year according to the Malayalam calendar in Kerala.\n\nThe author would like to thank and acknowledge the contribution of various people from Kerala including Aravind Nair, Kavya Nair, Mariam Rauf, Sarath Ninan Mathew, Vishnu Vijayan, and others who have shared valuable information about the festival.\n\nphoto 1 : Onam Pookalam © Yugaljoshi\nphoto 2 : Onam sadya © kavya_adigaYear2021NationIndia
ICH Collections 9
Open Archive 5
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Ihi-my first wedding to Bel
The picture above is my first marriage (according to Newar tradition) with the Bel fruit, along with my friends which is also known as a wooden apple. I was about 5 years old and had no idea about the wedding at all. Newars possess different cycles of rituals from birth to death. Wedding of a girl in Newari community possess a deep meaning and has great importance. Their wedding practices are unique too. A daughter born in a Newari community is married thrice. But not all marriages are with men (groom). The first marriage is performed before puberty with Bel fruit (Aegle marmelos), the second marriage is with the sun, and finally, the third marriage is with a man. Ihi, one of the most important rites of the Newar community, is an entrance ritual to the life cycle ritual of the Newar girl, which gives membership to the girl within the community. Young girls from age of 5-9, before their puberty, are married with bel fruit, the symbol of the Lord Bishnu, one of the gods in Hinduism. Hence, this function is related to marriage and divorce. After this marriage, Newar girl is, therefore, never believed to be a widow, even her real husband dies, because she has already married with eternal god, Lord Bishnu the god of sustainer. No less than other weddings, I was made ready for the wedding ceremony dressed up with my hair and makeup done. In Newar culture, during special ceremonies, people must clean from head to toe. Naunis (a traditional barber and pedicurist in the Newar community) are invited for nail trimming. Naunis cut nails and put “Ala” (a red pigment), around hands and feet (like in the second picture), which is a traditional pedicure for women in Newari culture. After all preparation, we were taken to the temple of the Lord Bishnu for the wedding ceremony with the Bel. And after the ceremony, relatives came to me bringing gifts and cash. There was a feast afterward. These practices are of more than religious and cultural significance. Through these rituals and practices, young girls are taught about the change they have according to their age. They are even taught about the norm and values of the community as a member of it. Fortunately, Ihi is being practiced to the date, but the importance and meaning of Ihi are declining day by day. Rituals like this should be safeguarded and transmitted to the coming generation.
Nepal -
Nubijang (Quilting)
Nubi is a method of sewing in order to put cotton, fur or mulberry paper between the outer fabric and the lining of cloth, or of broad pricking without putting anything between the outer fabric and lining to strengthen the cloth or to make it warmer. Nubijang refers to this skill or to an artisan with such a skill. The method became a common practice following the introduction of cotton growing. Some monks wore the same robe for tens of years, repairing it with this method. Nubi techniques developed to a point where even ordinary people came to adopt them. Among the things needed for the work of nubi are thread that matches as closely as possible that used on the clothes or bedding, needles, scissors, a heating iron, a push stick, a measuring stick, and a thimble. Regular straight lines are chiefly used for the nubi work on clothes or bedding, but a mixture of straight and curved lines are also used to make a pattern when working on wrapping cloth or pouches. The country’s traditional manual nubi sewing is said to be an artwork similar to embroidery, but it is gradually disappearing, as the work takes time and does not bring much economic benefit. (reference: www.heritage.go.kr)
South Korea -
An Ifugao Contemporary Wedding Celebration
This film features the highlights of an Ifugao wedding celebration in contemporary times. It started with an invitation posted on a store in the town of Brgy. Amduntog, about a 30-minute motorbike ride far from the celebration.
Philippines -
Weaving of Mosi (fine ramie) in the Hansan region
These photos were taken at the Hansan Mosi Museum in Seocheon, Republic of Korea on 26 July, 2019. Weaving of Mosi in Hansan is transmitted by middle-aged women in the township located in South Chungcheong Province, Republic of Korea. The region boasts fertile land and sea winds that allow ramie plants to thrive. Weaving ramie cloth involves a number of processes, including harvesting, boiling and bleaching ramie plants, spinning yarn out of ramie fibre, and weaving it on a traditional loom. Ramie cloth is comfortable in hot summer weather and is used to produce a variety of clothing from dress suits and military uniforms to mourning garments. The whiteness of the bleached ramie fabric, as well as its refined quality and neatness, makes it suitable for high-end clothing as well as for clothing for ordinary people. Weaving of Mosi traditionally takes place in the form of women-led family operations in which mothers transmit techniques and experience to their daughters or daughters-in-law. The tradition also binds the community together with neighbours gathered and working in a designated section of the town. At present, around 500 people in the province are engaged in the diverse activities of weaving fine ramie. (Reference. UNESCO https://ich.unesco.org/en/RL/weaving-of-mosi-fine-ramie-in-the-hansan-region-00453) As National Intangible Cultural Heritage No.15, it is enlisted on the UNESCO Representative Lists of Intangible Cultural Heritage in 2011.
South Korea