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fabrics
ICH Elements 41
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Maqom (melodic mode) art
Maqom is the system of melodic modes used in traditional music of eastern peoples. Maqom and maqomat (the science of maqom) is the phenomenon of spiritual culture of Cenral Asia and more generally of the people of the East. Though, its artistic and historical value can be felt much beyond the region, where it was widely spread. As a highly developed musical genre, throughout many centuries of its existence, it became a key component in defining the idea of classical music of the East. Maqom is art and philosophic belief, which encourages spiritual nourishment and self-perfection, contemplation and enjoyment of heavenly beauty, which is expressed through sounds of music and poetry. For the people of the East it became national artistic heritage, which in many ways reflects ethnic mentality. Maqomat of Uzbekistan, at present, includes maqom cycles of "Shashmaqom", "Khoresm maqoms", "Ferghana-Tashkent maqoms", local maqom cycles, instrumental and vocal maqom pieces as well as maqom pieces of bastakors (composers). Each of these has its own peculiarities and performance styles.
Uzbekistan -
Traditional knowledge related to patchwork techniques ‘Kurak’
Kurak is a Kyrgyz craft of quilting. Quilting is a process of sewing pieces of fabric together, which at the end create a common pattern. Pieces of fabric, leather and felt of various size and color are used for quilting. Kyrgyz people say that kurak is a renewal of the old, creation of something big from something small. Nowadays, kurak is still very popular craft in the Kyrgyz Republic. Quilted items are always included into a bride’s dowry. Many household items such as blankets, pillow cases, wedding curtains, table cloths, spoon bags, tea bags and other items are quilted. The quilting techniques can be divided into two categories: 1.\tquilting that uses triangular and rectangular pieces of fabric of different color arranged in a way that creates sophisticated patterns; 2.\tquilting done with thin strips of fabric of different color. One of the most wide-spread patterns is black triangle on a white background called tumracha (small amulet) or turna (crane). Another ancient ornament used in quilting is a black square put on one of the inside angles of a white square. This ornament is called boto köz (baby camel’s eye). There are more sophisticated patterns. For example, kattama kurak (layered quilting) is a square with triangles going around it. A red square and white triangles make a pattern called alma kurak (apple quilting). A square with diagonals made out of lozenges and triangles is called scissor quilting. It is used to decorate various pillows and cushions.
Kyrgyzstan -
Mongol garment
Mongol deel is a long gown with diagonal or square lapels that can be affixed on both sides. It is the main costume of the Mongol nations and it has lost neither its fundamental design nor style even after centuries of use. The ancientness of the design of the deel is suggested by the appearance of pre-historic people wearing sheep skin coats in ancient petroglyphs. The deel has developed to be compatible with the health, physiological characteristics, and daily life of the pastoral nomads of Mongolia. This garment is also uniquely suited to the harsh weather condition to which the Mongolian lifestyle has adapted. The accessories to the deel also serve many purposes: the long cuff at the end of the sleeves can be used as a glove or liner and the wide belt worn with the deel is designed for protection against kidney disease and back aches, while also serving as a blanket or pillow on long journeys.
Mongolia -
Bumthang Yathra: Woolen textile of Bumthang
Yathra weaving is found in six gewogs (Chungphel, Zhurey, Kertsho, Bhim, Terzoe and Yeerangbi) in Chummey village. The raw material or fabric for Bumthap Yathra is traditionally sheep wool and yak hair. However, the importation of raw material from India is a result of the decline in sheep population. In addition, wool from Bhutan was considered to be of higher quality, but the prices are unusually high. For this reason, Indian wool is now in demand because of its cheaper price. The cheapest made-up and bleached wool costs Nu 300 per kg in India, while the highest quality wool costs Nu 1,200 per kg. To keep production costs low, Yathra manufacturers rely on imported wool. Yathra factory owners receive between Nu 10,000 and Nu 15,000 for weaving 15 pieces of yathra. People in Bumthang are forced to use yathra as bedding, raincoats, and jackets due to the long, bitter winters in the region. Likewise, yathra is one of the most sought-after commodities in the local handicraft industry, as yathra can be hand-woven as jackets and floor coverings because it is warm. Recently, Yathra products are becoming popular worldwide through Bhutan's digital fashion site such as Bhutan Street Fashion. In addition, Yathra coats and other pieces of fabric made from Yathra are used as costumes in fashion events because of their intricate patterns. The global and local levels of the economy are interdependent, with the lives of locals of Chummey village, known for Bumthap Yathra, being improved by international tourists buying Yathra as souvenirs and fashion items despite its high price. The economic activity of Bhutanese goods like Yathra locally and globally leads to a financial landscape where money flows across borders and generates revenue for the country.
Bhutan
ICH Materials 104
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Margilan Crafts Development Centre
The nomination "Margilan Crafts Development Centre, safeguarding of Atlas and Adras making traditional technologies" has been selected as a programme project and activities best reflecting the principles and objectives of the Convention in 2017. Margilan Crafts Development Centre was established to preserve the disappearance of artisan schools and transmit the tradition of adras and atlas making, at the newly restored — Sayyid Ahmad Huja Medressah in Margilan in 2007. The Following masters represent the Margilan Crafts Development Centre: Rasuljon Mirzaakhmedov and Rakhimjon Mirzaakhmedov (both represent 9th generation of craftsmen), Alisher Akhmadaliev and Makhmudjon Tursunov (both represent 3rd generation of craftsmen), Sherzodjon Goziyev (2nd generation of craftsmen).The Centre is aimed at teaching the handicrafts (the arts of silk and wool carpets weaving, ikat weaving, block printing and embroidery) and revival of traditions of individual masters and their workshops.Master of the Center contributed to revitalization of different aspects of ancient ikat making and natural dyeing as well as other textile schools. Among them it is possible to mention the old design of Bukhara silk-velvet ikat “A’lo Bakhmal”, for which Mr. Rasuljon Mirzaakhmedov was awarded UNESCO’s “A Seal of Excellence” (2005).
Uzbekistan -
Margilan Crafts Development Centre
The nomination "Margilan Crafts Development Centre, safeguarding of Atlas and Adras making traditional technologies" has been selected as a programme project and activities best reflecting the principles and objectives of the Convention in 2017. Margilan Crafts Development Centre was established to preserve the disappearance of artisan schools and transmit the tradition of adras and atlas making, at the newly restored — Sayyid Ahmad Huja Medressah in Margilan in 2007. The Following masters represent the Margilan Crafts Development Centre: Rasuljon Mirzaakhmedov and Rakhimjon Mirzaakhmedov (both represent 9th generation of craftsmen), Alisher Akhmadaliev and Makhmudjon Tursunov (both represent 3rd generation of craftsmen), Sherzodjon Goziyev (2nd generation of craftsmen).The Centre is aimed at teaching the handicrafts (the arts of silk and wool carpets weaving, ikat weaving, block printing and embroidery) and revival of traditions of individual masters and their workshops.Master of the Center contributed to revitalization of different aspects of ancient ikat making and natural dyeing as well as other textile schools. Among them it is possible to mention the old design of Bukhara silk-velvet ikat “A’lo Bakhmal”, for which Mr. Rasuljon Mirzaakhmedov was awarded UNESCO’s “A Seal of Excellence” (2005).
Uzbekistan
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Tajik Textile Crafts
The artful Tajiks of Central Asia invented and preserved their crafts and traditions since ancient times. One popular craft among the people is textile weaving, mainly silk weaving, which has its own local features throughout Tajikistan. Atlas and adras silk fabrics as well as chitgari (block-printing) made with natural colors are known in northern Tajikistan while gulbast is known in southern regions.
Tajikistan 2017 -
Margilan Crafts Development Centre, safeguarding of the atlas and adras making traditional technologies
Historically, Margilan was the centre for making atlas and adras – vivid and fine traditional fabrics. Due to the acute need to revive and safeguard traditions at risk of disappearing, the local community came up with an initiative to launch the Crafts Development Centre (CDC) in 2007. The CDC’s goal is to safeguard, develop and promote the method of Uzbek traditional atlas and adras making through innovative training sessions, exhibitions and craft fairs, traditional textile festivals, and the publication of safeguarding materials and manuals. The CDC also promotes the use of natural materials, and supports the transmission of knowledge and skills about nature and the universe and their role in ensuring people’s health and wellbeing.
Uzbekistan
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The Tradition of Acheik Weaving in MyanmarIn Myanmar, people wear traditional clothes, prominently acheik longyi (skirt) in events such as weddings, novitiation ceremonies, and national gatherings. When you find a lady wearing acheik longyi abroad, she is certainly from Myanmar. Myanmar people regard acheik textiles an important aspect of the identity of the people of Myanmar, representing tradition and practice of a thriving culture.\n\nLuntaya acheik is an indispensable item that projects the social status of women. The term lun means shuttle and taya means a hundred. Acheik, on the other hand, means connect, and it is also the term for tapestry weaving methods. So luntaya achiek is a kind of woven cloth with threads crossing under and over each other on plain textile using many shuttles. Acheik textiles have flourished since the nineteenth century CE. During the ancient period, achiek was used for royal costumes; ordinary people were not allowed to wear achiek. The highest ranking officials, royal services, and merchants could only wear achiek if the king rewarded them. Until now, achiek workshops are mainly based in Amarapura, Sagaing, and Mandalay in upper Myanmar.\n\nFor the weaving process, three of four raw silk threads are twisted tightly with the aid of a machine for tautness and smoothness. After that, silk-woven faces are removed by washing in boiling nut soap liquid. This step helps the fabric become softer than ordinary silk thread. While boiling the silk, colors can be added to dye the thread. And then, the dyed threads are washed with water and placed under the sun to dry. For weaving, the silk threads are kneaded onto bobbins, and then the bobbins are attached to the loom; the weavers will then weave the desired achiek patterns. Between one hundred and three hundred small bobbins are used to weave intricate and complex acheik designs. Traditional acheik have a lot of names according to the designs, depending on the color usage and the number of small bobbins. There are fifty-two kinds of classic achiek designs, and they are expensive as it takes many days of manual labor to produce achiek textiles.\n\nNowadays, cotton and silk are mixed and Achiek designs are modified to produce cheaper versions by weaving machine. Though handmade achiek textiles are expensive, Myanmar ladies proudly wear this classic design textile pattern for both special social and religious occasions. Since Myanmar people have worn acheik designs during special events and ceremonies since ancient times until today, Myanmar acheik continues to be a living heritage. The weaving practitioners relentlessly transmit their knowledge and skills to the young generation.\n\nPhoto 1 : Acheik fabrics CCBYSA3.0 Wagaung/Wikimedia\nPhoto 2 : Weaving acheik,/em> with small shuttles ⓒ La pyae\nPhoto 3 : Acheik weavers ⓒ La pyae\nPhoto 4 : Wearing acheik in a ceremony ⓒTheint kanmaYear2018NationMyanmar
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THE METALLIC THREAD OF MALAY EMBROIDERYHistorically, Malaysia (the Malay Peninsula) was known as the Golden Chersonese, and in the past, Malay populations lived in riverine and coastal settlements, which were some of the most important trading hubs in Southeast Asia. The Malay maritime empire was once a large kingdom, stretching from the coast of Vietnam and Cambodia to Southern Thailand, the Malay Peninsula, Singapore, Borneo, Sumatra, Riau, Sulawesi, and Southern Philippines. Across the Malay-speaking world, fabrics embellished with gold were for the rich and powerful, such as the ruler of the kingdom. Besides the golden fabric, songket, Malay embroideries were mostly used by nobility and royals. In the fifteenth century, the Melaka Sultanate instituted sumptuary laws governing the types of ornaments and colors for interior and soft furnishings, such as curtain fringes, bolster ends, cushions, prayer mats and other items. Across the Malay world, the numbers of dais, bolsters, and layers of siting mats, were associated with a certain hierarchy, varying across the regions.Year2018NationSouth Korea