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ICH Elements 82
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The art of Bài Chòi in Central Viet Nam
Bài Chòi is a diverse art form combining music, poetry, stage acting, painting and literature. It takes two main forms: "Bài Chòi games" and "Bài Chòi performance". "Bài Chòi games" are played during Lunar New Year by Việt people of Central Việt Nam. To play Bài Chòi, nine or eleven bamboo huts are built in a U-shape within a temple yard or in a vacant ground. The hut placed at the bottom of the U shape is called "main hut" (chòi cái), and the game leaders, who can be either male or female, are called Hiệu artists. The game leader takes a card out of a tube of cards, and then sings for people to guess what the card is. This part is called "Hô Thai". Players buy three cards and wait in the hut. Anyone whose three cards match the cards sung by the Hiệu artists will be declared the winner and given the prize. A new session will then restart. "Bài Chòi performance", male and female Hiệu artists perform on a rattan mat. They either travel from place to place to perform, or otherwise are invited to play for private families, forming rattan-peforming or mobile Bài Chòi styles. A single artist may also perform "solo Bài Chòi". In this case, the artists performs a number of theatrical roles. For some artists, Bài Chòi performances are a mean of earning a living. Musical instruments accompanying Bài Chòi include the two-stringed fiddle, clappers, shawm and war drums.
Viet Nam 2017 -
Naqqoshlik (ornament-making) art
Naqqoshlik is drawing an ornament - a pattern built on rhythmic alternation and a combination of geometric or graphic elements, performed by means of painting, drawing, sculpture or embroidery. Uzbek national patterns have their own names, going back in history. Traditional Uzbek ornament is found in decorative art embroideries, in wood carvings, in paintings on clay and ceramics, on Uzbek fabrics, on buildings. At the heart of the ornament is a picture of simple things. For example, knives are designed to protect, a flowering garden is a symbol of fertility and agriculture. Each flower carries information: a scarlet poppy - the image of an innocent girl, a tulip - a symbol of purity, a rose - peace and beauty, wildflowers - a young man. Often, a different meaning was embedded in the image of flowers. For example, they believed that they carried healing power and health. The ornament creates a vector image in which a magical meaning is laid, reflecting the course of human life. This is an oriental vector style with geometric patterns. Geometric patterns have abstract forms: - zigzag lines - circles - polyhedra - stars - ornamental motifs - meander - human figures - stylized inscriptions. Ethnic patterns are folklore images, folk motifs in which a creative union of religion and culture is concluded. They carry a semantic and ritual load.
Uzbekistan -
Calligraphy art
Calligraphy is one of the branches of fine art, it is also often called the art of beautiful writing. Calligraphers of Central Asia actively developed their craft and thus brought it to the level of art. There were even separate schools of calligraphy: Tashkent, Kokand, Khorezm, Samarkand and Bukhara. Each school had its own distinctive features, and experts could easily determine who wrote this or that inscription. Various styles of Arabic writing began to be used in architecture, carving and painting on ganch and wood. She was even present in the design of household utensils, clothing and other types of artistic creation. Among the most common writing styles are naskh, raikhani, rivo, suls, kufic and others.
Uzbekistan -
Traditional Blacksmith
Blacksmithing includes a variety of techniques, including casting, welding, copper embossing, thread inlay, steel engraving, and double-engraved silver. Blacksmithing is inseparable from nomadic pastoral cultures, and is one of the wonders created by the nomadic pastoralists of Mongolia. The steel hearth, fire tongs, and other household tools are made by blacksmiths. Since ancient times, Mongolian artisans have made weapons and other army equipment, as well as tools and instruments, in a communal manner, meaning that blacksmithing workshops are found in many different sites in Mongolia. There are famous designs and schools of blacksmithing, such as Dariganga, Noyon Sevrei and Archuul, and although the artisan creates his work according to customary designs, one can find individual styles in their works. Traditionally, Mongolian artisans transmit their knowledge to the next generation through a master-to-apprentice way. In this method, the master becomes both a parent and teacher for the apprentice.
Mongolia
ICH Materials 327
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Mak Yong Theatre
Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.
Malaysia -
Main Puteri
Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.
Malaysia
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The words of propitious omens (well-wishing)
The words of propitious omens are the shorter forms of benedictions used for expressing the best regards and happiness in people’s daily routine works and practices. The words of propitious omens are regarded as respect for others and widely used for greeting purposes. The words of omens are predicting the good things that can be happened in the future, and this makes the omens similar to benedictions but its function and use is different. The words of omens do not have different parts, as shorter as possible, words or poems which does not have any melody. The words of omens associated with any actions are always said same and its meaning has a connection to that actions. For instance: if somebody is writing a script, the omen word is said as “May the brush would sharpest”, if somebody is churning the Airag, the omen is said as, “More butter comes to the Airag” and so on.
Mongolia -
Bhutanese Traditional Pen-making(CLEAN)
#bhutan #유네스코아태무형유산센터 #bhutanculture \n\nThe term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan.\n\nColloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil.\n\nRegarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes.\n\nIt is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874510108445676802
Bhutan 2023-07-01
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THE ART OF MASKS AND MAKEUP IN HAT BOIHat boi is a Vietnamese intangible traditional performing art that has taken shape and developed during Vietnam’s history and is still preserved. It is form of traditional opera which has a five-hundrend-year-old history. It contains features close to the cultures of many other countries in Asia.Year2019NationSouth Korea
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Wall of the Lord: Famed Pilgrimage Temple Branches into ICH PromotionNathdwara is a famed Vaishnavite pilgrimage site in the Aravalli Hills, fifty kilometers northeast of Udaipur, Rajasthan. Hundreds of thousands of devotees annually visit its central Shrinathji Temple to worship a fourteenth century icon of Shrinathji, a beloved child incarnation of Lord Krishna.\n\nBesides Shrinathji’s sanctum, Nathdwara was also widely known for its unique regional arts—the worship-related pichwai paintings that depict Krishna’s life stories for the unlettered and the reverential semiclassical haveli sangeet music that was sung and played directly to Krishna. The area was also famous for delightful terracotta sculptures that portray sacred images from the countryside and touching scenes of village life.\n\nIn recent years, however, haveli sangeet has lost its following, and few young musicians try to learn its demanding dhrupad-based songs. Similarly pichwai painting and local terracotta arts have fallen on hard times. While there is still a bit of tourist interest in these ancient traditions, the impact of western fashion, mass advertising, and globalized culture have driven both out of vogue domestically.\n\nMost of India’s religious institutions confine their efforts to purely spiritual endeavors, but given Shrinathji’s long intimate relations with the town’s cultural life, the temple took notice of its artists’ plight. The Nathdwara Temple Board, Shrinathji’s managing trust, and trustee Sri Vishal Bava suggested providing some kind of innovative platform for artists to showcase their paintings and crafts on the crowded streets outside the temple.\n\nSri Dinesh Kothari, Nathdwara Temple Board CEO, took this concept and designed a project called Wall of the Lord that used a broad empty stretch on the temple’s own outer wall as a public gallery. Approximately 140 pichwai painters have now completed 63 masterful paintings on this 180 meter expanse, in styles ranging from traditional and devotional to expressively modern. Three exquisite large terracotta murals have also been installed there, and together, these exhibits not only beautify the temple but also offer dramatic visibility, hopefully renewing market demand for struggling local ICH artists.\n\nLaunched on 26 January 2017, the novel Wall of the Lord initiative has already started attracting its own audience as a must-see site of the Nathdwara pilgrimage that reminds visiting devotees of the splendor of their heritage and the inseparable nature of creativity and the divine.\n\nPhoto : Nathdwara painters adorning the temple wall © Lokesh PaliwalYear2017NationIndia
ICH Collections 1
Open Archive 3
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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 -
Coconut-Leaf Sun-Shade Plaiting in Roviana, Solomon Islands
This video depicts coconut-leaf sun-shade plaiting, which was demonstrated by Ms. Beverlyn Atu on Nusa Roviana, Western Province, Solomon Islands. This sun-shade is locally called "toropae valusa" ('fisherman's sun-shade') in the Roviana language, since it is mainly used for fishing.
Solomon Islands -
배첩
배첩은 글씨나 그림을 그린 작품에 종이·비단 등을 붙여 족자·액자·병풍 등을 만드는 작업입니다. 작품이 상하지 않도록 보존성을 높이고 작품의 아름다움을 향상시켜주는 우리 전통 기술이지요. 배첩을 배우면서 작업하는 모습과 작업물 일부를 업로드 해보았습니다.
South Korea