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climatic conditions
ICH Elements 12
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Tradition of kimchi-making in the Democratic People's Republic of Korea
Kimchi is a vegetable dish which is made by seasoning various vegetables or wild edible greens with spices, fruits, meat, fish or fermented seafood before undergoing lactic fermentation. In this course, tastes of the ingredients blend well producing a unique flavour. The tradition of Kimchi-making dates back to the 10th century and it has hundreds of variants. As rice typifies the staple food of the Koreans, so does Kimchi, the Korean’s side dish. It is served not only at every meal but also on special occasions such as weddings, holidays, birthday parties and memorial services for the deceased as well as state banquets. The daily consumption of Kimchi by Koreans is great in amount. Each Kimchi variant differs in ingredients and recipes according to seasons and localities. It has remarkable nutrition values as well. Koreans take it for granted that they help each other in Kimchi-making among neighbours, relatives or workplace colleagues. In this practice they boast their Kimchi, give advices on skills and congratulate each other on their successful Kimchi-making.
North Korea 2015 -
Traditional handicrafts of making Xuan paper
The unique water quality and mild climate of Jing County in Anhui Province in eastern China are two of the key ingredients in the craft of making Xuan paper that thrives there. Handmade from the tough bark of the Tara Wing-Celtis or Blue Sandalwood tree and rice straw, Xuan paper is known for its strong, smooth surface, its ability to absorb water and moisten ink, and fold repeatedly without breaking. It has been widely used in calligraphy, painting and book printing.
China 2009 -
Falconry - Traditional hunting with birds of prey
Hunting with eagles (kaz. "burkit", lat. Aguila Shrysaetus - “Golden Eagle”) is an ancient practice of social and cultural heritage of traditional Kazakh people of hunters - kusbegi ("qusbegi"), eagle ("burkitshi") who tamed and trained eagles for hunting. Originally training eagles for hunting was predominantly the hobby of ordinary people and was a kind of craft for them. This type of hunting has supported nomad budget. Therefore, Kazakhstan has always been traditionally a place, above all, catching the birds and training them in order to use for hunting in the future. Birds were tamed in two ways: adults caught on bait, or raise the chicks out of the nest. Kazakhs believe that the best hunters are obtained from adult birds that hunt with a special zeal, once accustomed to the owner. Hunting always passes on horses usually together with the Kazakh national dog - a hound "tazy". Kazakhs divide the hunting with birds of prey to specific hunting with eagles and falcons, hawks, merlin. Golden Eagles are used primarily for the purpose of making a job. They were used for hunting wolves, foxes, karsaks and mountain goats. Merlins used mainly for sports and recreational purposes, as it was a favorite pastime of the nobility. Falcons assisted in hunting for small wildfowl, and hawks let geese, bustards.
Kazakhstan -
Pangtse makhu: Extraction of Oil from Symplocos paniculata Fruits
The extraction and production of Pangtse Makhu were effectively practiced from the 1970s until 1990s, and have remained to be a part of an income source and source of oil until now to the people of Toed-Wang Gewog (block) under Punakha Dzongkhag (district). “As the plant is highly adaptable and grows naturally on barren, degraded land and dry areas but for better yield, the plant is also grown on the terraces,” said the villagers. But today it is said and observed by the grandparents in the community that because of the country’s speed of development and with advancements in technology and intellectual, the tradition of extracting Pangtse Makhu in the community has significantly declined over time due to the availability of cheaper imported refined oils in the markets. It is also said that during the olden days with abundant Pangtse Shing and with more extractors, people did not have to buy oil rather oil extracted from Toed-wang gewog was sent throughout the region. However, with an increased number of youths going to school and colleges during the harvesting and production time, and also with less market value over more hardships, it has been a challenge for the few people maintaining this practice in the locality to share the value to the younger generation. Today, the community is on verge of losing the tradition of extracting Pangtse oil because of its labor-intensive nature with a tedious and time-consuming procedure. And also, it’s because of people’s choice for the cheaper imported oil over the one that has been naturally extracted and produced which has a slightly higher price in the market. Despite the challenge, the local producers are looking forward to a government intervention in the conservation of the losing tradition.
Bhutan -
Asham: Maize Cultivation
Agriculture is the practice of cultivating plants and livestock and over centuries, rise in agricultural has contributed in the growth civilization. Early people have developed and improved varieties of plants and till date the practice is considered to be the important aspect of Bhutanese livelihood. It is one of the sources of income as over69% of the population here, directly depends on it for their livelihood (MoAF, 2011). In 2011, agriculture sector accounted for about 17.7% of the total GDP of the country (RNR Statistics, 2012) Asham (Maize) plays a critical role in the entire life of given economy and is a pre-dominant cereal crop for the eastern part of the Bhutan for many years contributing to more than half of total maize production in the country. Asham cultivation was one of the main cereal as well as cash crops that supported and supports lively hood for major households in the part of the country. To these days, the practice and culture of maize cultivation is one of the main live hood and sources of income. Most communities in the eastern part of the country depend on cultivation of Asham to produce following products: •\tKharang- grits, grind maize used as staple food •\tAsham me-gogni- roasted corn •\tAsham bokpi- corn flour •\tTengma- roasted and pounded maize •\tAsham mu-nang- a local term for popcorn •\tZhu- brewed alcohol Apart from above products, asham is also used as cereals for bartering during the olden days to exchange with wooden and bamboo products produced from other parts of the Dzongkhags. Moreover people also used to exchange with rice, chili, meat and dairy products within or outside the community. People used to offer asham, kharang and bokpi to monks and gomchen(great meditation masters) as they visit begging for cash and kind. Asham and its product were also used during the religious rituals at households. Crafting of Torma (Sacrificial ritual cakes) and Sur (Smoke offering) during the rituals were done by using corn flour. There has been lots of transformation in the culture, practice and process in cultivation maize in the region due to introduction of hybrid seeds, improve in tools and technologies used compared to old and traditional ways of cultivation.
Bhutan -
Yarney: the Summer Retreat
Yarney is one of the mainstays of monastic life in Buddhist communities, the tradition descends from the time of Buddha until today. It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide’. Varsavasa is the Sanskrit term for Yarney, and like the Chokey term it is rather literal: varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence.’ The term widely used in Bhutan is Yarney. The origin of Yarney practice can be traced back to the historical Buddha, Siddhartha Gautama, 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and depended solely on alms for their sustenance. However, the summer’s monsoon rains presented a number of obstacles to Lord Buddha and his Sangha Buddhist community to make daily customary alms round from village to village and teaching tours. Not only is it unhealthy and uncomfortable to be unhoused in the rains, but the nurturing rains bring forth insects and worms who inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. At that time the Tirthikas non-Buddhist critiques of Buddha Gautama would criticize the practice of alms round, reasoning that walking for alms especially during the summer killed several animals and insects. So to keep from crushing insects or young crops in their tender state; and avoid the health hazards of the monsoon rains, flooding, and displaced wildlife, the Buddha established the rainy seasons as a time for retreat. This is codified in the Vinaya rules for the monastic community. Instead, they would remain within the premises of their residences or dwelling places, most often monasteries, each summer or venture to a specific rainy season retreat. For the monasteries, the place Sangha members observe Yarney must be conducive to spiritual and mental development. One of the main objects of observing Yarney is to set aside time to practice meditation outside the schedule of preaching the Dharma to lay devotees or going on alms rounds. The period for the retreat lasts three months by the lunar calendar, usually starting in June or July and would continue until September or October. This established a formal practice of observing Yarney – Buddhist monastics using the summer or the rainy season as an opportunity to take retreat. The Buddha and Sangha would stay and spend days in their residences. This was a period for the Sangha to spend time in quiet and serious meditation, give local Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings through questions and discussions. As the tradition progressed, it became renowned as a productive period in which the sutras were said to have been written down. Thus, during Yarney monastics engage their vows; listen and contemplate lob pa thoe sam; and meditate on teachings pong wa sam tan they received from their Khenpo or abbot. During Buddha’s time, many monks and practitioners were said to have achieved the accomplished state of Arhat, non-returner, and once-returner through this deep study.
Bhutan -
Knowledge and skills related to gardening
Information about the gardening in Central Asia can be found in ancient Greek, Chinese and Roman sources which were written in the 1st millennium of BC. Central Asia is the motherland of many fruits. Through the centuries on the basis of the people’s selection productive sorts of such fruits as apricot, apple, pear, nut, almonds, pomegranate and grapes were created. Majority of them in terms of quality have their own unique place in the world collection. More than 20 sorts of fruits and berries are cultivated in our republic. Seeded fruit trees, pome fruit trees, subtropical plants and berries took the main place. Autumn sorts of apple, pear and grape autumn and winter sorts have economical significance. From time immemorial viticulture was developed in Tashkent and Samarkand regions and in Fergana valley. On the basis of all successes are the knowledge and skills of gardening accumulated for centuries, the secrets of which are passed on from generation to generation.
Uzbekistan -
Beldemchi
Beldemchi is a Kyrgyz women's clothing, which is a short hip swing skirt sewn to a wide belt. It is typically worn over the dress. Beldemchi had several variations in the past. Like so, in the North of Kyrgyzstan, beldemchi was sewn from black velvet with lush gathers at the waist and was decorated with embroidery. On the contrary, in the South, beldemchi was made of coloured velvet or semi-silk fabric without embroidery, sewn from several slanted wedges, without gathers. Beldemchi was worn by married women. After the childbirth, women put on a beldemchi, which thoroughly protected the body of young mothers from the cold, while not restricting their movements. Depending on the purpose, it was made of homespun cloth or expensive materials. If it was a festive clothing, it was sewn from silk, leather, velvet, decorated with elements of fur, embroidery, silver and beads. However, there was no embroidery or other decorations on casual beldemchi, which was worn by women daily.
Kyrgyzstan -
Olonkho, Yakut heroic epos
One of the oldest epic arts of the Turkic peoples, the termOlonkho refers to the entire Yakut epic tradition as well as its central epic.Today, it is still incidentally performed in the Sakha Republic, situated in the far east of the Russian Federation. The poetic tales, which vary from 10 to 15,000 verses in length, are performed by the Olonkho singer and story-teller in two parts: a sung part in verse alternates with the prosaic part composed of recitatives. In addition to possessing good acting and singing skills, the narrator must be a master of eloquence and poetic improvisation. The epic consists of numerous legends about ancient warriors, deities, spirits and animals, but also addresses contemporary events, such as the disintegration of nomadic society. Given that each community had its own narrator with a rich repertoire, numerous versions of Olonkho circulated. The tradition was developed within the family context for entertainment and as a means of education. Reflecting Yakut beliefs, it also bears witness to the way of life of a small nation struggling for survival at times of political unrest and under difficult climatic and geographical conditions.
Russian Federation 2008 -
Traditional Turkish archery
Traditional Turkish Archery is an intangible cultural heritage element, consisting of its principles, rituals and social practices, craftsmanship of traditional equipment, archery disciplines and shooting techniques evolved over centuries, which has been shaped around a sportive activity. In traditional Turkish archery, there are different types of disciplines practiced on foot and on horseback. The archery on foot discipline includes “Menzil” (Long-Distance), “Darp” (Pounding) and “Puta” (Target) shootings. Horseback archery discipline includes “Kıgaç”, “Kabak” and “Tabla” shootings. Bearers and practitioners of the element train individually or collectively to improve their archery skills, carry out individual shootings, and take part in competitions and festive events. Archers learn from masters the traditional shooting techniques and skills which allow them to perform either foot or horseback shootings. In all stages of practice, archers strictly act in accordance with the certain principles, rules and rituals related to the element. Craftsmanship of traditional archery equipment is also important component of the element. These equipments are made by craftspeople who have the skills and knowledge of materials as well as patience and mastery. Making the equipment requires raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather, and so craftspeople should have an advanced knowledge of nature, including plants, animals and climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry.
Turkey 2019 -
Dozo: Stone work
Like in many other countries, dozo (masonry or stonework) is an old craft that is still in practice throughout the country. The skills of Bhutanese masonry can be seen in fortresses, temples, monasteries, stupas and farmhouses. It required special skills to cut and polish stones into right shapes and sizes and was carried out under the strict supervision of the head carpenter, who also had the role of an architect. Stone masons use an axe like tool called dota. Stones of crude shapes and sizes are chiselled into right shapes according to the style of the structure. There are mainly five different types of stone shapes that the masons prepare for construction. They are jamdo- used as the foundation stones, zurdo (corner stone) used as the corners walls, tshigdo (flat stones) that are used in the middle, dotru (pebbles) used in between the two chiseled stones and dochal (flat stones) layed in the courtyards of the dzong and temples. A skilled mason would first lay the zurdo (corner stone) and position other stones towards its right and left. The masons used a measuring thread called thig to correctly align these stones. People from Rinchengang village in Wangdue Phodrang Dzongkhag are well known for their great masonry skills. Most villages in the western part of Bhutan use mud, instead of stones for house construction as mud houses are believed to keep the interior warm in winter and cool in summer. It also depended on the type of construction materials available. Some of the outstanding stone works are; a. Dzongs: Bhutan is dotted with these majestically erected fortresses that sit high on top of the hills often overlooking the valleys. The dzongs are located at strategic places. It has massive stone walls with large courtyards and beautiful woodwork on windows and cornices which are the most striking among the diverse architectural expressions of the country. These structures had served the purpose of defending the country against foreign invasions in the past. These magnificent structures are the true representation of our architectural uniqueness and the living testimony of our artistic skills. Dzongs are mostly rectangular and square structures while ta-dzong (watch towers) and Chu-dzong are mostly round cylindrical structures. Today, these dzong are the seat of administration and monastic body. b. Stupas: Choeten or stupas are literally translated as a vessel of worship or offering the most common feature on the Bhutanese landscape. It is believed that after the cremation of the Lord Buddha, his relics were divided among eight groups of claimants and that each of the claimants later erected a reliquary in which they preserved the relics. Thus, there are eight different types of choeten today (Choeten Degye). At that time, these structures were erected only to preserve the relics of sublime beings and assumed greater meaning and significance much later. Building a stupa came to be considered an act of great piety, earning merit for the actual builders as well as for those who supported the act. It is also a beautiful illustration of our masonry skills. A choeten requires a great deal of stonework, as it is built out of stones. We can also see prayer mantras carved on the stones. c. Long Prayer Walls: Long mani walls locally known as mani dang rim are the monuments from medieval Bhutan found along the main mule tracks displaying the mantra of Avalokiteshvara carved on slabs of slates. These elegant monuments were testimony to the richness of spiritual devotions as well as significant landmarks for travelers. They have survived extreme climatic conditions for many years. It is said that construction of Mani walls in the country had begun around 15th century during the time of Tertoen Pema Lingpa. However, most of the Mani walls were said to be constructed during the reign of the 4th Druk Desi Tenzin Rabgye (1638-96). Mani walls were largely constructed with locally available materials such as stones, a small quantity of timber and mud used as the mortar. Side plinth is raised from the ground and a wall is constructed at the height of about 6 feet and generally carved Mani slabs are placed on it either in single or double line from end to end. A timber superstructure is raised on the top with a wall height of one foot and is often roofed with flat stone slabs or slate. The middle and two ends are raised higher than the other parts with a particular architectural design. The center portion has a pocket for enshrining three deities of Manjushri (left), Avalokiteshvara (centre) and Vajrapani (right). The special place in the centre is made of timber and the deities are placed on the wall with a space in front for making butter lamp offerings or other offerings. d. Farm Houses: Bhutanese farmhouses are typically built out of mud and stone. A standard practice was to erect two-storied house although an ideal house had three main floors and an attic. The materials for the houses vary across the country depending on the climatic conditions and the topography of the places. For instance, Bago and Dag jar Zhikom (farmhouses made out of stones and wood) which are lightly decorated in traditional style are found in the southern and eastern parts of Bhutan. In central and western Bhutan, double storey houses with main walls made of stones and rammed earth while the inner partitions are made of bamboo mats are found. Houses in the cold places like Lingzhi and Laya, Merak and Sakteng are mostly built out of stonewall. e. Grinding Stones: Rangtha is a pair of round grinding stones that is maneuvered by the hands. This is usually found in places where stream water is not available in the vicinity. Chura is a bigger version of the rangtha which is powered by water. While the stone pair works on the same principle, the watermills are much bigger in size and often turn faster depending on the pace of the water flow. It is still being used in some rural villages. For example, in Bumthang it is mostly used for grinding wheat and buckwheat. f. Bridges: Stonework also finds its use in the construction of the traditional bridges, which were built out of wood and stones. The stone is used as the foundation (jamdo) for constructing all sorts of bridges like chazam (iron bridges), bazam (cantilever bridges) and tshazam (cane bridges which are no longer used).
Bhutan -
Ojiya-chijimi, Echigo-jofu: techniques of making ramie fabric in Uonuma region, Niigata Prefecture
The materials and techniques used to produce high-quality, lightweight ramie textiles known as Ojiya-chijimi and Echigo-jofu, has been developed under its distinctive climatic conditions and transmitted from generations to generations in the long history of the community. After World War II, under the influence of a rapidly-changing society, it fell into a decline. With a strong determination to protect their own cultural heritage, however, the people concerned with textiles and weavings joined forces and reconstructed its base for the conservation and transmission of this intangible cultural heritage themselves. It has been rooted in the community as its cultural identity. In 1955 “Ojiya-chijimi, Echigo-jofu” was designated as an Important Intangible Cultural Property, and “Association for the conservation of techniques for Echigo-jofu, Ojiya-chijimi-fu,” founded by the community, was recognized as the Holding Group of this technique. This Association strongly recognizes “Ojiya-chijimi, Echigo-jofu” as its own cultural heritage and makes every effort to preserve and transmit them. Ojiya-chijimi and Echigo-jofu has a long history. Ramie weaving began in ancient times around Uonuma region in Niigata Prefecture, and we have a remains presumably dated back to the eighth century. In the seventeenth century it was dedicated to Tokugawa Shogunate. As suitable to the hot and humid summer of Japan, clothes made of ramie weaving have been a favourite of many people in various classes for centuries. Thus, those textiles have been constantly produced as a cultural pride for the people of the community, and its producing technique has been transmitted from generations to generations until today. The production area is such a heavy snowfall area as closed by snow during a half of a year, and hence its production technique makes a good use of its distinctive nature and climate. The yukizarashi method is well-known as a unique part of the production process, in which the woven textile is spread on the snow, and bleached by the ozone released as the snow evaporates. The traditional ikat (kasuri) designs are made from threads that were tied before dyeing. They feature various colours in geometric patterns or abstract patterns of plants, or combinations of these. These traditional patterns are still being used by people today, who bring a contemporary sense to the traditional designs. Thus, the community has inherited the traditional producing technique of “Ojiya-chijimi, Echigo-jofu” and constantly recreated this intangible cultural heritage by production with the specific technique. Sophisticated manufacturing of those textiles, process with traditional tools and distinctive utilization of snow are required for the designation as important intangible cultural heritage in this case. It is needless to say that the people of this Association shall fully understand the meaning of their own intangible cultural heritage, cooperate each other and respect mutual skills. Because they are determined to transmit to the next generation what they have inherited from the ancestors, they make every effort to widely disseminate it and hold a workshop for it. The community has constantly recreated a sense of identity and continuity through the conservation and transmission of this important intangible cultural property. The making of “Ojiya-chijimi, Echigo-jofu” is a complex, detailed process. The process must meet specific conditions in order to qualify for Important Intangible Cultural Property status. These conditions have been carried on and transmitted by the Association and the people involved up to the present. ▶Conditions of Designation -TEUMI (Hand-twisted ramie thread) Ramie fibers are split by fingernail and shredded into very fine threads. Further manipulated and moistened by the hands and mouths of threadmakers, the ends of each strand are twisted together to form a continuous thread. An additional tight twisting of the weft threads gives Ojiya-chijimi its characteristic crepe texture. This work takes place during cold winter months when the humidity from snow keeps the ramie threads pliable. -TEKUBIRI (Hand-tied ikat (kasuri) threads) Skeins of ramie thread are bound with cotton thread in a predetermined pattern before being immersed in a dye vat. This method of hand-tying is known as tekubiri. The bound areas resist the dye. When untied, placed on a loom, and woven into a fabric, the kasuri pattern emerges. -IZARIBATA (Use of a body-tension loom) Utilizing a simple body-tension loom (izaribata), the weaver sits on a wooden plank raised slightly off the floor with her legs outstretched underneath the loom. Her foot is slipped into a sling that manipulates a bent, wood lever attached to string heddles. A cloth beam (chimaki) is then placed against the weaver’s abdomen and secured by a strap that is brought around the small of the back. In this position the loom becomes an integrated extension of the weaver’s body. She can achieve subtle adjustments to warp tension by simply shifting her weight. An extremely high degree of skill is required to weave ramie thread as fine as human hair without the thread breaking. -YUMOMI, ASHIBUMI (The SHIBOTORI finishing method) The woven cloth is soaked in hot water and rubbed to remove any starch (yumomi). Afterwards, the cloth is soaked again in hot water and washed by trampling or massaging it with one’s feet (ashibumi). This process softens out the creases in jofu cloth and gives chijimi cloth its beautiful crepe-like texture. -YUKIZARASHI (Snow bleached) Wet lengths of ramie cloth are placed on top of snow-covered fields. For ten to twenty days the textiles are exposed to the bleaching properties of sunlight, which is intensified by the white snow. The cloth is further lightened by the penetration of ozone ions from the melting snow.
Japan 2009