ALL
decorative art
ICH Elements 19
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Wood carving art
The art of wood carving in Uzbekistan is part of the Central Asian artistic heritage and its origins date back to ancient times. In the traditional architecture and life of the peoples of Uzbekistan for a long time, carved wood was very popular. In architecture, it was used as important architectural details and structures such as columns, cornices, doors, ceilings, and gratings. The use of carved wood in everyday life, or as it is also called household carving, absorbed a wide range of objects from furniture to small household utensils. Local wood species were used as a material: plane tree, elm, walnut, juniper, here, apricot, poplar, tal, pear, quince, cida, which differ in a variety of texture and pattern. When decorating various household items, furniture and musical instruments, the craftsmen used ornamental carving, painting and inlay. The main centers of woodcarving art are Khiva, Urgench, Bukhara, Samarkand, Tashkent, Qoqand, Margilan, Andijan, Fergana, Shahrisyabz etc.
Uzbekistan -
“Hun Lakorn Lek” Thai traditional puppetry performance
Among the various types of Thai traditional puppet performances, “Hun Lakorn Lek” is one that stands out. This type of puppet is distinct from other typical Thai forms 0f puppetry, as normally the marionettes will only have moving heads and hands on an otherwise static body. In contrast, Hun Lakorn Lek is performed with figures that are completely moveable, allowing head, body, arms and legs to act independently. This results in a puppet that, if operated with masterly skill, can move like a real human. This impression is further strengthened by the well-measured proportions of the puppet, which also match those of real humans, albeit at a smaller scale. The puppets are used to perform a wide repertoire of stories that mostly draw on traditional Thai literature with some exceptions that instead depict contemporary tales. Since the ancient civilizations of Southeast Asia have long been influenced by Indian cultures there is a clear impact of Indic mythology in traditional Thai art and literature, which is also evident in the traditional puppet shows. One of the most well-known myths with Indian origins in Thai culture is the Ramayana. This epic follows the life of Rama, from the time when he was a prince of Ayodhya city in the kingdom of Kosala and got exiled in the forest for fourteen years by his father. The tale picks up in intensity when Rama’s wife Sita got kidnapped by Ravana, king of Lanka, one of Rama’s enemies over whom he manages to triumph in the end. After returning back to Ayodhya with his wife, the successful Rama is crowned as king. However, when Thai poets learned about this story they also adapted and rewrote it into a new version known in Thai as “Ramakien" in order to make the story fit better with the local background.
Thailand -
Keste - Kazakh embroidery
Keste - traditional Kazakh hand-made embroidery with colored thread and needles or hooks (biz/ilgek/ilme) and hoop (kergish). A Kazakh word keste means 'a scheme or painting'. Direct analogues of colored woolen threads embroidery are found in artifacts of the Berel burial in East Kazakhstan, dating from the IV. BC. The embroidery is often made on velvet, plush, cloth, felt, velveteen, cotton and silk with woolen, cotton, silky, golden, silver threads and spun gold. Gimp, beads, coral, pearl beads, silver details are frequently applied. There are about 40 kinds of complex and simple Kazakh embroidery: biz keste - tambour embroidery created with a thin awl-hook; tizbek tigis, shyrash tigis, tyshkan iz, kұs izi (a “bird” seam) shynzhyr, shym keste (tight cover seam without gaps), koykusak, kigash, albyr keste (distichous seam) are the names and versions of tambour embroidery with needle; oraypek/oraypa is a kind of albyr keste; kebeke is a seam similar to Russian embroidery on canvas; zhorme, zhormeme, orys keste, aykas tigis is a cross-stitch embroidery; kereghe bas tigis is a “goat” seam. Baspa is a couched hemstitch technique and shyralzhyn is a simple one. A satin stitch with bedding bedel keste creates relief forms. A columnar seam zhormeu makes zigzag weave. The techniques can be used in combination. Embroidered products are made for domestic purposes and various ceremonies, which led to the species diversity. In festive men's and women's clothing: shapans, dresses koylek, flared skirts beldemshe, sleeveless jackets beshpet, hats, scarves oramal; in interior items: tablecloths, korzhyn etc.
Kazakhstan -
Folk long song performance technique of Limbe performances - circular breathing
The Limbe is one of the ancient musical wind instruments of nomadic Mongolians. The limbe is a side-blown wind instrument, mostly made of hard wood or bamboo. It is considered as one of the valuable traditional musical instruments among Mongolians for its unique technique and characteristics such as producing euphonical melody, melisma, hidden tune associated with circular breathing, and its performing techniques of skillful and delicate movements of fingers and tongue. Over the long historic development of Limbe performance, Mongolians have created the unique technique of playing Limbe using circular breathing. Circular breathing technique of the Limbe performance is closely interconnected with the traditional mentality of Mongolians, traditional folk long song and the vast steppe. The circular breathing technique of the Limbe Performance comprehensively corresponds to the characteristics of the melody of Mongolian folk long song, particularly adequate for performing the folk long song with prolonged and melodic tune for its entire duration without any pause. Limbe is one of the main instruments that perform unilaterally the melodies of traditional folk long song or accompany its performance. While performing a folk long song, it is customary for Limbe performers to use the technique of circular breathing. Limbe has the ability to comprehensively express and support the manifestation of folk long song, its slow pace and expansive wide ranging flow of melody. Its continuous melody serves as a support during the singer's pause for inhaling and thus enriches the song's melody as well. 'Bituu amisgaa' means 'hidden circle of breathing'. Performing with circular breathing is a complex technique of uninterruptedly continuing the activity of expelling the air stored in a mouth cavity to play the melody and at the same time inhaling air into the lungs through the nose and transferring it to the mouth cavity. The distinctiveness of the technique to circular breathe lies in the ability of intentionally changing the normal way or process of breathing, thus creating the circular bond of continuous air flow by inhaling and exhaling simultaniously. The first step in mastering this technique of Limbe performance is to learn in the ability to inhale gently neither stopping the flow of blowing nor interrupting its tone of melody. The second step is to learn to play the Limbe with the ability to completely express the melody of traditional folk long song, its manifestation, phylosophical view by perfectly possessing the technique of producing ornamentation, coloratura, melismaa and shurankhai (falsetto) which requires one's true endeavours and hard work, talent and sense of acoustics. In this sense, it can be concluded that the element ""Folk long song performance technique of Limbe performers – Circular breathing"" finds its true form or fulfilled from within the inseparable interconnection of circular breathing technique of the Limbe and its performance of folk long song. The ""Circular breathing"" is a great achievement of nomadic Mongolians derived from their creativity, result of the exploration and necessity of their daily life. The origin and development of circular breathing is closely bound up with the skills and knowledge of ancient craftsmen or metalsmiths who specialized in gold and silver. Early Mongolian craftsmen used circular breathing techniques for crafting various decorative and ornamental items including valuable jewelries. In crafting such items, craftsmen were required to blow continuously to the flame through a pipe with needle like hole, in order to make the hard metal melt or soften. In that regards, the craftsmen had to blow gently to the flame through the pipe bitten in their mouth, continuing as long as possible. From such necessity of lifestyle, craftsmen have mastered the technique of circular breathing, creating a circular-like cycle of breathing, simultaneously inhaling through their nose while blowing without any pauses. It can be considered that the introduction of the circular breathing technique by craftsmen in the art of Limbe was a new and productive invention in its performing technique. The traditional method of learning the simultanious act of inhaling and exhaling has a coherent sets of training forms, ranging from elementary to advanced which include continuous blowing act at a candle light or a flame without extinguishing it and blowing through a straw into a glass of water. The technique of circular breathing performance of the Limbe has valuable significance that could equally be practiced for other wooden wind instruments (Mongolian traditional wind instruments: Bishguur, Byalar, Hornpipe; non traditional: Clarinet, Saxophone, Oboe, etc.) and is an outstanding example of musical performing techniques created by humanity, consituting one of the distinctive forms of intangible cultural heritage in need of urgent safeguarding. This traditional element of ""Folk long song performance technique of the Limbe performers-Circular breathing"" has been handed down by and preserved among renowned Limbe performers: L.Tserendorj, L.Maam, M.Dorj. Nowadays, the second generation apprentices of these well-known Limbe performers are the main bearers and holders of this traditional art. But the existing few number of these bearers of the element has become the biggest concern for its further viability. Currently, there is a high risk of possibility that the tradition of this element could dissappear from its existence. One of the factors causing the element to dissapear is inevitably the significance of decrease of current groups and individuals of artists and practitioners of traditional folklore in numbers and changes in the traditional repertoire. The main change of repertoire in traditional folklore has caused by the tendency to absorb classical or modern forms of view, and the predominance of western methodology in training system. Additionally, the intense globalization and urbanization changes are the factors causing to diminish the value and tendency towards intangible cultural heritage among general public, particularly among younger generations. Today, some of the urgent objectives for us are to promote, safeguard and transmit the element to the younger generations, to ensure its further existence and viability.
Mongolia 2011 -
Songket
Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.
Malaysia 2021 -
Sekafi (Sabah Boat Lute)
Sekafi is a short-necked plucked lute similar to the sape of the orang ulu community. It is a strummed lute with three brass or wire strings. Like the tafe, its body is made from the soft wood of the jackfruit tree trunk. The surface of the instrument is painted with special designs, which reflect Lundayeh art. Some inter-influence between the sape of the orang ulu community in Sarawak and the sekafi could have occurred as they share similarities in terms of shape and their strummed lute. Their differences, however, are in the design, tune and decorative motifs on their body: these aspects portray the individual creativity of the musical instrument makers. Sekafi is usually performed solo for personal entertainment or as dance accompaniment. Not many Lundayeh in Tenom could play the sekafi today. This non-ability is a similar situation among the Lundayeh communities in Sipitang and Long Pasia.
Malaysia -
Nga-zo: Buddhist Drum Making
Shagzo or the traditional art of woodturning is an ancient art that has been passed down for generations. Shagzo is vibrantly practised in Bhutan and the master artisans are known as Shagzopa. Bhutan’s abundant and wide range of woods like tashing (Juglans regia), hashing (Taxus baccata), baashing (Picea spinulosa), tsenden shing (Cupressus corneyana), sermaling shing (Acer camphellii) and etometo (Rhododendron arboretum) have enabled the Bhutanese Shagzopa to create a variety of exquisite functional and decorative products like turned wooden bowls, cups, plates, and containers of various shapes, sizes and colours unique to Bhutan. Skilled wood turners also craft traditional hand drums that are beaten during religious ceremonies. Since Bhutanese tradition is deeply rooted in the teachings of the Buddha, use of drums and drum sticks are a part of the rituals performed everywhere. Used in all religious ceremonies and rituals, the Bhutanese traditional drum known as Nga, and the Nge-tog (drumstick) are indispensable articles found in every temple, monastery and home. An ancient instrument of musical offering, the beatings of the Nga symbolizes the subjugation of evil, indicates the fluctuation of tunes and wordings, and regulates the pace of other instruments during rituals and propitiation ceremonies.
Bhutan -
Rangoli
Rangoli, which means “an array of colours” in Sanskrit, is a traditional Indian art form dating back some 5,000 years to the pre-Aryan period. It is known as kolam in Tamil. The art of rangoli originated in India, where these decorative patterns have been drawn outside Indian homes and in temples for hundreds of years. The practice was brought to Singapore by Indian migrants who settled here. A rangoli pattern is made of unbroken lines. This is thought to prevent evil spirits from penetrating through the gaps. The designs range from geometric shapes of peacock motifs to floral designs to faces of Hindu gods. Popular ones include circular designs, which signify the endlessness of time, and the lotus flower design with Goddess Lakshmi in the middle, which represents prosperity and fertility in Hinduism. Some people also place diyas (oil lamps) inside the rangoli and light them for a puja (prayer). The patterns are passed down from one generation to the next, with women taught to make these designs outside the home or near the altar (prayer room) area.
Singapore -
Baab: Mask
Colloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure. According to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country. In general, the manifestations of Baab can be summarized as; Baab of deities and gods, animals and extraordinary human beings. It is firmly believed that the masks of the deities and gods manifest themselves in various emotional appearances such as; graceful, heroic, abominable, wrathful, compassionate, comical, wondrous, terrifying and petrifying. These expressions can also be divided into four categories: peaceful, inspiring, empowering and angry. There are three types of masks made by Bhutanese artisans: Re baab (paper and cloth mask), Shing baab (wooden mask) and Sing-phye baab (mask made of a mixture of sawdust). However, the former two are ancient technical craft, while the latter is a newer product used mainly for commercial or decorative purposes. Traditionally, Baab are used only for the actual performance or kept as relics after the consecration ceremony has been performed by spiritual masters. It is believed that if these items are not blessed, they are as good as toys and are haunted by the spirits, causing harm to society.
Bhutan -
Traditional art of needlework
The unforgettable cultural heritage of the nomadic Mongols which has long been developed, transmitted and inherited to our generation is the art of needlework. The art of needlework is a result of the great deal of meticulous labor, delicacy, patience, and perception of intellect, hands and eyes at the same time. Traditional art of needlework consists of general techniques such as sewing, stitching, quilting, sewing with a forward stitch, single or double stitch and hemming stitch, and more than 20 forms of decorative embroideries including chain stitch, double-embroidery stitch, herring-bone stitch, satin stitch and etc.
Mongolia -
Ganchkarlik (ganch-alabaster plastering and carving)
Ganchkarlik (plastering and carving special alabaster – ganch) is one of the most ancient types of architectural-decorative arts of Uzbekistan. In the ХХ century its main centers were located in Khiva, Bukhara, Tashkent, Samarkand, Andijan, Namangan and Qoqand. Ganch carving art is indivisibly connected with architectural art than other types of applied folk art. From time immemorial, it has been used for decorating palaces, madrasahs, mosques and houses. The technique of creating a pattern on ganch surface is labor-intensive one. First, on the raw surface draft picture of the future ornamental pattern is drawn. Then, relief pattern is cut along the outline, while the background is deepened and salient parts of the pattern are finished. Also, special skill requires the work on relief pattern, because the effect of perception of the whole carved panel depends on it. As a matter of fact, Uzbek masters have developed many techniques of finishing relief patterns, which make carved panels look more dynamic, their salient and deepened parts more expressive thanks to the effect of light and shade.
Uzbekistan -
Yig-zo: Calligraphy
The 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. Thereafter 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. Some of the remarkable calligraphers that are enlisted in the Bhutanese history were; 1.\tDenma Tsemang 9th century 2.\tNgawang Penjor as Dzongpon and Ngedup Penjor (1964) 3.\tDrungyig Zimchenpa Tandin Wanggyel 17th century 4.\tLopen Wangdue 17th century 5.\tLopen Phuentso 17th century 6.\tTshewang Dorji 17th century 7.\tLopen Gangchen, also called Kuenga Pelden, 19th century during the reign of Desi Jigma Namgyal (1825-1881) 8.\tDrungyig Tshewang Ngodrup, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck (1862–1926) 9.\tGonpo Tenzin from Lingzhi, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck 10.\tZhongar Dzongpon Kuenzang Wangdue, 20th century during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 11.\tDrungyig Tsowo Dasho Kezang Dawa, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 12.\tTangbi Kezang, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 13.\tUra Yeshey Wangdi, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 14.\tSonam Peljor, 15.\tDasho Gaydon Thinley Dorji (?) 20th century during the reign of His Majesty the 2nd and 3rd King Jigme Dorji Wangchuck (1929–1972) 16.\tDasho Shingkhar Lam Kuenzang Wangchuk (?) 17.\tSey Dopola Aka Dasho Phuntsho Wangdi (1892-1953) 18.\tLam Norbu Wangchuk (?), 21st century during the reign of His Majesty the 4th King Jigme Singye Wangchuck (1955–) 19.\tYarab Aja Lama Drodul Zhenphen Dorji Tenzin (1921-2005) 20.\tLam Pema Tshewang, (1926-2009), 21.\tLopen Gonpo Tenzin from Chumey, Bumthang 22.\tLam Nado from Namgyal Dratshang (?) 23.\tDasho Tenzin Dorji (1928-2012) 24.\tLam Tenzin from Ramjar, Tashi Yangtse 25.\tChabje Geshey Gedhun Rinchen (1926-1997) 26.\tChabje Khenchen Ngawang Tenzin Doendup, 68th Je Khenpo (1925-2020) 27.\tLopen Daupo from Bartsham 28.\tLam Kuenzang Wangdi (aka Lam Nyingkhula) 29.\tLopen Yonten Gyaltshen, Central Monastic Body 30.\tDasho Sangay Wangchuk Generally, 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. However, 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.
Bhutan