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ICH Elements 15
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Jim-zo: Clay Sculpture
Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan. Later, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. The art was later codified and included as one of the thirteen traditional arts and crafts of Bhutan by the 4th Druk Desi (temporary ruler) Gyalse Tenzin Rabgye in the late 17th century. Since then the art of sculpting has been maintained and passed from teacher to students over many generations until today. Bhutanese jim zop (sculptors) are known for the quality and intricacy of creating delicate clay sculptures. They practice sculpting as a pious act since it is based on the iconographic principles of Buddhist art. It is very important to adhere to the rules that prescribe the precise measurement of the body structure in relation to the limbs, postures, eyes, ears, fingers and nose and the body tints, garments and ornaments. a. Religious Statues and Ritual Objects: Sculptors make clay statues, ritual objects and tsha tsha (miniature clay stupa) and clay masks worn during festivals. Numbers of exceedingly fine and intricate religious sculptures and ritual objects made of clay can be seen in every temple, monastery, and the dzongs of Bhutan. These clay sculptures vary in sizes, varying from tiny statues to over twenty feet. There are clay sculptures of the Buddhas and Bodhisattvas, various deities, gods, goddesses and prominent religious figures which depict the foundation of faith, worship and reverence for the Buddhists. b. Types of Clay used in Sculpting: Clay is the basic material for making sculptures. A special kind of clay can be found deposited in small quantities between mud and gravels usually in marshy areas. Sculptors use the best quality clay as the images and objects they make must stand against the change of weather for generations. Clay is processed into three different forms; tsa dam, kong dam, and jim dam. Each one is used for a specific purpose. Tsa dam is made by mixing clay powder with daesho (paper made from daphne plants) in the ratio of 7:3. If paper is not available, pulps made from the raw bark of daphne plant are used as substitute. This mixture prevents the mud from disintegrating when dried. Tsa dam is used for moulding the basic structure of the statue. Kong dam is prepared in the same way as tsa dam, but by adding more water to make the clay relatively thinner and softer. Kong dam is applied over the basic structure moulded from tsa dam to give proper shape to the statue. Generally the proprietor adds any or all of the seven precious substances (gold, silver, and turquoise, and coral, pearl, bronze and any other precious stones) to tsa dam and kong dam in order to increase the aura of the statue. Jim dam is applied as the final and finishing touch to the statue. To prepare jin dam; the clay powder is mixed with water and then stirred thoroughly until it turns into a thin paste. It is then filtered with the help of a thin cloth. The thin filtered paste is collected in a utensil and then placed on fire until the water component is evaporated. What is left in the pot is a very fine powder. This powder is then mixed with daphne papier mache to give it the binding strength which prevents the clay from cracking. This mixture is again mixed with water and stirred and applied to give the final touches to the statue. c. Process of Clay Sculpting: Clay sculpting process starts with the measurement of the space available where the statue will be kept later, or the size required by the owner/sponsor. Accordingly, the basic structural frame is made by using copper wires for smaller statues, iron or steel rods for bigger statues as support. Steel rods are wrapped with copper wire to add the value of the object. Gold and silver wires are considered the best to make the basic frame. The frame is added with tsa dam while the internal part is left hollow for zung to be inserted later. When the tsa dam on the structure dries perfectly, kong dam is applied over it to give all the external physical features, forms and the attires. The parts such as hands and head are made separately and attached later to the body for smaller statues, though the head of bigger statues are made directly with the statue. The sculptor must ensure that the parts made separately are proportionate to the whole structure. Any part of the statue that is not proportionate to the whole body is considered an impious act of the sculptor and therefore must be avoided at all cost. Sculpting is a tedious job, requiring the sculptor to apply the wooden chisel again and again to fill any gaps or remove the lumps over and over again. The statues are left for a long time to allow the clay to dry naturally, and to develop minor cracks which are also left unrepaired to allow air to pass for rapid drying. When no more cracks appear, it means the clay has dried up completely. The cracks are then repaired with tsa dam by mixing with glue. Once this is done, the sculptures are ready for final layers of finishing using jin dam. At this stage the sculpture is finally ready for zung (the inner relic). Learners have to undergo rigorous training for several years under a master sculptor known as Jimzo lopoen. As sculpting for religious purpose is considered a spiritual act, sculptors have to choose the most auspicious day and time to start a project. Once completed, an expert (usually a monk) will insert a zung shing or sog shing (a strut inside the statue as its backbone) and zung consisting of written mantras and other precious substances. Then the statue is painted using appropriate colours. Upon completion of all these steps, a drub or rabney ceremony is conducted by an accomplished lama. The painters and sculptors are highly regarded for their profession.
Bhutan -
Traditional turkmen carpet making art in Turkmenistan
The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.
Turkmenistan 2019 -
Betashar – Kazakh wedding
Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan. First bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility. Masters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance. After introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances. In some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.
Kazakhstan -
Gaada: Dress of Lhop Community
One can easily identify a Lhop in a crowd by his or her unique clothing. They have a distinct clothing culture that marks the physical identity of their ethnic group community. The origin or tradition of the clothing is still unknown, but the elders of the Lhop community believe that it has been passed down from generation to generation. In the past, the Lhop wore clothing made from the fibers of the nettle plant, which grows on the foothills of mountains 500 to 1000 meters above sea level and is called Yadzin. With the planting of cotton in the Lhop community, the nettle fiber was abandoned. Nowadays, the traditional clothing of the Lhops is quickly being replaced by the national clothing Gho and Kira. The Lhops have their own traditional dress called Gaada. It is a simple, without pattern, white, coarse cotton cloth about 3 x 2 meters in size. Both men and women wear simple, without pattern, white cotton clothing. Lhop dress Gaada is a white piece of coarse cloth about 3 x 2 meters in size. Lhop men and women wear Ra-hem and Gui-hem, respectively, which are made of Pas-jin (cotton). Ra-hem Ra-hem is a simple, plain white garment that is folded over from the back, crossed over the chest, and knotted at the neck. The cloth is tied around the waist with a belt called Pa-dzin. The edges are tied together at the center fold point using a bamboo spindle called a rim. The cloth is pulled up above knee length and tied tightly. The loose cloth forms a large pouch in the front part of the body, which can hold many things. Gui-hem Women put on their clothes in the same way, but the cloth covers their body from the shoulder to mid-calf, leaving a smaller pouch on the front along the torso. In their traditional dress, they do not need carrying bags. Gui-hem was always like any other Kira worn by most Bhutanese women, except that it was made of cotton. They tie the edge of their cloth over their shoulder with a brooch made of bamboo called a lung. On important occasions, women wear jewelry. Both men and women wear Pun-gop (tego or shirt) over their shoulders. The Lhops use very few garments at home. Currently, they do not weave or knit their own clothes. Wear and tear on their clothes are crudely repaired or sewn with the help of native bamboo needles, selvages, and threads (Jin) made from plant fibers. Steel needles and mill threads from commerce are rapidly displacing selvages and Jin. Lhops no longer wear their traditional clothing regularly, but they still wear it at Lhop dances.
Bhutan -
Art of Xòe dance of the Tai people in Viet Nam
"Xòe" means dancing with movements that symbolize human activities in ritual, culture, life and work. Xòe is performed at rituals, weddings, village festivals and community events. There are three main types of Xòe: ritual Xòe, circle Xòe, and presentational Xòe. Rituals Xòe and presentational Xòe are named after props used during particular dances, such as scarf Xòe, conical hat Xòe, fan Xòe, bamboo pole Xòe, music Xòe, stick Xòe, and flower Xòe. The most popular form is circle Xòe, wherein dancers form a circle in harmony with each other. The basic dance movements of Xòe include raising the hands up, opening the hands, lowering the hands, clasping the hands of the next person following rhythmic footsteps, slightly arching the chest and leaning backwards. The musical instruments of gourd lute (tính tẩu), shawm (kèn loa), mouth organ (khèn bè), drum, gong, cymbals, reed flute (pí pặp), bamboo-tube percussion (bẳng bu) and small round-shaped rattle are used to accompany dance, which follows rhythms in even meters (either 2/4 or 4/4). The typical melodies played on the instruments use the following intervals: major second, major and minor third, perfect fourth and perfect fifth. Dance movements, though simple, symbolize wishes for community members to have a good life and live in solidarity. Gentle dance moves blend with instrumental music, vocals, tight-fitting blouses, the jingling of silver jewelry hanging around the waists of Tai women and creates an art form imbued with the cultural identity of the Tai in the northwestern region of Viet Nam.
Viet Nam 2021 -
Lkhon Poal Srei (Female masked theater)
“Poal Srei" is a type of theatre that wears a mask like a male masked theatre, but the performers are all women, even male characters, giants and monkeys. Male masked theatre has a separate group of narrators whereas female masked theatre, the performers take turns to narrate. Characters with faces masks are giants, monkey’s role, etc. When telling the story, the performers have to push their faces mask up a bit. The technical term in this form is often called "sing oneself, dance oneself". The costumes and jewelry are as luxurious as the Royal Theater. The music that accompanies the female masked theater is Pin Peat music.
Cambodia -
Elechek, the Kyrgyz female headwear: traditional knowledge and rituals
Elechek is a traditional Kyrgyz female headwear. It consists of topucha (a hair cap) and kezdeme - a long piece of white fabric up to 40 meters long, which is wrapped in many layers in a turban-like fashion. After being wrapped, the elechek is ordained with embroidery, ribbons or jewelry. Women wear the elechek for the first time during the wedding ceremony. Wrapping of elechek is an integral part of the traditional marriage ceremony. A ritual of wrapping the bride’s first elechek is conducted at the bride’s family house before she leaves with the groom. The wrapping of elechek considered as a rite of passage as it marks a significant transition in a woman’s life. The process of wrapping is accompanied with the elders uttering blessing chants. These rhyming chants reflect the spiritual symbolism: there are references to the Creator, Mother Earth, Umai Ene; traditional epithets inspired by local environments: wishing a new coupe to have a long life like the juniper branches or pure intentions as flowing water, and worldviews and values of local communities. Exclusively women conduct the ritual. A married woman may wear the elechek at all significant occasions of her life, changing its styles accordingly. Many communities across Kyrgyzstan have developed own styles of wrapping the elechek and related rituals. The diversity of the element as well as accompanying rituals demonstrate that this living heritage has been evolving for many generations.
Kyrgyzstan -
Traditional knowledge related to the Kyrgyz ornaments
The ornament adorns all the objects surrounding the Kyrgyz from the moment of birth to the end of life. Nowadays, ornaments are very popular and used not only for decorating yurts and utensils but also for festive attires, jewelry, and souvenirs. Kyrgyz gave the patterns their own names identifying them with elements of their own and surroundings in the world around them. The shape of the symbols has reached us through the ages, almost unchanged. Kyrgyz ornaments include simple geometrical symbols, floral patterns, images of animals (both living and fantastic), nature, and stylized images of people. One of the most popular patterns are: ram’s horns, which repeats the image of this animal and represents prosperity or Umai ene, winged woman with a child, a spirit that represents fertility and protects mothers and babies. There are several types of Kyrgyz ornamental patterns: 1.\tPatterns symbolizing landscapes and other natural objects and processes such as Earth, a spring, eternal movement, Sun, Venus, star constellations, day and night, equinox; 2.\tPatterns symbolizing elements of animal kingdom such as raven claw, goose foot, ram horns, goat horns, a bird wing, a dog tail; 3.\tPatterns symbolizing elements of flora such as almond, clover, pomegranate, tulip; 4.\tPatterns symbolizing household objects as a comb, a lock, tip of a knife, köökör, a vessel for fermented milk; 5.\tPatterns with anthropomorphic elements.
Kyrgyzstan -
ZARGARI
Traditional jewelry. Jeweler masters produce adorning jeweler stuff with gold, silver, bronze, pearls and precious stones.
Tajikistan -
Pithi Buos (Rite of Passage: the Ordination Ceremony)
"Ordination” is a part of rite of passage, meaning a transition of a teenage boy to a man "adolescence." In a traditional society, women and men are separated when they are in puberty. Young women are in rite of passage called Chol Mlub while men are in pagodas ordinated as monks. Women role is to take care of household chores and men explore or trade, so they can have enough basic knowledge. Therefore, in Khmer language, people say “Buos Rean” meaning to send boys to learn lifelong skills as well. Ordination ceremony are seen in many districts and regions across the country, and here are examples of locals who perform the ordination ceremony at Wat Athvar, Wat Angkor Mol and Wat Svay Leu in the Angkor area of Siem Reap province. Ordination ceremony at the Angkor area is celebrated by retaining many ancient traditions, and it is very solemn, as many villagers attend, sometimes in dozens, and with the participation of many close relatives. In that ceremony, there are accessories for the venerable person, and the main accessories that cannot be missed are srey ban rice, rice soul, Angkor Reab. Tver tmenh tools, Popil, monk bowl, coconut slator and monk robe. Apart from this, there must be Chum for maker, musician and Khgner. Ordination can be divided into two stages. In the early stages, all the young men put on make-up and costumes in a way that they are monk nor ordinary men; men nor women and not even called them as human but a dragon (Neak in Khmer language), that is why the ceremony is called dragon ordination or (Buos Neak). During the make-up, people use turmeric powder, powder and jewelry, to transform young men to girls. In some areas, the make-up is done at the ceremony house before going to the pagoda, but in other places, such as the locals around Athvar pagoda, Angkor area, Siem Reap province, they do make up and put on costumes at pagoda. From the evening of the first day, a priest (Achar in Khmer language) and the relatives of the dragon perform a blessing ceremony to worship the Preah Ratanatray - the next task is to summon the dragon's soul and tie hand for dragon. At this point, the Achar opens a sutra called "Dragon's Soul" to read (in some areas, the dragon's soul summon ends at dawn, along with the "Sucking the dragon’s soul”. The end of this task is to rotate Popil for the dragon. Then the Achar performed Angkor Reab, measuring the flat rice using the traditional scale, with a clock, a ship, and letting all the dragons lie on the flat rice prepared by the Acha. In the early morning, the dragon has to search the flat rice which he slept on. Then the Achar prepares for teeth cleaning ceremony for the dragon. At around 7 or 8 in the morning, they started the dragon procession by leaving the pagoda and passing through the town before returning to the pagoda. Sometimes they come together and pay homage to Angkor Wat three times before going to the pagoda. During this procession (except during the procession in AngkorWat) Dragons highly praised because all people, young and old, all travel on foot, and dragons usually ride horses or even elephants. If there is a shortage of horses, the dragon is allowed to sit on a bicycle with his grandmother or sister walking in front of him. For villagers who live far from pagoda, as in the case of Svay Leu villagers, the dragon procession is carried by a bullock cart decorated with colorful flowers, and the locals can ride a bullock cart. A dragon, however, the seat of the dragon is still supreme. The procession is accompanied by Pin Peat or Chai Yam music. Before entering the pagoda, all the dragons have to do the work of “worshiping the sun at the gate of the pagoda. At Angkor Mol pagoda, the sun worship is done in front of the temple. At the end of the task, they offered three rounds of prayers to the temple. What is interesting at Angkor Mol pagoda is that when marching to the temple, the dragon rides his brother or sister. At the end of the procession, the dragon enters the temple to perform the last important task called "Oub Bacheer” which is the transition from a dragon to a monk. A monk who performs this task is called "Oub Bacheer” is a monk who has been ordinated for at least 10 years and has a deep dharma discipline. During the task, Neak has to memorize some dharma in order to reply to the monk. Last of all, is “Teak Kor Neak” it is when the dragon had to change his clothes and take off his jewelry and take over the robe of Chipor, and leave his life in this world and his home to start a monkhood in a pagoda. As already mentioned above, ordination at this time is a stage to practice self-discipline and learn various skills before living in society and starting a family. Therefore, the Cambodian society values man who was ordinated as a monk and they want him to be their son-in-law because they understand that the man is educated and skillful.
Cambodia -
Troe-zo: Gold/Silversmithy
Gold and silver smithy or metal carving had flourished in the country for a long time as evident from the ornaments worn by women and religious artefacts in monasteries and temples. This art is still being practiced and transmitted. It is a highly specialized art form. A special class of craftsmen called Troe-ko make jewelry of gold and silver and other items such as swords, boxes, teapots, and various ornaments of silver, often thinly plated with gold. Traditional symbols such as the dragon and other beautiful motifs are engraved on the objects. Silverwork is also found on the pillars of temples, altar tables, jewelry and other religious items. Using precious stones and metals such as coral, turquoise, silver and gold, these artisans make brooches, necklaces, bracelets, earrings, rings, amulets with religious content, traditional vessels (Chaka and Trimi) for carrying the much-chewed beetle nut, ritual objects and much more.
Bhutan -
Tuku Osan Masikana
Tuku Osan Masikana is a Traditional knowledge of making “masikana” coins into traditional jewelry such as “belak”, “kaibauk”, earrings, necklace, and rings. This kind of jewelry is useful in traditional ceremonies of various ethnicities in Timor-Leste. The knowledge of mixing coins with gold, bronze and silvers is actually still in practice in a neighbourhood of Maliana administrative post named Tunubibi, in the village of Memo. The belak (Tetum, disk) is part of the traditional dress of various East Timorese ethnicities. It is a round disk, usually made of bronze, but also of gold or silver.
Timor