Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose. In Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today. Moreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. He created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.

Starting with ritual observances which involve singing and dancing in the temples of Manipur, Sankirtana encompasses an array of arts performed also in the home and the street to mark occasions of religious import and stages in the life of the Vaishnava people inhabiting the Manipur plains. The theology and lore of Krishna is central to these performances, but they assimilate in their rendering formal features carried over from music and dance in Manipur’s pre-Vaishnavite past. The core of Sankirtana practice is to be found in the temple, where it narrates through song and dance the lives and deeds of the Lord. These are typically presented in the round, in a hall (Mandapa) attached to the temple before devotees. The main repertoire consists of Nata Pala, which is performed all over the Manipur valley. The Ariba Pala and Manohar Sai Pala, less often in evidence today, are also temple-centred. Outside the temple, Sankirtana assumes forms such as the Holi Pala celebrating the festival of colours in springtime or Shayan performed in the winter months. Khubak Eshei is celebrated within the temple during the rains, marking the chariot festival of the Lord. In the setting of the home, Sankirtana is offered as prayer at all life-cycle ceremonies, such as the ear-piercing ritual (for both males and females in childhood), the donning of the sacred thread (for adolescent males), marriage, and the rites of passage at death. Thus pervading the life of the Manipuri Vaishnava, Sankirtana is regarded as the visible manifestation of God.

India 2013

Hoen-tey is a special Haa Valley dish that is usually prepared during Lomba celebrations, the indigenous New Year, which are held on the 29th day of the 10th lunar month. Normally, the ingredients for Hoen-tey are prepared and cooked on the evening of the 28th day. When Hoen-tey needs to be made in large quantities, it is prepared either on the 26th, 27th or 28th day, and then on the 29th day it is cooked. Long ago, Hoen-tey was only made during Lomba celebration. Nowadays it is prepared all year round. To prepare Hoen-tey, you need the following basic ingredients. -\tBuckwheat flour -\tBunches of beet leaves -\tTurnips -\tLocal butter -\tFermented local cheese -\tGinger -\tClove of garlic -\tWild black pepper -\tChili powder -\tWalnut (optional) -\tA few stalks of green onion -\tSalt to taste

Ratten or Phdao is a vine with a strong trunk, and thorns on the bark, stems, and leaves. There are many types of rattan, water rattan, Krek rattan, Chveang rattan, Arex rattan, Dambong rattan, Preah rattan…etc. Whereas Liana is also a type of vine like rattan, but the stem is smaller. Both types of plants grow in the wild and can be used for many purposes such as to make a string or Knouch, or they can also be used as a weaving material. In addition, rattan can be made into various furniture such as tables, cabinets, chairs, sofas, and so on. Liana can be used to weave tables, chairs, sofas, chairs, rugs, baskets, and other home decor items. Although some rattan and liana production time is done over a long period of time like bamboo weaving, the method of using rattan and liana as materials are not as difficult as bamboo, as there is no need to split and paste them into small pieces, just cut from the forest and you can use it as you wish. Rattan and liana accessories are still popular among Cambodians because they are lighter, more durable, and cheaper compared to wooden objects. Making traditional rattan and liana products is a lucrative job in addition to farming. But some take it as the main business as well.

National Intangible Cultural Heritage, Republic of Korea Records tell us that on the Korean Peninsula, embroidery started during the Three Kingdoms Period (circa 57 BC – 668 AD). During the Goryeo Period (877 – 1394), the practice became so widespread that it was adopted even on the clothes of ordinary people. As a result, embroidery was prohibited several times. With the start of the Joseon Period (1392 – 1910), the practice developed further and was divided into royal embroidery, exquisitely made by skilled court ladies, and the others. Looking at how a piece of embroidery is made, first the cloth to work on is fixed onto a frame and a rough sketch is made on it. Upon the completion of embroidery, the frame is shaken to remove dust. Then, a thin layer of paste is applied to the back of the embroidered surface so as not to let the stitches scatter. The embroidered piece is then placed in the shade to dry and removed from the frame. Embroidery has developed as a reflection of Koreans’ living environment, customs, and beliefs.

It is said that Mi Kolok was brought in by the Chinese communities who migrated to Sarawak. Thus, this dish is abundantly served in Chinese food outlets. Other references include Mi Kolok in Malay, Kampua in Chinese, and Mi Rangkai/Kering in the Iban language. Basically this dish uses Yee Mee or dried mi served with slices of braised beef or chicken with its soup and sambal (hot chili paste). To prepare the gravy braise the beef or chicken till tender with soup condiments, salt and an adequate amount of water. Then slice the meat when cooked. Put aside the gravy as it can be reheated and water be added in when the amount has reduced. For the sambal grind some chilies with garlic then mix with sweet soy sauce and the juice of musk lime. Braise the noodle with a little salt till soft then drain. Heat a little oil, fry the sliced garlic till crispy then remove. Fry the drained noodle using the garlic’s oil remnant, then enhance with vinegar, fish sauce or soy sauce and salt. Remove and put aside. Fry the sliced meat, add in thick soy sauce, sweet soy sauce, black pepper powder and salt. Blend well then remove. To serve put the noodle into a serving dish and mix with a little of the sambal. Add in the fried sliced meat, fried garlic and garnish with sliced spring onion. Put aside a bowl of the gravy garnished with celery leaves for the soup.

The traditional dish of Rendang Tok is a main choice of the people of Perak. The main ingredient is beef while the side ingredients are red onion, garlic, galangal, ginger, lemon grass, chili paste, turmeric powder, turmeric leaf, coriander, aniseed, sweet aniseed, thick coconut milk, palm sugar, dried grated coconut, tamarind juice and salt to taste. Spices such as cinnamon, star aniseed, clove and cardamom are for frying in an adequate amount of cooking oil. The beef is marinated with the side ingredients and left overnight. It is then transferred to a wok, addt in water and cook till the meat is tender. Fry the spices then add in the marinated meat together with its mixture and let cooked.

Bambangan, its scientific name Mangifera Pajang, is a traditional fruit known as ‘wild mango’ and categorised as in the mango family. The fruit can be preserved and eaten together with rice and prawn paste sambal (a hot dish), while the ripe one can be eaten with chilies and salt. The ingredients to be preserved are the bambangan fruit, carrot to be cut lengthwise, red onion, onion leaves to be cut into smaller pieces, chilies and an adequate amount of salt. Slice off a bit of the fruit’s top portion and make slits down along the skin for easier opening of the thick skin. Slice the flesh thinly at smaller sizes. Slit open the fruit’s seed, peel off the yellowish white covering of the seed’s flesh, clean it with water then grate. Mix the grated seed’s flesh with the fruit’s flesh together with the red onion, carrot, onion leaves and salt. Put in a preservation container with chilies and preserve for about a week before it can be consumed.

National Intangible Cultural Heritage, Republic of Korea Hanjijang refers to a craftsman skilled in the art of making traditional paper, hanji, from the bark of mulberry (Broussonetia kazinoki) trees and mulberry paste. Making hanji requires great skill and extensive experience. The mulberry bark has to be collected, steamed, boiled, dried, peeled, boiled again, beaten, mixed, strained, and dried; 99 processes are said to be required to get the paper in one’s hands, so the final process was also called baekji, meaning “one hundred paper.” Korean hanji was so famous back in the Goryeo Dynasty that the Chinese called the best-quality paper Goryeoji (literally meaning “Goryeo Paper”). Sun Mu from the Song Dynasty of China lavished Goryeo paper with praises in his book Jilin leishi (Things on Korea), saying that it was white and glossy and lovely. In the Joseon Dynasty, from the time of King Taejong, the state began to oversee paper production, establishing the office called Jojiseo (Paper Manufactory). In modern times, however, the change in architectural styles and housing environment and the import of paper have led to the virtual disappearance of traditional hanji. Today, because of high production costs, hanji is made with pulp imported from Southeast Asia rather than mulberry bark. To keep the art of hanji alive and pass it on to the next generation, the Cultural Heritage Administration has designated hanji making an Important Intangible Cultural Heritage.

Sumolok is a ritual dish cooked by the entire community for spring holiday Nooruz. Sumolok is a brown, nutritious, sweet paste-like liquid dish. Children like eating it very much. Sumolok is cooked for 20-24 hours. Firstly, the oil is heated in a big pot (kazan), then the flower is fried in it and the first batch of mushed sprouts are added. When it starts getting thicker, the second and then third batches are added. When it starts boiling, it is put on slow fire for 5-6 hours. When it seems ready, the fire is put off and sumolok is left under its own steam. In the morning, the eldest women open sumolok and everyone looks at the surface of it. Various interesting lines form on the surface. They are used to make predictions for the coming year. When sumolok is cooled down it is served for the community members.

Skills of cooking a kind of pastry with paste, anion, beef or lamb and pepper in the oven. Sanbusa also will be baked with pumpkin or mint and other grasses.

Making halva (sweetish wheat paste) with flour, sugar, oil and other ingredients. There different kinds of halva.