The three-day pilgrimage to the St. Thaddeus Apostle Monastery is an annual event that marked its 64th anniversary in 2018. The pilgrimage is a community celebration held in July with the participation of the Armenian communities of Iran and Armenia and other countries. The pilgrimage is inclusive for those who wish to attend: clergy, community leaders, regional and local governmental officials, laypeople, artisans, people with disabilities in search of a healing power from the Lord that may be granted to them with mediation through the holy spirit of St. Thaddeus, children and the elderly. The pilgrims gather for religious celebrations and special cultural, folk and educational performances. In Iran, busses and caravans transport individuals from Tehran, Isfahan, Tabriz, Salmas and Urmia to the St. Thaddeus Apostle Monastery. Hundreds of pilgrims attend the event from all over Armenia, including the capital city, Yerevan, other cities and bordering towns and villages to Iran. Hundreds of tents are erected in the countryside for more than 6000 pilgrims who attend the three-day ceremony from Iran, Armenia and overseas. The pilgrimage venerates two prominent Saints: St. Thaddeus, the Apostle of Christ, and St. Santukhd, the first female Christian Martyr. The commemoration ceremony includes special liturgies, processions, prayers, homilies and fasting. It culminates in a divine liturgy (Holy Mass) with Holy Communion and the anointment of the water blessed with Holy oil. Special times are set aside for traditional Armenian folk performances that include special music and songs. Artisans and craftsmen demonstrate their works of art at special stands. Ethnic Armenian dishes and delicacies are served at appointed times during the Pilgrimage.

Armenia,Iran 2020

The Hüsn-i hat is the art of writing with Islamic letters of Arabic origin by using reed pen and soot ink in a measured and proportional manner while taking into consideration of the aesthetic values. A special paper glazed with organic substances (aharlı kağıt), reed pen (kamış kalem), pen-knives, a special slab for trimming the reed pen (makta), inkwell (hokka) and pen case (divit) are the most used tools in its practice traditionally. The Hüsn-i hat is written on special paper, leather or other writing materials and it may also be applied on the surfaces of stone, marble, glass, wood, etc. by using specific techniques. Holding the reed pen and its directions on the paper by the hattat ensures the perfection and compound of letters. There are different styles of writing which have been evolved over centuries: Thuluth, jali, naskh, muhaqqaq, raykhāni, tawqi, riqā’, kufic, ta’liq, nasta’liq, siyaqat, diwani, riq’a, gubari are among the commonly preferred styles. These writing styles, using the tools and traditional craftsmanship related to the element have been transmitted through master-apprentice relation from generation to generation. The Quran, hadiths (statements of the Prophet Muhammad), Turkish laconic and poetical couplets are written with hüsn-i hat. Therefore, hattats have applied Sufistic rituals while writing hüsn-i hat. Apart from the sacred and literal works, the element also practised in state correspondences such as imperial edicts, warrants and religious and public buildings in Seljuk and Ottoman period. Today, the element is still practised in sacred and literal works and religious buildings in Turkey.

Turkey 2021

Rūkada Nātya is a type of drama performed using string puppets, traditionally meant for providing innocuous entertainment and conveying moral lessons to village communities. Themes are chosen from folktales, Buddhist stories, ancient literature, historical narratives, and the trivia with humorous anecdotes from contemporary life or from nādagam, an extinct form of ‘folk opera’. Puppeteers prepare their own handwritten scripts with dialogs and songs, and recite them, while manipulating the puppets. Puppeteers make their own wooden puppets with movable joints that represent either ‘static roles’ with fewer movable joints and of near life-size; or ‘active roles’ with many movable joints and of 3.5’ to 4.5’ in height. Puppets are dressed with colourful costumes that identify the characters they portray. Puppeteers manipulate them using strings tied to single short bars or two crossed-bars held by hand, while standing on an elevated horizontal platform and leaned onto a horizontal bar that is fixed across the stage about the shoulder-height of the puppeteers. A small band of musicians provides accompaniment using a harmonium, a violin, and a drum. Performances are held as community events at public spaces suitable for community gathering, mostly during festive times in the months of May and June, while special shows are held at schools and higher educational institutes. Makeshift stages, made of wooden frames and covered with black curtains on all sides to camouflage the strings to create an in illusion of reality. Performances are held in evenings in a well-covered space under dim light to enhance the illusion.

Sri Lanka 2018

Kumbh Mela (the festival of the sacred Pitcher), is the largest peaceful congregation of pilgrims where people bathe or take a dip in a sacred river. Held at Allahabad, Haridwar, Ujjain and Nasik every four years by rotation, the Kumbh at Prayag/Allahabad is the most significant. Ardha ("Half") Kumbh Mela is held at only two places, Haridwar and Allahabad, every sixth year. It is held on the banks of the rivers - Ganga in Prayag, Saraswati in Haridwar, Godavari in Nashik and Shipra in Ujjain. A great fair is held on these occasions on the banks of the rivers. Devout believe that by bathing in the Ganges one is freed from their sins liberating them from the cycle of birth and death. A unique facet is that millions of people reach the place without any invitation. Mythology says the gods and the demons fought for the pot with the nectar of immortality. Lord Vishnu, disguising himself as an enchantress (Mohini), seized the nectar. While fleeing from the evil ones, Lord Vishnu passed the nectar on to his winged mount, Garuda. In the ensuing struggle, a few drops of the precious nectar fell on Allahabad, Nasik, Haridwar and Ujjain. Since then, the Kumbh Mela has been held in these places. The astrological sequence of the stars are the basis for the Kumbh locations. As Jupiter enters in Aquarius and Sun enters Aries the Kumbh is held at Haridwar, Jupiter enters Aries and Sun and Moon in Capricorn at Prayag and so on.

India 2017

Glazed tile and ceramic household stuffs or wallboards of several colours and motifs made by firing the pulped clay soil are called “çini”. Çini-making means the craftsmanship shaped around traditional Turkish art of çini since 12th century with its own specific production and adornment techniques like “minai”, “luster”, “polishing”, “underglaze”. Çini craftspeople generally have used “underglaze technique” since 16th century in their production pursuant to the prescriptions they prepare with their traditional production knowledge about nature. In this technique clay is pulped. Having shaped, the clay is lined and dried. Next, it is fired in çini ovens smooth surface called “biscuit” appears. Patterns prepared by drilling on the paper with openwork technique are transformed to the surface with coal dust and the outer contours are drawn by hand with black paint and brush. Later, patterns are dyed with dyes prepared according to the prescription. The surface of çini is covered with glaze and after it is fired at 900-940°C the çini-making is completed. Among çini adornments generally geometric shapes, plants and animal figures symbolizing cosmic thoughts and beliefs are used in different colours. Using red, cobalt blue, turquoise and green on white or navy blue background is the characteristic feature of traditional çinis. The basic element that characterizes the art of çini is traditional craftsmanship manifested in the applications and the knowledge transmitted from generations to generations about the supply of the raw material, preparation of dyes, production and usage of the tools, firing process, adornment techniques and aesthetics.

Turkey 2016

Kazakhs since ancient times to the beginning of the twentieth century used the ancient folk calendar. Traditional Kazakh annual calendar consists of twelve year animal cycle, called 'mushel' ("mushel"). It was this: 'tyshqan zhyly' (year of a mouse); 'siyr zhyly' (year of a cow); 'barys zhyly' (year of snow leopard); 'qoyan zhyly' (year of a hare); 'ulu zhyly' (year of a dragon); 'zhylan zhyly' (year of a snake); 'hylqy zhyly' (year of a horse); 'qoi zhyly' (year of a sheep); 'meshin zhyly' (year of a monkey); 'Tauyq zhyly' (year of a hen); 'eit zhyly' (year of a dog); 'dongyz zhyly' (year of a pig). The choice of these animals was mainly linked to them due to its sacral meaning.

In earlier times, Bhutanese traveled as far south as possible to buy salt, spices, and other basic products in the nearest border towns. Pasakha (formerly the southern gateway) was an important business center for the people of western Bhutan because of its proximity to the nearest Indian towns. After an arduous journey of more than 20 days through the high mountains and after nights spent in the cold, dense jungle, the villagers then reached their home, bringing their daily supplies. A young man from the village of Bja-wo once set out for Pasakha to buy supplies. Upon his return, as he prepared to spend the night in the forest, he lay down under a large tree, placed the heavy basket under his head to rest, and stared up at the sky. He saw the bright moon almost smiling at him and the stars twinkling around him. He thought about the number of nights he would have to spend like this, and wondered if the stars and moon would keep him company during his journey home. He continued his journey home during the day, spending each exhausting night under bushes and trees. Each evening he looked up at the sky and noticed that the brightest star seemed to get closer and closer to the moon each night. When he returned home a few days later, the young man, suspecting an interesting observation in the sky, wanted to know how close the star had come to the moon. The following night, he looked up at the sky and found that the star had come so close to the moon that it almost looked like it was interacting with the moon (this was the narrator's exact interpretation). It was a unique discovery that symbolized a happy moment. Incidentally, the day he made this discovery was the 15th of the 10th month, one of the most auspicious holy days in the Bhutanese lunar calendar. Therefore, the festival of Bja-wo Karma Nya-ru (conjunction of the Pleiades and the full moon) is believed to have originated in Bja-wo village and is still celebrated with great enthusiasm. Nowadays, it is also popularly known as Dogar Nya-ru. Nya-ru is celebrated on the 15th day of the 10th month of the Bhutanese lunar calendar and is considered a special occasion where family and friends scattered all over Bhutan gather on this day and celebrate the auspicious day in each and every home with festivity and joy. On the 13th and 14th day of the 10th month, people who work in the cities, students, businessmen, relatives and basically all people who are from the village gather to celebrate Nya-ru. In this village of Nyo-yue dhuen (old name) or Khamda Sali Chiwog (sub-block) as it is commonly known today, people prepare for the big event by washing their clothes, cleaning themselves, tidying their houses and the men discuss archery that will take place during Nya-ru while the women prepare the menu for the special day in the house and make preparations for Ara (locally brewed wine) and other drinks.

The Neypo ritual is a seasonal offering performed across Bhutan to appease local deities, Ney village in Lhuentse to the northeast is one of many villages to perform this ritual. Neypo literally means "Zhidag", a category of deity who protects the area under their control or certain parts of the valley. The identity of the protector figure varies from region to region, as does the ritual. In Ney village, the Neypo ritual is performed every year on the 15th day of the third lunar month of the Bhutanese calendar. The ritual is performed in their Lhakhang, temple, in order to appease the local deity Zhidag Drakpa Gyalpo with offerings. In return, the community asks for his protection of their farms from wild animals. The Zhidag is believed to dwell below the village in a dense forest on the left side of Kurichu. Zhidag Drakpa Gyalpo has a grim appearance with a black face, dark clothes, and a reindeer mount with ten horns. He has one face and two hands; in his right hand he holds a flaming sword and in his left hand he holds a robe or Zhagpa sling. Within a single second he could cover the distance between any two places. Eighth century tantric master Guru Rinpoche (Skt. Padmasambhava) bound Drakpa Gyalpo by oath and made him the protector of the East Gate of the hidden land Baeyul Khempajong, and sworn to be the Dharma protector in the region. During the Neypo ritual, the entrance to the dense forest is sealed off for people which will last for a whole season, which is called Rigya lungya dam or Ridam. Ridam is a common practice of mountain closure in which the path to the Zhidag Phodrang, deity’s abode, and the surrounding dense forest are closed to human access from spring to autumn until the rice harvest. During this period, people are generally not allowed to enter the area to collect natural resources or visit any place in the area. After performing rituals, no one is allowed to go there unless except for exceptional occasions. This restriction applies to outsiders as well as people from the village.

Parzo is the art of carving on wood, stone and slate. This art is evident throughout the country displayed magnificently on wooden structures of fortresses, palaces, stupas, temples, traditional houses and even on furniture. The following section describes some forms of carving. a. Woodcarving: Wood has been one of the most widely used resources in the country. Some of the masks worn by dancers during the festivals, the altars in the shrine room of any house, containers like bowls and cups, sheaths and handles of knives and swords, xylographic blocks are all carved out of wood. b. Choesham, Decorative Items and Furniture: Every house has a choesham (altar) entirely made of wood. Generally the altars will have carvings like choetsi and other designs such as dragons, flowers, eight lucky signs and mythological animals, on the main structure in accordance with the desires of the owner. On the upper part of the structure called gu-chag the altar will have the designs called pema, norbu, bagam, boh and ngangpa. Cabinets, chogdroms, divans, decorative floral items, religious motifs like dragons, tashi tagye and various legendary animals are carved out of wood. The three sides of chogdrom (traditional portable table) are carved with dragons, flowers or other legendary animals. Dramnyen, the traditional Bhutanese guitar is carved from wood in an intricate dragon design. The fingerboard is usually decorated with colourful traditional symbols. The hollowed sound box is covered with goatskin, and attached with either silk or nylon strings. c. Masks: The Bhutanese make various shapes and sizes of masks from semi-hardwood, usually blue pine to depict the face of gods, animals and mythological figures. These carved wooden masks are used in the sacred and religious dances. Carved wooden masks are also popular as decorations in houses, dzongs, temples and monasteries. d. Xylography: Before the invention of wood carving tradition in Bhutan, all religious texts and official documents were primarily written by hand. With the introduction of woodblock carving and printing technique by Terton Pema Lingpa (1450-1521), religious texts and images have been carved on woodblocks, thereby reproducing numerous copies, by printing on paper and textiles. Each and every temple and monastery in Bhutan hold a copy of the Buddhist cannons (the teachings) and commentaries on the teachings. Many of the texts from the cannon have been carved on wood, and reproduced by printing on paper. Woodblock carving is usually carried out on dried birch wood. To make a wooden block for carving, the woodblock is adequately oiled to make it soft and smooth for carving. The wooden block surface is then planed smooth on which the written text is glued. Once the paper has dried, it is removed from the block leaving the image of the scripts on the woodblock. The mirror image of the texts that need to be printed is left on the surface while those parts not required are removed with gouges or chisels. The texts are then carved with the help of chisels. Images and other patras (intricate designs) are carved only on to one side of the wooden block, whereas religious texts are carved on both sides of the woodblock. The carved woodblock is then coated with ink, and a sheet of paper is placed over the inked blocks. The paper is then rubbed and pressed with a roller to get the text printed. It is then left to dry either in shed or sun. Four different kinds of tools are used for xylography such as zhogthig, yatag, segchung. Round letters are carved using the tip of the mindrug with its sharp crescent shape tip. The tip of the yatag with its more relaxed crescent shape is used to carve the sub-bending yatag script. Similar to the typical Bhutanese knife; the tip of segchung is slightly slanted and carves the rest of the letters of the scripts. Zhogthig, with its wider and large tip is used to carve the lines in the space on the edge of the text that maintain the outer margin. e. Stone Carving: In Bhutan, carving on stones is not as diverse or common as wood carving but it existed in Bhutan. One comes across huge water driven grinding stone mills, hollowed-out stones used for pounding and husking grains, troughs for feeding animals, images of deities, gods and religious figures carved onto large rocks. In Bhutan, stones were also carved to make stone pots and utensils, but today these have become rare because of modern alternatives. f. Slate Carving: Slate carving is another form of art that is being practiced in Bhutan. Slate, called as do nag, is found in abundance in Bhutan, and the artisan is known as donag lopen. Portraits depicting deities and religious figures, inscriptions of mantras and religious scripts are carved onto slates, and adorned onto the exterior walls of temples, monasteries, dzongs and choetens. Apart from carving on wood, stone and slate, the Bhutanese people also carve images of gods and deities on rhino horns and ivory.

Kharam is celebrated in all the villages under Tshenkhar gewog, Lhuentse Dzongkhag of Northeast Bhutan. In the local dialect, Tsangla, "Kharam" means "Gossiping negative forces”. Villages host the festive celebration to please the local deities, and to seek protection them from unforseen disasters for their crops, cattle, and fellow local people. They also pay homage to the local deities for protecting the people, yields and the domestic life of the country by natural calamities. The annual festive event is celebrated on 27th and 28th day of the 8th month of the Bhutanese calendar. The event is celebrated by performing ritual in the morning and consequently by performing boen choe “Bonism” by the communal people in respective locality and followed by traditional games like archery and khuru (dart) competition within the village. The main performer of the celebration is the Bonpo “Chant Leader” accompanied by all villagers irrespective of age. In the past, in the evening of the first day of the celebration, people used to ward-off the negative forces by hitting a rooster against a cow. However, now the community has stopped killing roosters and the symbolism was replaced using a feather. With the performance of Kharam, it is believed that the village will prosper and have good yield in that year with less mishaps in the community.

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.

The festival commonly known as Prew is celebrated in the Kurtoe region under Lhuentse Dzongkhag. Originally it was called Treu-choed, or “Monkey Month Offering,” but later became popularly known as Prew. The name Treu is derived from the year of birth of Guru Rinpoche (Skt. Padmasambhava), as he was born in the year of the monkey in the eighth century. The word Choed means "offering." The Prew festival of Kurtoe is associated with Guru Rinpoche, he visited Jasabe village via the hidden land of Baeyul Khenpajong and gave his blessings to the locals. Since then, they have been celebrating this festival out of gratitude to him for the blessings he gave them and their whole community. They also believe that Prew is a festival to honor Guru Rinpoche’s birthday. This festival is celebrated in almost all Gewog village blocks of Lhuentse Dzongkhag or district. The community of Ney celebrates its local festival every year on the 10th day of the fourth lunar month according to the Bhutanese calendar. The festival takes place in the local Lhakhang, temple, in the center of the community, as well as in each individual house. The men often play games such as archery, while the women have a picnic. Prew is similarly celebrated in Jasabe Chiwog at Tergang Lhakhang. On the 9th day of the fourth lunar month of the Bhutanese calendar, people gather at the Lhakhang to perform a ritual and make offerings. The next day, the 10th day of the fourth lunar month, they return to their village with Norjan chants, and spend a day singing and dancing in their village. The festival in part indicates the arrival of the agricultural season. Villagers offer prayers and sacrifices for good health and a good harvest without pest infestations and natural disasters.