#유네스코아태무형유산센터 #bhutanculture #bhutan #ichcap \n\nThe 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.\n\nThereafter 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.\n\nGenerally, 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.\n\nHowever, 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.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874511097589678075&mode=grid&searchText=Calligraphy&orderCd=B&countrys=BT

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 hidden tune associated with circular breathing, and its performing techniques of skilful and delicate movements of fingers and tongue. 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 jewelleries.

The video shows Kazakh keste (embroidery) an original Kazakh folk art and craft. According to experts, the word keste comes from an ancient Iranian word that can be literally translated as “painted”. Since ancient times almost every woman was engaged in embroidery. This art was inherited from mother to daughter. Masters embroidered on domestic canvases, leather, suede, and felt and on imported cloth, silk, cotton, and velvet. Also, experts distinguish the seam biz keste, performed by a conventional tambour seam with the help of a hook. Zeynelkhan Mukhamedzhan, the famous Kazakh artist and master of decorative and applied art, has been reviving this technique. Today, the artist passes his skills to students at the Almaty Art College.

In several rural communities of Timor-Leste, Tuku-Osan—meaning “iron striking” or traditional blacksmithing—remains a respected livelihood and cultural craft. Practitioners, often known as tukun-besi (blacksmiths), transform scrap metal into ritual accessories and functional tools using simple, locally made equipment: a small furnace, a bellows typically fashioned from bamboo or wood, hammers, anvils, and chisels.\n\nThis blacksmithing tradition is not just about utility but also ceremony. Items created include decorative arm rings (li’uli’u), ritual knives, and symbolic metal accessories worn during important events like weddings, funerals, and traditional dances. These artifacts often serve as markers of identity, social status, or ancestral ties.\n\nApprenticeship usually begins at home, with young boys observing and gradually assisting their fathers or uncles in forging metal. Mastery takes years and involves not only technical skill but knowledge of the symbolic meanings tied to each object. For instance, some blades or tools are believed to possess protective properties or spiritual significance, especially when used during sacred rituals or by lia-nain (custom custodians).\n\nThe process itself requires intense physical labor and patience. The blacksmith begins by heating pieces of iron until they are malleable, then striking them repeatedly on an anvil to shape them. The rhythmic clanging of hammer against metal is accompanied by puffs of smoke from the wood-fired furnace—an image that recalls generations of artisans practicing the same technique.\n\nWhile modern materials and factory tools have reduced the demand for handmade ironwork, many rural communities continue to commission traditional blacksmiths for ceremonial needs. These craftspeople are regarded as keepers of ancestral knowledge, and their work is vital to ensuring that elements of Timorese identity endure in tangible form.

Mongolian National Long Song – Urtin Duu (Representative List of the Intangible Cultural Heritage of Humanity, 2008)\nThe Mongolian long song (urtin duu) is an extraordinary masterpiece of song art and a unique phenomenon in the world musical arts. The long song is the richest and most treasured traditional song with an unusually long and wide tonal range. It is sung in a full and powerful voice and various decorative effects of the music.

The centuries-old nomadic way of life of the Kyrgyz people contributed to the high skill level of women in crafts development. Tush-kiyiz, an embroidered wall carpet, is a fine example of Kyrgyz decorative and applied art. Tush-kiyiz was given a special place in the interior of the yurt. Embroidered panels of cloth—satin, silk, or another fabric—tush-kiyiz is framed with a broad band of black velvet, on which is usually sew one, two, or three fringed triangles. Tush-kiyiz have always been created as a personal family heirloom, symbolizing a newly married couple’s union with family.

Preserving and transmitting craftsmanship for centuries, a yurt is not a mere dwelling, but also a creative workshop for folk art. Yurt embodied all kinds of decorative and applied arts. Meeting all the demands of everyday life, it carries both aesthetic and ritual functions.