#bhutan #유네스코아태무형유산센터 #bhutanculture\n\nThe term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan.\n\nColloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil.\n\nRegarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes.\n\nIt is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874510108445676802

#bhutan #유네스코아태무형유산센터 #bhutanculture\n\nThe term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan.\n\nColloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil.\n\nRegarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes.\n\nIt is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874510108445676802

#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

#bhutan #유네스코아태무형유산센터 #bhutanculture\n\nThe term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan.\n\nColloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil.\n\nRegarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes.\n\nIt is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874510108445676802

#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

#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

Eunsan Byeolsinje is Korea's traditional shamanism ceremony which is selected as the ninth Important Intangible Cultural Property of Korea next to Ganggang sullae. It is performed mainly in eunsanri eunsanmyeon Chungcheongnam-do Buyeo Korea by a shaman. In eunsanmyeon Chungcheongnam-do Buyeo, shaman have a ritual for a mountain spirit every beginning of the year and have a special a ritual for ghosts every other year. There is a mountain in the north of the Eunsan Market about 70–80 meters high and there are a shrine at the south of the mountain. It was started to console the ghosts of the town for the health of local residents. According to the writing of the shrine, Eunsan Province was a battle field in Baekje and the ghosts of soldiers were remained to make an infectious disease and natural disaster. So people in town made the shrine to stop disaster. Eunsan Byeolsinje is held every other year. The annual ceremony which is held at Byeolshindang, the shrine, is called Sanje and the other biennial ceremony, Byeolsinje, is much bigger than the Sanje.

The art of traditional paper making in Bhutan stems from an age-old handicraft tradition whose history can be traced back to the eight century during the reign of Gyelpo Khikhar Rhathor in Bumthang?, used by monasteries for woodblock and manuscript and also for writing prayer books, says Mr. Gonpola , the only Desho paper manufacturer in Bumdeling, Tashiyangtse. It is said that Mr. Tsheten Dorji from Yangtse, Who was Dzongsungpa (Care taker) then, was trained at Bumthang. It is he who actually brought the idea of making Deysho paper to Tashiyangtse. Mr. Tsheten Dorji had trained Mr. Gonpola and a few other friends at Rigsum Gonpa in and around 1971.\n\nDaphne bholua is a deciduous and evergreen shrubs in the family Thymelaeaceae, native to Asia, Europe and North Africa. It grows at an altitude of 1700-3500m in the Himalayas and neighboring mountain ranges. It is found in pastures and grassy glades and reaches a height of about 2.5m, however some specimens reach 4m. Daphne bholua has leathery leaves and pink- white flowers with strong fragrance. In Bhutan it is used for making hand-made paper ‘deysho’. Another species of Daphne ‘Edgeworthia gardneri’ (Deykhar) is also used for making desho paper in some part of Bhutan. It is found commonly in southern part of the country.\n\nHowever in Bumdeling, Daphne bholua ‘Deynag’ is widely used for making Deysho paper. Daphne ‘Deynag’ can be abundantly found in places like Tarphel, Cheng, Longkhar, Sanyne, Ngalingmang, Phanteng.

The art of traditional paper making in Bhutan stems from an age-old handicraft tradition whose history can be traced back to the eight century during the reign of Gyelpo Khikhar Rhathor in Bumthang?, used by monasteries for woodblock and manuscript and also for writing prayer books, says Mr. Gonpola , the only Desho paper manufacturer in Bumdeling, Tashiyangtse. It is said that Mr. Tsheten Dorji from Yangtse, Who was Dzongsungpa (Care taker) then, was trained at Bumthang. It is he who actually brought the idea of making Deysho paper to Tashiyangtse. Mr. Tsheten Dorji had trained Mr. Gonpola and a few other friends at Rigsum Gonpa in and around 1971.\n\nDaphne bholua is a deciduous and evergreen shrubs in the family Thymelaeaceae, native to Asia, Europe and North Africa. It grows at an altitude of 1700-3500m in the Himalayas and neighboring mountain ranges. It is found in pastures and grassy glades and reaches a height of about 2.5m, however some specimens reach 4m. Daphne bholua has leathery leaves and pink- white flowers with strong fragrance. In Bhutan it is used for making hand-made paper ‘deysho’. Another species of Daphne ‘Edgeworthia gardneri’ (Deykhar) is also used for making desho paper in some part of Bhutan. It is found commonly in southern part of the country.\n\nHowever in Bumdeling, Daphne bholua ‘Deynag’ is widely used for making Deysho paper. Daphne ‘Deynag’ can be abundantly found in places like Tarphel, Cheng, Longkhar, Sanyne, Ngalingmang, Phanteng.

The art of traditional paper making in Bhutan stems from an age-old handicraft tradition whose history can be traced back to the eight century during the reign of Gyelpo Khikhar Rhathor in Bumthang?, used by monasteries for woodblock and manuscript and also for writing prayer books, says Mr. Gonpola , the only Desho paper manufacturer in Bumdeling, Tashiyangtse. It is said that Mr. Tsheten Dorji from Yangtse, Who was Dzongsungpa (Care taker) then, was trained at Bumthang. It is he who actually brought the idea of making Deysho paper to Tashiyangtse. Mr. Tsheten Dorji had trained Mr. Gonpola and a few other friends at Rigsum Gonpa in and around 1971.\n\nDaphne bholua is a deciduous and evergreen shrubs in the family Thymelaeaceae, native to Asia, Europe and North Africa. It grows at an altitude of 1700-3500m in the Himalayas and neighboring mountain ranges. It is found in pastures and grassy glades and reaches a height of about 2.5m, however some specimens reach 4m. Daphne bholua has leathery leaves and pink- white flowers with strong fragrance. In Bhutan it is used for making hand-made paper ‘deysho’. Another species of Daphne ‘Edgeworthia gardneri’ (Deykhar) is also used for making desho paper in some part of Bhutan. It is found commonly in southern part of the country.\n\nHowever in Bumdeling, Daphne bholua ‘Deynag’ is widely used for making Deysho paper. Daphne ‘Deynag’ can be abundantly found in places like Tarphel, Cheng, Longkhar, Sanyne, Ngalingmang, Phanteng.

Mongolian calligraphy is the technique of handwriting in the Classical Mongolian script, which comprises ninety letters connected vertically by continuous strokes to create words. The letters are formed from six main strokes, known as head, tooth, stem, stomach, bow and tail, respectively. Mongolian calligraphy expresses ancient traditional literature, culture, knowledge, intellectual education and innate human sensuality through the brush strokes used in writing the Classical Mongolian script. It requires an equal combination of hand, eye and mental artistry and skill, using brush, ink, paper and strop. This calligraphic art is used for the distinct, vertically written Mongolian script comprising several patterns of writing: ancient, meticulous, stenography, ornamental and stylized. Traditionally, mentors select the best students and train them to be calligraphers over a period of five to eight years.

Mongolian calligraphy is the technique of handwriting in the Classical Mongolian script, which comprises ninety letters connected vertically by continuous strokes to create words. The letters are formed from six main strokes, known as head, tooth, stem, stomach, bow and tail, respectively. Mongolian calligraphy expresses ancient traditional literature, culture, knowledge, intellectual education and innate human sensuality through the brush strokes used in writing the Classical Mongolian script. It requires an equal combination of hand, eye and mental artistry and skill, using brush, ink, paper and strop. This calligraphic art is used for the distinct, vertically written Mongolian script comprising several patterns of writing: ancient, meticulous, stenography, ornamental and stylized. Traditionally, mentors select the best students and train them to be calligraphers over a period of five to eight years.