Materials
wooden
ICH Materials 287
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KOMUZ TEACHING METHODS IN FORMAL AND INFORMAL SYSTEMS IN KYRGYZSTANThe Kyrgyz komuz is a national musical instrument. Traditionally, komuz was made from a single piece of wood. The instrument has three strings, which were traditionally made from dried ram innards, but in modern times, fishing lines are often used instead.Year2017NationSouth Korea
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Gohori: Craft of Making a Series of BasketsThe Tharu people, who predominantly cover the east to west region of southern Nepal, have always worshiped nature and natural resources. These have been a significant part of their livelihood, contributing to their culture, economy, and ecology. Tharu women have age-old basket-making and weaving practices with vegetation and raw materials available in the area. The majority of these women are engaged in continuing this craftsmanship. While the history of basketry is not well documented, it is believed to have started from a primeval age, being an integral part of the community’s sustainability. Since there is no direct evidence on how these baskets have originated, we rely on mythological tales. One story tells us that a woman named Jasu taught a man, Ishu, how to irrigate the land during the human civilization. She also taught basket making and other forms of crafts, which is how it has been able to be passed down through generations.\n\nThis intergenerational skill is a legacy continued through generations where girls learn to weave from their mothers and grandmothers, mostly for their trousseau. The craft of making a series of baskets is called a gohori. These colorfully designed baskets are used in special ceremonies and for storing and carrying grains and vegetables, clothes, and other valuables. The women take inspiration from nature and coil the baskets with different patterns, locally termed as panwa with the objects and shapes they observe, especially plants and animals. The most commonly used pattern is called gargijarwa thanhwan, which is a technique of coiling that resembles a millipede. This intricate weaving coupled with different patterns is considered an exclusive skill of women, and the baskets are coiled and decorated with shells, tassels, peacock feathers, and flower seeds.\n\nSome other baskets include a small coiled basket for keeping spices known as, nuiya, and pantopni, a colorful coiled designed lid basket for covering a water pot. Dhakiya, is coiled in different patterns reflecting the objects around and used for carrying pahur, gifts to relatives, are some of the significant woven series. Similarly, delwa is an important series coiled in different colors and decorated with shells and beads on its edge with strands of threads. This is used to carry the clothes of the groom and ornaments and other valuables of the bride. Bhauka is a big storage basket with a lid. It is used to store clothes and valuables and is hung above with a rope inside the room.\n\nBasketry has played an essential role in family life and marriage. Earlier, when the community practiced child marriage, a child bride was sent back to her natal home to practice basketry and spend time with the family. After she learned the necessary skills, she would come back to live with her in-laws. Once she carried the series of baskets and presented them to the family members, she would then be considered a qualified daughter-in-law. The skill may seem like a bridge for two families; however, it also strengthens Tharu women’s agency, love, and respect with mothers and mothers-in-law. Traditionally, mothers would feel secured for their skillful and qualified daughters if they took a series of baskets as their dowry. Therefore, basketry has become an essence for marriage ceremonies and has worked to bond and strengthen relationships between families. \n\nIntergenerational knowledge is central to transferring skills and information around the use and curation of plants and craftwork. Cultural transmission between the work and knowledge of the crafts is vital for maintaining a sense of community and identity. However, with very few young generations motivated in continuing this craft, the skill is dying out. Cheap plastics are replacing the functionalities of these indigenous baskets. Bhauka making is near extinction, and delwa struggles to be purchased from the very few existing weavers. The practice that was a medium of exchanging gifts and connected two families is now limited to stories. The basketry not only portrayed the beautiful skill of Tharu women but also depicted love for nature, passion for weaving, and sustained the relationship between nature and culture. Therefore, there is a great need for documenting this intangible heritage and recording the narratives for archives.\n\nPhoto 1 : Delwa© Maya Rai\nPhoto 2 : Traditional coiling tool chedana, raw materials moonj and kans and a wooden dwar to soak raw materials © Maya Rai\nPhoto 3 : Coiling traditional basket © Maya Rai\nPhoto 4 : A Tharu woman carrying </>delwa © Maya RaiYear2020NationNepal
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Baab: An introduction to the Bhutanese MaskColloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure.\n\nAccording to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country.\n\nColloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure.\n\nAccording to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country.\n\nIn general, the manifestations of Baab can be summarized as; Baab of deities and gods, animals and extraordinary human beings. It is firmly believed that the masks of the deities and gods manifest themselves in various emotional appearances such as; graceful, heroic, abominable, wrathful, compassionate, comical, wondrous, terrifying and petrifying. These expressions can also be divided into four categories: peaceful, inspiring, empowering and angry.\n\nBaab comes in different colors and with unusual features that remind of victory over emotional poisons that disturb the peace and tranquility of both one’s own and others and worldly affairs. The white color represents serenity and overcoming anger, the yellow represents inspiration and overcoming ego, the red represents strength and overcoming attachments, the green represents anger and overcoming envy, the blue represents inaction and overcoming ignorance, and the black represents neutrality and abiding in the ultimate emptiness. Similarly, the extraordinary characteristics are;\n\n1. Five-syllable headgear: embodiment of five transcended Buddhas.\n2. Five-Skull Headgear: Triumph over the five emotional poisons and possession of the five transcendental wisdoms.\n3. Opened mouth: feasting on the malignant obstacles.\n4. Rolled tongue: making palate noises after feasting.\n5. Four fangs: overcoming birth and death.\n6. Bitten off lower lip: expression of anger out of pity.\n7. Flaming beard and eyebrows: burning of negative actions and impurities.\n8. Gazing three eyes: seeing the past, present and future activities.\n\nThere are three types of masks made by Bhutanese artisans: Re baab (paper and cloth mask), Shing baab (wooden mask) and Sing-phye baab (mask made of a mixture of sawdust). However, the former two are ancient technical craft, while the latter is a newer product used mainly for commercial or decorative purposes. Traditionally, Baab are used only for the actual performance or kept as relics after the consecration ceremony has been performed by spiritual masters. It is believed that if these items are not blessed, they are as good as toys and are haunted by the spirits, causing harm to society.\n\nphoto 1 : Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singye \nphoto 2 : Trongsa Dzong © Yeshi Lhednup\nphoto 3 : Shing-baab Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singy\nphoto 4 : Baab ,Tamzhing Phagla Tshechu, Bumthang © Yeshi Lhendup\nphoto 5 : Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singye\nphoto 6 : Trongsa Dzong © Yeshi LhednupYear2022NationBhutan
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Celebrating Festivals During a Global PandemicNepal was famously referred to as “the land where there are nearly as many temples as houses and as many idols as inhabitants” by Sir William Kirkpatrick in his book Account of the mission to Nepaul in 1811 CE. This quote holds testimony to the numerous festivals celebrated throughout the year until today to commemorate these idols and temples. Since the seventh century CE, one such ancient festival has had continuity to relieve Kathmandu Valley from a long drought. The god being appeased in this festival was Matsyendranath, the god of rain, from which the festival received its name Rato Matsyendranath Jatra.\n\nAccording to legend, the drought was relieved by bringing a Matsyendranath from Kamarup-Kamakhya (now in east India). The king sent his team—the priest Bandhudatta, a farmer, and the serpent king Karkotaka. The entourage returned successfully and entered the valley through Bungamati, where the locals greeted them with much adoration and built a temple for the serpent king to reside. However, being from Patan, the farmer insisted on having the residence of the deity at Patan too. Since then, the festival has been celebrated in Patan and Bugamati without interruption.\n\nThis festival is celebrated just before the monsoon season (mid-April to May) as a harbinger of the rains. The festivity extends over a month and is the longest among the many festivals Nepalis celebrate. Astrologers are consulted for the events involved in this festival. The local community constructs an elaborate eighteen-meter-tall wooden chariot, which is assembled and dismantled annually. The deity is placed in the chariot on a throne, and the indigenous inhabitants of Kathmandu Valley pull the chariot around Patan. As the chariot rests at various locations, locals venerate the deity, offering incenses, flowers, and other items. Some people light oil lamps to ask for the general well-being of their families. The priest escorting the deity inside the chariot hands out flowers and fruit to devotees. The light from the lamps makes the chariot glow. In the evening, people invite extended families and friends and indulge in a feast of traditional food and drinks and merrymaking. After completing the tour, the deity is carried in a palanquin to its second home at Bungamati.\n\nThis year, the global pandemic changed the events of this festival. The government, rightly prioritizing citizens’ health, requested the organizing communities to cancel the festival. However, the organizers were keen to celebrate at least a low-key festival because the initial processes had already begun. Furthermore, they opined that the festival was celebrated to overcome a disaster in the past, so it should continue to avoid further tragedies. The public, impatient with the chariot festival’s delay, forcefully started pulling the chariot, disregarding social-distancing measures ordered by the state. The sight of a large mob would entice the police to use force to disperse the crowd, leading to a violent clash. The organizing committee decided to make a symbolic movement of the chariot. All other festival activities were canceled, so a ritual will be conducted to ask the god for forgiveness for the mishaps of the festival.\n\nThis is a very unpleasant situation, which could be handled better by the state. A similar chariot festival in Kathmandu, Kumari Jatra, which falls around August, was not celebrated on a joint decision of the state and the organizers. However, at Patan, the situation was slightly different; the initial rituals had already commenced before COVID 19. The government should have regarded the people’s commitment to providing continuity to ICH even during such times of crisis.\n\nNepal is known for having more festivals than the number of days in a year. If the state had been more diplomatic, it could have set an example to the world by celebrating all festivals in the presence of only the concerned people and authorities while broadcasting a live telecast for people all over Nepal and globally. With such negligence by the state, festivals and other ICH of a country can be lost.\n\nPhoto : Armed Police Force stand guard in front of the chariot of Deity Rato Machindranath. Skanda Gautam/THTYear2020NationNepal
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O le ʻIe Sae, o le Maniti a Tamāliʻi—Weaving Social Cohesion in SamoaSamoa is a country of great natural beauty with a rich and distinguished cultural heritage. Living in isolation from the rest of the world in the vast Pacific Ocean, Sāmoans have developed a body of traditional ecological knowledge and a wide range of artisanal skills enabling them to create all they need to live in comfort and safety. The wellbeing of the extended family and an intricate network of kinship ties form a complex system of traditional governance and social organisation in one of the few remaining chiefdom cultures of the modern world. The mainstay of this culture and the profusion of expressions emanating from it is the natural environment. Sāmoans had a kinship relationship with the contingent world, living in harmony with the natural resources that provided for their wellbeing.\n\nFilled with a spirit of inquiry, sogāsogā, early settlers in the island archipelago adapted the knowledge they brought with them with succeeding generations refining and building on that knowledge with new and innovative uses. The knowledge and skills of the tufuga or expert artisan, can be seen in fale Samoa, a resilient style of architecture perfectly suited to the climate; in alia, swift double-hulled ocean voyaging canoes capable of sailing the vast ocean using stars, waves, clouds, currents, and birds for navigation; in tanoa, functional and aesthetic wooden bowls used in rituals; in ingenious and versatile ʻafa (coconut sennit), a versatile and strong cord used in myriad cultural products including houses and boats; in tatau (tattoo), that adorns both men and women; and, in lālaga, finely woven pandanus leaf mats created to strengthen social cohesion.\n\nRural women in Samoa are highly skilled weavers, and the finest of mats are known as ‘ie sae. These precious heirlooms take many months and even decades to make and are reserved for important milestones in the life of a person: birth, marriage, the bestowal of a chief’s title, and death. They are presented in connection with the building of traditional houses and churches. Old mats associated with important historical events are so highly valued that they are given names. An example of this is Le Ageagea o Tūmua, presented by the village of Lufilufi to the Prime Minister of New Zealand after she apologized to the people of Samoa in 2002 for catastrophic mistakes made during the early administration of Samoa as a British colony. The name ‘ie sae is derived from the ingenious process of splitting the pandanus leaves lengthwise. There are several varieties of pandanus cultivated by the weavers themselves, often with the help of men in their households and children in the family. The variety used to weave ‘ie sae is known as lauʻie.\n\nBecause of its importance to Samoan culture, the Government of Samoa established a Fine Mat and Siapo program in 2003 with the twofold aim of increasing the making of fine mats and siapo or bark cloth art throughout the country and standardizing dimensions and quality. Since then, ʻie sae and siapo have been paraded annually in a ceremony coinciding with the National Day for Women.\n\nThe ‘ie sae is arguably the single most important cultural product created by women in Samoa. It is cultural currency ritually exchanged to meet social obligations, strengthening kinship ties, and thereby contributing to social cohesion in Samoan society. Of all the accolades designating the importance of the ʻie sae, perhaps the most intriguing is that it send shivers of delight to Samoa’s aristocracy: o le ʻie sae, o le maniti a tamāliʻi.\n\nPhoto : A child watches and learns as her mother weaves a fine mat ⓒ Steven PercivalYear2019NationSamoa
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Nepali Paper (Nepali Kagaj)If anyone had an opportunity to go through legal documents in Nepal like legal paper of property rights, they must have noticed the thin, fibrous, off-white paper, which are known as Nepali kagaj or Nepali paper. Not only legal documents but also ancient religious texts were written on that paper.\n\nThe name “Nepali paper” might give the impression that the name comes from being made in Nepal; however, the paper’s actual name is lokta. These papers are handmade from the fibrous inner bark of shrubs named Daphne—Daphne bholua and Daphne papyracea—grown in elevations between 2,500 meters to 4,000 meters.\n\nThe inner fibrous bark is extracted from the plant without harming the root so that the plant can regrow. Thin layers of the bark are stripped out. These thin strips are washed and dried and then boiled for five to eight hours to soften them. After boiling, the strips are transferred to a machine that turns the strips into a puree. (This step used to be done by hand by rubbing seashells on the strips.) Then soft pasty puree is poured evenly into a wooden frame with net. These frames, when dried, produce lokta paper.\n\nThe thickness of paper is controlled with the amount of pulp being poured and spread evenly. Lokta can be made very thick and transparent, which are special characteristics of this paper. These papers strong—not easily torn and resistant to termites and decay. The plants used to make lokta regrows in few years, making it sustainable. Even though machines were introduced for some work, most of the work still done manually.\n\nBecause of its limited use—legal documents and religious manuscripts and to make incense sticks by binding incense powder to the paper and ayurvedic medicinal purpose—these industries were dying out. But the tourism industry gave the rebirth to Nepali paper. Targeting tourists, the producers started to make the various products other than writing paper.\n\nAnother specialty of these papers is that they can be dyed to produce wonderful patterns and even natural elements like leaves and petals can be added to create beautiful designs. Taking advantage of the flexibility, producers started to make various products out of lokta. Nowadays, products such as lampshades, notebooks, paper bags, greeting cards, wrapping paper, photo frames, and calendars are made from the paper. Tourists are the main consumers these products.\n\nAccording to Mr. Raja Ram Tandukar who owns a Nepali paper shop in Kathmandu explains, “lokta products gained popularity with tourist thirty to thirty-five years back. Tourists know this paper as rice paper.” The new life of the Nepali paper industry has created many job opportunities for the people, contributing in the economy.\n\nNow, not only tourists but also the Nepali people started to use this paper in various new forms like for making visiting cards, restaurant menu, paper bags, and photo albums. This paper is environmentally sustainable as it comes from bushes that regenerate every four to five years.\n\nPhoto : Wrapping paper with prints of mane (Buddhist religious object) made of Nepali paper (Lokhta). © Monalisa MaharjanYear2021NationNepal
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History and Transmission of Korean Lacquer CraftsHuman has made great progress beyond the speed of biological evolution by using tools. First, human used stones and wood as tools for hunting and gathering, and then invented earth-baked earthenware such as bowls for food, appropriate to farming life. The defects of woodenware and earthenware, however, were obvious. It was not able to contain liquid due to their moisture absorbency, and easily damaged. Earthenware has evolved into glazed ceramic but it required a high-tech kiln with high temperature, accompanied by a technology for metal refining as a key prerequisite. In East Asia, moisture proof and insect proof techniques to coat objects were invented much earlier. That is lacquer technique.\nProduction process of lacquer is delicate and complicated such as handling lacquer sap at the risk of skin disease, creating hot and humid environment for hardening process, etc. Nevertheless, in East Asia, people have used lacquer technique in many regions from the Neolithic Age, knowing its merits earlier on. Lacquer was used for adhesive and surface protection of leather, earthenware, ceramics and metalware. In particular, it has been inextricably linked to wooden objects. Whereas in West Asia and Europe various varnishes mixed with dry oil and resin has been used, in East Asia lacquer was used as a basic varnish in common. That shows that lacquer is great material and technique to represent the commonality of Asian culture.1) This article aims to briefly look into the origin of lacquer technique in Northeast Asia and share the information on it and its current status of transmission.Year2021NationSouth Korea
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TRADITIONAL MARITIME SKILLS AND KNOWLEDGE OF SOCIAL AND ECONOMIC DEVELOPMENTS IN INLE LAKEThe Inle Lake is the second largest freshwater shallows in Myanmar, located on the western edge of the Shan Plateau of the eastern part of the country. The estimated surface area is 44.9 square miles and the highest elevation is 2900 feet (880m). Inle Lake is a major tourist destination in Myanmar, attracting tourists by the picturesque beauty of the lake surrounded by mountains, houses standing on poles in the \nlake, beautiful floating gardens, and the cultural practices of the Intha fishermen. The main ethnic people of Inle Lake are Inthan while Pa Oh, Taungyo, Kayan, and Shan people also add to its diversity. \n\nThe people who live in Inle Lake are called Intha (people of lake). They live on the shore and on the lake, making a living by fishing, engaging in handicraft activities, cultivating on floating gardens as well as on \nthe delta of the lake. For transportation, the Intha people use wooden boats; for long trip they use long tail boats with engines, carrying local passengers and goods. Small boats are used for their daily activities.\n\nThe main economy of Inle depends on cultivation and fishing. The unique style of the Intha people is rowing the boat with one leg by standing. They paddle this way because reeds and water plants are many \nin the lake, and if they row sitting down on the boat they could not see reeds and water plants. There is no gender for this rowing style, from an early age; people are trained to paddle with their feet. \nYear2020NationSouth Korea
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Intangible Aspects on Vernacular Architecture Between Joglo Pencu Kudus (Java Traditional House) and Hanok (Korean Traditional House): Comparative Study about Philosophies and Local Insights of Traditional HousesThis research discussed the intangible aspect such as philosophy and local insight that lies in the traditional house of Joglo Pencu Kudus from Indonesia and Hanok from Korea. Based on the result of research found that both traditional houses have the philosophy to respect nature and can adapt to the environment around them. Hanok can adapt to two extreme seasons (harsh winter and humid-hot summer) while Joglo Pencu Kudus can adapt to two seasons (rainy and dry). \nMoreover, the materials used in both traditional houses are natural and originate from the environment. Some constructions support sustainable development and it can be developed or combined further with the recent necessity. Some of its constructions can deal with the earthquake and heavy storm. Even some local insights can be applied directly such as natural waterproof from Hanok and natural substance for the preservation of wooden houses from Joglo Pencu Kudus.Year2019NationIndonesia
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The Artistry of Humanity’s Mask CultureMasks are commonly used as disguises depicting face-like shapes of deities, humans, devils, and animals over the face. In Chinese characters, they can be called myeon (面), myeongu (面具), daemyeon (代面), gadoo (假頭), gasoo (假首), and so forth. In Korean, they have been called gwangdae, chorani, tal, talbak, takbagaji. However, strictly speaking, myeongu refers to a mask that covers only the front of the face, whereas a mask that covers whole head including the back of the head is separately called gadoo, gasoo and toodoo (套頭). In English-speaking regions, they are called “masks.”\n\nWood is a primary material to make masks, but paper, lightweight stones, bronze, fabric, and ceramics can also be used to. Masks are often colored with red clay or drawn with various dyes. By pasting paper or fabric on a carved wooden mask and then coating it with lacquer, the mask can be kept for a long time. That is the case with Hahoe Masks of Korea.Year2023NationSouth Korea
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Pinisi: The Art of West-Austronesian Shipbuilding‘Pinisi’, the popular appellation for the famed ‘Sulawesi schooner’, since about three decades became the very tag for Indonesia’s heritage of seafaring. However, it is not the rather tangible pinisi, but the sophisticated boatbuilding traditions of the Konjo shipwrights of the island of Sulawesi, the creators of these vessels, that in 2017 were inscribed in the list of Intangible Cultural Heritage of Humanity. Historically such ships were built in the villages of Lemo-Lemo, Ara and Bira; today, nearby Tana Beru, our World’s largest cluster of wooden shipyards, is the centre of the industry.Year2018NationSouth Korea
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LIYELAA JEHUN CRAFTS OF MALDIVESLacquer work, or liyelaa jehun as locally known, is one of the most distinctive forms of handicraft. In simple terms, a piece of wood is sculpted into the desired shape and then coated with layers of different colors of lacquer. Once the lacquer coating is finished, it is polished with dry leaves. And intricate patterns are engraved on the item with simple tools, without any premade drawings. They can be seen on many wooden objects and in Coral Stone Mosques of the Maldives; six of which on the UNESCO World Heritage Tentative List are also adorned with lacquered works that contribute to their outstanding universal value.Year2017NationSouth Korea