Materials
bowl
ICH Materials 43
Photos
(27)-
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Casting silver bowls
As widely used and greatly respected by the Mongols, cast silver bowls are the most popular items that clearly demonstrate the true skills of Mongol artisans. Each style or make has specific features of craftsmanship by its region. Most popular ones are the Borjigin, Dariganga, Noyon-Sevrei and Batnorov which also variably differ by their design, carvings, ornaments, input and mould.
Mongolia -
Casting silver bowls
As widely used and greatly respected by the Mongols, cast silver bowls are the most popular items that clearly demonstrate the true skills of Mongol artisans. Each style or make has specific features of craftsmanship by its region. Most popular ones are the Borjigin, Dariganga, Noyon-Sevrei and Batnorov which also variably differ by their design, carvings, ornaments, input and mould.
Mongolia -
Casting silver bowls
As widely used and greatly respected by the Mongols, cast silver bowls are the most popular items that clearly demonstrate the true skills of Mongol artisans. Each style or make has specific features of craftsmanship by its region. Most popular ones are the Borjigin, Dariganga, Noyon-Sevrei and Batnorov which also variably differ by their design, carvings, ornaments, input and mould.
Mongolia -
Khwe’ Khwin: (Timing bell)
By using Khwe’ Khwin: (Timing bell) was found at the period of Visali of the king of Chandra.At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments. In the Myanmar era of 897 ((1535 AD ) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Shittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp, bamboo pipes wind instrument/ melodious small drum/ hand-cymbals/ cymbals/ horn/ long drum , Marlakhon fiddle, the bugle, the cymbal and the flute were sculpted as the ancient supporting evidences of Khwe’ Khwin: (Timing bell) on the western wall of the second tunnel of Shittaung pagoda.\nIt is made by the art of making items cast or wrought from brass. It is the shape of a prone bowl that is put on the pillar. It can be played with the small striker. It is put on the pillar and the body of it is striken with the striker. It can be played together with the instrument of drum, gong, conch shell.\n-7.5 inches in diameter \n-4.5 inches in height\n-10 inches in the height of pillar \n-4.5 inches in the length of based \n-1.5 inches in The height of based
Myanmar -
Saun: (Myanamr harp)
In Myanmar, ancient chronicles say that harps were being played as early as in the Pyu Period. In February of 802 A.D. Sri Khettra despatched a Pyu music and dance ensemble to Chan-ann the city of the Tang Dynasity of China. Tang Dynasty chronicles say that the Pyu musicians had with them two harps with pheasant’s head shapes, two harps with corcodile’s head shapes, one flat harp in the shape of a dragon’s head, one flat harp in the shape of rain clouds, two flat harps of big gourds, one flat gourd-harp with a single string and one small flat gourd-harp. Among rock relief sculptures found on the walls of the Ananda pagoda built by king Kyansittha in A.D 1084-1113 is a harp which indicates that the harp was in general use in those days.\nThe part where the neck joins the sound box is shaped like a leaf of the saga: (champac) while the stern is shaped like bowl. The tip of the neck is shaped like the leaf of the banyan tree. The neck is made of sha: (acaciacatechu) wood. The sound box is covered with a membrane of deer skin. Holes are perforated along the ridge to hold the ends of the strings. The intervals between the holes need to be of correct proportion, otherwise, the harp tends to be out of tune and also lacks proper form. Hence, the ridge is a critical component of the harp. When playing, the harp player sits cross-legged on the floor and rests the front of the body of the harp in his or her lap, with the arch on the harp player’s left and the rear of the harp’s body angled slightly upwards so that the strings are almost horizontal. The fingers of the left hand are braced against the outside of the arch and moved agilely up and down. A stopped tone is produced when the left thumb nail is pressed against the string from the inside to increase its tension and thus raise its pitch. The thumb and forefinger of the right hand, either separately or together, pluck the strings at their center while the right elbow rests on the top of the rear of the harp body outside of the strings. The left thumb may be used to pluck the bass of the harp figuration while the right thumb and forefinger pluck the melodic pattern. A skilled harpist promote clarity by jumping the string just sounded while sounding the next string. This jumping may be done with the middle finger, the palm of the hand, or the forefinger just after the activation when a staccato note is desired.
Myanmar -
Tar, traditional Iranian string instrument
The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned.\nDotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody.\nThe crafters also repect nature as they use dead and dried wood for making Dotār.\nIt is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.
Iran