Materials
traditional knowledge
ICH Materials 493
Videos
(41)-
Traditional Craftsmanship of the Mongolian Ger and Associated Customs
Traditional Craftsmanship of the Mongolian Ger and Associated Customs (Representative List of the Intangible Cultural Heritage of Humanity, 2013)\nThe Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.
Mongolia 2017 -
Mongolia The Story of Ger in the Grasslands (Highlight)
The Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.
Mongolia 2017 -
Traditional art of whistling
"The traditional art of whistling calls for human teeth and lips to function as the music instrument and the mouth cavity to function as a sound box. Whistling is classified into the following three types: tooth whistle, lip whistle and palate whistle. The reasons Mongolians whistle is greatly dependant on the season, time, location, and context due to that from ancient times Mongols have considered whistling as a call for wind. Mongols whistle the short and long songs, and melodies in hot days of summer and autumn season while herding livestock and during the labor for relaxing. Before mentioned, Mongols believe that the whistle can bring the deity of wind, therefore they do whistle while harvesting the grain for blowing the skin of grain. Additionally, Mongols do whistling during watering their horse and animal for preventing the flies."\n
Mongolia -
Traditional Spring Festivals of Kazakh Horse Breeders
Ulytau is the geographic and historical center of Kazakhstan where the Kazakh Khanate appeared. Central Kazakhstan is rich in historical monuments. The history and traditions of Kazakh horse breeders have been maintained since the Paleolithic times. The traditions include: biye baylau, separating dairy mares from the shoal or the feast of the first milking; ayghyr kosu, joining a stallion to the herd or the stallion’s wedding; and kymyz muryndyk, beginning to make and drink kymyz or festive of the first kymyz. Inextricably linked with one another, these traditions mark the beginning of a new horse-breeding cycle and form an integral part of Kazakh intangible cultural heritage.
Kazakhstan 2016-0505 -
Talent of Possessing Swiftness
Folk Knowledge and Tradition of Recognizing and Training Swift Horses\nSince ancient times, Mongols have developed a complex understanding of how to choose the swiftest horses from among a herd and coach and train these horses to race. Over one month, the horses’ diet is restricted, and the horses are raced over longer and longer distances each day. Race horses are classified into six age categories: ikh nas, soyolon, azarga, khyzaalan, shüdlen, and daaga, and horses in each category race for different distances. The jockeys are children between the ages of 6 and 13. The sweat-scraper and brush are patterned with symbolic designs of the horse’s prowess and promptness.
Mongolia 2017 -
Traditional Spring Festivals of Kazakh Horse Breeders
Ulytau is the geographic and historical center of Kazakhstan where the Kazakh Khanate appeared. Central Kazakhstan is rich in historical monuments. The history and traditions of Kazakh horse breeders have been maintained since the Paleolithic times. The traditions include: biye baylau, separating dairy mares from the shoal or the feast of the first milking; ayghyr kosu, joining a stallion to the herd or the stallion’s wedding; and kymyz muryndyk, beginning to make and drink kymyz or festive of the first kymyz. Inextricably linked with one another, these traditions mark the beginning of a new horse-breeding cycle and form an integral part of Kazakh intangible cultural heritage.
Kazakhstan 2016-0505 -
Gardening in Uzbekistan
The current film is devoted to the knowledge and experience about gardening in different regions of Uzbekistan and its transmission to younger generations. In the first part of the film, fields and gardens of Fergana Valley and the house of Abdulvokhid Khoji living in the Oltiariq district is described. The film was made during spring, summer, and autumn. Abdulvokhid Khoji is a ninety-two-year-old father who has been teaching his knowledge and skills to future generations, in particular to his sons and grandchildren, based on master-apprentice traditions.
Uzbekistan 2017 -
Traditional art of whistling
The traditional art of whistling calls for human teeth and lips to function as the music instrument and the mouth cavity to function as a sound box. Whistling is classified into the following three types: tooth whistle, lip whistle and palate whistle. The reasons Mongolians whistle is greatly dependant on the season, time, location, and context due to that from ancient times Mongols have considered whistling as a call for wind. Mongols whistle the short and long songs, and melodies in hot days of summer and autumn season while herding livestock and during the labor for relaxing. Before mentioned, Mongols believe that the whistle can bring the deity of wind, therefore they do whistle while harvesting the grain for blowing the skin of grain.
Mongolia -
Bhutanese Traditional Xylographic Printing(CLEAN)
#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #unesco \n\nThe Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet.\n\nFollowing the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972).\n\nStarting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others.\n\nTransmission method\nIn Bhutan, the transmission of the knowledge and skills related to Xylography printing is usually undertaken by teaching or engaging the interested candidates in the printing process. The process normally requires two persons for better results, but one person alone can also do the job in cases of urgency when there is no one else available to help. The woodblock is first placed flat on a printing bench. The following steps are followed for printing.\n\nFor more information please visit \nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874510342886677176&mode=grid&searchText=printing&orderCd=A&countrys=BT
Bhutan 2023-07-01 -
5. Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)
The tug-of-war is widely spread throughout the world, especially in agricultural communities. The Gijisi Tug-of-War Festival is highly regarded. Held on the second weekend in April, it has a five-hundred-year history. The event, which is based on agriculture, fishery, and merchant traditions, is held to wish for prosperity and good luck for the coming year. The tug-of-war represents the agricultural, rural, and social characteristics of the region. The rope used for the event is two hundred meters long and one meter thick, so it is truly a community event. Similar tug-of-war games are also held in other nations. After creating a museum for Gijisi tug-of-war, members discovered that it could be a symbol of the region, so the local government invested into the museum. After building the museum, we wanted to expand our knowledge of tug-of-war events in other countries. In the past, there wasn’t much communication among the different communities celebrating tug-of-war festivities. However, after building the museum, we had the opportunity to invite other countries as a sort of network that allows research into other types of tug-of-war in the Asia-Pacific region. As Gijisi tug-of-war is well known, we thought that having a festival to display other cultures’ traditional tug-of-war through a networked festival. \n\nTug-of-war (juldarigi in Korean) is an intangible heritage that is commonly found in various regions across the world. In particular, it is a popular activity that takes place with the aim to foster harmony and solidarity among communities in rice-farming regions across Korea, Japan,and various Southeast Asian countries.
South Korea 2020-11-19 -
Heritage of Korkyt-ata
Korkyt-ata invented kobyz, a two-stringed instrument covered in goat leather, and wrote many kyus (songs), eleven of which have survived to this day. His dedication to the instrument is why the Mausoleum of Korkyt-ata on the banks of the Syr Darya River was made in the form of a giant kobyz. The traditional kobyz manufacturing process is based on a master-apprentice system through which the master transmits his knowledge and skills through formal (educational institutions) and informal communication (at home, in the family).
Kazakhstan 2017 -
Circular breathing technique of the Limbe performance
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.
Mongolia