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copying
ICH Elements 4
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China engraved block printing technique
As one of the conventional skills, China Engraved Block Printing Technique includes a series of processes: cutting tools are applied to the engraving of characters or patterns on wooden blocks, ink and paper are utilized for printing purpose and the printed book pages are bound into books. Historical cultural relics show the application of engraved block printing technique dates back to the end of the 6th century and early 7th century. The invention and application of engraved block printing technique in China has made tremendous contributions to the progress and development of human civilization thanks to its functions typical of recording and transmitting thoughts, knowledge and experience of human society.
China 2009 -
Knowledge and Techniques of Writing on Buông Leaf of the Khmer
The Knowledge and Techniques of Writing on Buông Leaf of the Khmer in An Giang belong to the category of folk knowledge heritage, containing the value and content of Buddhist scriptures, also known as Buông Leaf scriptures (Xatra Slákrít). This is a rare ancient book engraved on Buông leaves, written in ancient Khmer or Balinese, which appeared in the 19th century. Buông Leaf scriptures have 4 types: Buddhist scriptures; Folk tales; Festivals, folk games; Folk teachings, showing the values of technique, aesthetics, art and have important significance in the spiritual and religious life of the Khmer people. From choosing leaves, drying leaves, processing and using black powder to highlight the letters, especially writing on leaves (or carving letters on leaves) is very elaborate. The artisan uses a pen with a sharp metal tip (called a decha) to slowly carve on the dried leaves, carving on the leaves must be done evenly. After writing, people mix soot with oil and rub it on the leaves, then wipe the surface of the leaves clean, so that the letters stand out. When all the documents are written, the pages are pierced to "close" them into a book with a wooden cover, also known as Satra. Each set of Sutras is 5 - 8cm thick, weighs 300 - 600 grams. Each set of Sutras has 4 - 10 books (volumes); each book has 20 - 60 sutra leaves; each leaf has 5 lines, with about 150 words. The content written on the leaves, in addition to copying sutras, also includes stories and lessons of high educational value to help people become good, maintain filial piety towards grandparents, parents... contributing to preserving and promoting the cultural identity of the Khmer people. With its unique values, in 2017, the Ministry of Culture - Sports and Tourism recognized "Knowledge and Techniques of Writing on Buông Leaf of the Khmer" as a National Intangible Cultural Heritage.
Viet Nam -
Nôm Writing of the Tày
Nôm Tày Writing emerged during the Mac dynasty in Cao Bang, flourished throughout the 15th and 16th centuries, and continues to this day thanks to the efforts of numerous generations of Tày intellectuals. Tày scholars recorded the Tày language, known as Tày Nôm Writing, using the Han character system. Tày Nôm Writing is a hieroglyphic writing system that originated from the Chinese letters used by the Han people residing in the North. The principles of writing Chinese characters in Tày Nôm Writing must also be followed: top first, bottom after; inside before, outside after; left first, right after; write from left to right, top to bottom (in vertical rows); use kanji to recognize semantics and characters. There are numerous variations because of the direct teaching approach and manual copying. It's also rather typical to use Sino-Vietnamese terminology while reading Tày pronunciation. Writing in Tày Nôm is done on native paper, or chỉa sla. To write with bold strokes, use a brush dipped in Chinese ink and glide the tip of the pen evenly across the paper. Poetry books, storybooks, and songbooks written by Taoist monks are recorded using Tày Nôm Writing.
Viet Nam -
Sagyeongjang (Sutra Copying)
National Intangible Cultural Heritage, Republic of Korea Sagyeongjang can refer to either the art of copying Buddhist texts or to the masters of this art. Sutra copying enjoyed its heyday during the Goryeo Dynasty when Buddhism gained widespread popularity. During the reign of King Chungnyeol, the Goryeo court dispatched to China hundreds of Buddhist monks trained in sutra copying. Although sutra copying declined during the Joseon era with the adoption of Confucianism as the governing philosophy, the Buddhist practice lived on with the support of certain royal family members and Buddhist temples. The ink transcription of the Avatamsaka Sutra (Flower Garland Sutra) from the Unified Silla era, designated National Treasure, is the oldest surviving artifact in Korea testifying to the sutra copying practice. The art of sutra copying is generally comprised of three parts: transcribing text, reproducing byeonsangdo paintings, and decorating the cover with a design of Buddhist figures or plants. It is further divided into 10 different steps: color formation with gold powder, glue making, surface treatment of the paper, paper cutting, connecting paper sheets, line drawing, writing text by hand, drawing byeonsangdo paintings, decorating the cover with a drawing, and treating the cover with gold powder. It demands expert knowledge of calligraphy, Chinese characters, Buddhist theory, and painting. Furthermore, intense concentration over long periods is essential. * Sagyeong (寫經): The practice of transcribing Buddhist scriptures or the resulting transcripts. Sutra copying is intended to disseminate Buddhist texts or cultivate merit. * Byeonsangdo (變相圖): Paintings illustrating the teachings of the Buddha
South Korea
ICH Materials 36
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2011/2012 Mongolia-ICHCAP Joint Cooperation Project Report-Safeguarding Intangible Cultural Heritage by Utilising Information Technology
Since the beginning of 1950s, the Institute of Language and Literature at the Academy of Sciences in Mongolia has initiated sending the survey teams, 1-3 times a year, for researching and gathering data on oral literature and local dialectics. The initiation of above activities has set the groundwork for official establishment of a new archive with written documents and magnetic audio tapes, utilization for research purposes and the maintenance. Along with sending the survey teams, individuals/bearers were invited to the Institute from the local areas and their repertoire were recorded on magnetic tapes.\n\nAs a result, a rich repertoire of the epics, folk tales, folk songs, benedictions, odes, riddles, proverbs and other main elements of Mongolian oral heritage in their local dialectics and characteristics were succeeded to be recorded and collected at once as never before. The language and dialects that have already lost their distinctiveness or absorbed into the central one, now already the extinct forms of oral literary expressions and heritage are remained and preserved on magnetic tapes. This fact is raising the historic and academic values more for those original forms which were preserved on the magnetic tapes.\n\nDue to the fact that the most of the magnetic tapes being kept at the Institute are more than 60 years old, the storage period of some of the tapes has already been expired. Also, the un-proper storage conditions have caused some tapes to get dried, clung to one another or fractured. Due to above reasons, the inevitable need has risen for restoration and digitization of these magnetic tapes as well as improvement of the storage conditions and environment. Accordingly, since 2008, some efforts have been made towards restoration and digitization of these superannuated magnetic tapes within the internal capability and capacity of the Institute. Although, due to the lack of capable human resources, finance and proper tools and technical equipment, these efforts to restore and digitalize faced several obstacles and have shown un-successive results.\n\nIn 2009, the authorities of the Institute have introduced to the Foundation for the Protection of Natural and Cultural Heritage their request to cooperate. Since, the organizations have started to collaborate on the possibilities to restore and digitalize the superannuated magnetic tapes. Accordingly, the Foundation for the Protection of Natural and Cultural Heritage proposed to ICHCAP to continue the Joint Project and take measures for restoration, digitization of the superannuated magnetic tapes, and distribution and dissemination among general public.
Mongolia 2011~2012 -
2009 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Mongolia
East Asian region is developed a rich of variety in the intangible heritage manifests, from oral traditions, performing arts, customs, and rituals to festivals, clothing, crafts, and food throughout the centuries. However, as with other counties in the Asia-Pacific region, which is a treasure house of ICH, traditional cultural heritage of East Asia was in a crisis of extinction due to shifts in industrial structures and the population outflow of younger generations to urban areas. In response, the Republic of Korea and Japan introduced the concept of intangible cultural heritage in policies related to safeguarding cultural heritage more than fifty years ago. Mongolia, with the support of its respective government, followed suit by establishing an institutional foundation for national ICH inventory making and ICH safeguarding after ratifying the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003). Moreover, in relation to ICH safeguarding activities, UNESCO Category 2 Centres, which support ICH safeguarding activities, have been simulataneously going through the establishment process in the Republic of Korea, China, and Japan. As a well-intentioned objective for the future activities, the three centres are making efforts to build a cooperative mechanism among themselves. Another effort made in the region is the establishment of the ICH safeguarding system in Mongolia. The government of Mongolia has drawn up a national ICH inventory and identified bearers as well. The countries in East Asia have been very active in safeguarding, and their participation at regional and international levels. Therefore, countries in the region need to build trust and collaborative relationships while safeguarding ICH at national, regional, and international levels.\n\n- Ratified the ICH Convention in 2005; conducted survey in 2009 and updated in 2016.\n- As of March 2018, has 7 ICH elements on the RL, 7 elements on the USL, and 1 accredited NGO.
Mongolia 2010
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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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PROTECTING CULTURAL INTELLECTUAL PROPERTY RIGHTS: THE OMA IN LAO PDROn 2 April 2019, the Traditional Arts and Ethnology Centre (TAEC) received text messages from a former employee who was traveling in Croatia. She had glanced into a Max Mara boutique in Zagreb and noticed patterns on clothing that looked exactly like those of the Oma ethnic group. TAEC staff recognized these designs immediately, as the organization has been working with Nanam Village, the largest Oma community in Laos, since 2011. TAEC has trained and worked with Oma women to create and sell products based on their craft skills, and conducted research on traditional Oma music, which is showcased in TAEC’s special exhibition, “Voices of the Wind: Traditional Instruments in Laos.”Year2020NationSouth Korea