ALL
cultural heritage
ICH Elements 3
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Traditions related to bread
Uzbek bread, or non, holds a central place in the daily life, rituals, and celebrations of Uzbek society. The traditions surrounding bread-making, serving, and consumption are deeply symbolic, embodying values of hospitality, respect, and community unity. The preparation of traditional breads such as tandir non, patir, and katlama involves specific artisanal skills passed down through generations. These breads are baked in a tandir oven using time-honored techniques, often accompanied by rituals that bless the dough and honor the process. Bread plays an essential role in social ceremonies such as weddings, funerals, and festivals, where it serves as a symbol of life, prosperity, and hospitality. Special customs govern how bread is presented and shared, reflecting its sacred status within Uzbek culture.
Uzbekistan -
Experience in Preserving Tanovar – A Traditional Uzbek National Dance
Tanovar is a classical Uzbek national dance that embodies grace, rhythm, and deep emotional expression. Originating in Central Asia, particularly in Bukhara, Samarkand, and Tashkent, Tanovar is one of the most cherished traditional dances of Uzbekistan. Its elegant hand movements, soft footwork, and expressive gestures are performed to melodic music of the same name, often composed in slow 6/8 rhythm. The dance reflects themes of love, dignity, nature, and female beauty, often performed solo by women but also taught and adapted for group or stage performances. Tanovar is recognized for its symbolic gestures that convey inner emotion and storytelling without words. The preservation of Tanovar includes teaching in dance schools, cultural centers, informal community circles, and professional ensembles. It is regularly featured in national festivals, cultural days, and international performances, symbolizing Uzbekistan’s rich heritage and refined artistry.
Uzbekistan -
Tea-Drinking Customs — Social Traditions, Rituals, and Celebrations
Tea-drinking customs in Uzbekistan are deeply embedded in the social fabric, rituals, and celebrations of the country. The preparation and serving of tea is not only a daily routine but also a vital element of hospitality, symbolizing respect, friendship, and community bonding. These customs encompass specific practices including the use of traditional samovars, the careful brewing process, and distinct serving manners. Tea ceremonies often accompany family gatherings, weddings, negotiations, and festive events, where guests are welcomed with warmth and honor. The art of tea drinking reflects a rich cultural heritage, blending influences from Central Asia, Persia, and the Silk Road traditions. It also plays a role in oral storytelling, music performances, and social exchanges that strengthen interpersonal relationships and maintain community cohesion.
Uzbekistan
ICH Materials 13
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Bhutanese Traditional Calligraphy
#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 -
Bhutanese Traditional Calligraphy
#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
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Poe (Incense sticks) Production in BhutanThe burning of incense in the sacred shrines of Buddhist monasteries, temples, and also in the consecrated spaces that house the representations of the supreme spiritual beings is considered a kind of offering of sweet fragrances to the enlightened beings and also has the power to purify the impurities associated with us in any form that prevent us from realizing the innate Buddha nature and receiving the blessings. For this reason, incense is crucial in the performance of any type of ritual in the world of Buddhism. In general, burning herbs and making smoke offerings outdoors and burning incense in shrines have the same meaning and benefit; to purify defilements, pacify spirits, accumulate merit for oneself, and connect people to the spiritual world.\n\nThe production of incense is considered one of the religious crafts, as the product is used exclusively for religious purposes. There are two different types of incense: Ja-ju poe (herbal incense) with a yellowish texture and Zu-poe or Choe-jue poe (incense mixed with flesh and blood ingredients) with a brown color. Ja-ju incense is usually burned explicitly for the enlightened beings and when performing Drol-chog (ritual of Goddess Tara) and Rio-sang-chod (smoke offering at the summit of ridges and mountain to attract good fortunes), rituals associated to Nagas (subterrain sentient beings), while the other is offered to the guardian deities and guardian spirits during affirmation rituals.\n\nThe basic raw materials for both incenses are: Powder of Shug-pa (juniper), Tsen-den (weeping cypress), Balu (Rhododendron ciliatum), Sulu (Rhododendron setosum), Aru (Terminalia chebula), Baru (Terminalia bellirica), Manu (Inula racemosa Hook. f), Ruta (Saussurea lappa), Pang-poe (Valeriana officinalis) and water extracted from Zangdrug; (six valuable substances) Chu-gang (bamboo pitch), Gur-gum (saffron), Li-shi (clove), Ka-ko-la (cardamom), Za-ti (nutmeg), Sug-mel (cubeb) Ga-bur (camphor) and also Tsho (colours). When special ingredients such as Kar gsum; (three white substances) milk, curd and butter and an additional mixture of Ngar-gsum; (three sweet substances) brown sugar, molasses and honey are added to these mixed powders, the product becomes herbal incense and similarly, various ingredients of special animal meat, blood, La-tsi (musk), Gi-wang (elephant bile) and alcohols are added to make Zu-poe incense.\n\nMr. Lhundrup (80) learned the art of making incense sticks at the Government Incense Production Center in Thimphu, the capital of Bhutan, and worked for nearly 8 years. In 1918, after his retiremen, while some friends located their incense production more promisingly in the city, Lhundrup established the present incense production named Lhundrup Poezo-khang in his remote village of Urug in Chumey Gewog (block), Bumthang Dzongkhag (district), Bhutan. Currently, he supervises the production unit while his son Sangay Tenzin (50) takes the main role and his mother Uden (67) sometimes assists her son. Two other employees help them produce a plethora of incense sticks with five different types to meet consumer demand.\n\nProduction Process: Based on the license to produce incense sticks, the raw materials, especially dried junipers, are collected from the opposite foot of Yotong la (a mountain pass in the central region at 3425 meters above sea level) and the rest of the materials are purchased from the highlanders. After collecting the raw materials, they are chopped, dried in the sun and processed into fine powder with the help of an electric grinding machine. In the meantime, a helper prepares the extraction of water from the Six Valuable Substances. During mixing in the kneading machine, 80% of the raw material powder is carefully kneaded with the extracted medicinal water. After removal from the kneading machine, the dough-like incense is formed into a palm sized shape and placed into Tsir-shing (traditional wooden compressor) hole, creating a noodle like discharge while an employee places his or her body weight on the compressor liver. These noodle-like incense sticks are rolled between two wooden boards by the incense makers, cut evenly when the bottom wooden board is full, and dried in the sun. The incense sticks are tied into bundles using thread, dried again, and finally ready for making offering.\n\nphoto 1 : Finished product © Yeshi Lhendup\nphoto 2 : Raw materials being dried © Yeshi Lhendup\nphoto 3 : Drying right after the processe © Yeshi Lhendup\nphoto 4 : Incense being offered in the Local Shrine © Yeshi Lhendup\nphoto 5 : Raising of incense smoke © Yeshi LhendupYear2022NationBhutan
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Communities taking their deity back to where it belongsOn 4th December 2021, the locals of Patko locality in Patan were busy decorating temple of LaxmiNarayan and arranging materials for the rituals from early morning. This was not any ordinary Saturday or ritual. Many people have never seen this kind of event. On this day the original statue of LaxmiNarayan – an androgynous statue, was going to be reinstated in its temple after nearly forty years.\n\nThis statue was stolen in 1984 and was found in the Dallas Museum of Arts. With the help of the activists, diplomats, Nepal Heritage Recovery Campaign the return of this statue to Nepal and then back to the community was possible. Many statues and artifacts from the temples have been stolen from Nepal, which still continues till date. But this kind of getting back of the statue to where it belonged with this fanfare and media coverage was a first one. Even the stolen objects get back to the country then it was a normal procedure to keep that in the museum for safekeeping.\n\nWhen the statue of LaxmiNarayan was stolen, the custodians of the temple made a replica of it and stated to worship a new one. Many people didn’t even have the memory of the original ones. Some of then could not just understand why the jwelleries of the deity does not perfect fit. The original statue was returned on a palanquin with music from the Patan Museum to the temple. The custodians of the temple performed rituals to statue and welcomed back to its place. Then during the rituals the jewelries perfectly fit the real statue.\n\nFollowing the example of LaxmiNarayan statue, another statue of deity Padmapani Lokeshwor was returned to the Monastery in Naxal of Kathmandu. The heritage activist found the location of this statue that has been missing from the monastery for several years. This statue has been with the Chhauni Museum in Kathmandu.\n\nThe locals and heritage activists took back this statue to the Monastery in a carriage followed by traditional music and gurju ya paltan (traditional army band). The carriage was followed by the procession of people in traditional attire. On that monastery also the elaborate rituals were performed to welcome back the deity.\n\nIn 1980 from the stone fountain of Tanga Hiti in Patan, a statue of UmaMahesheshor.\n\nThis statue was returned back to Nepal by New York Metropolitan Museum on 2018 August. As many other stolen statues which were found and returned back were kept in the Museum, this one was with Chhauni Museum. This statue was also taken back to the place where it belonged on 7th February 2022. The locals went to bring back their deity with fanfare as in the other statues.\n\nHeritage in Nepal is a living heritage where people have everyday connection with temples, squares, platforms and waterspouts in form rituals, festivities, dances and music. When the statues or artifacts get stolen, they are not stealing the objects but also the rituals and sentiments associated with it. Finally, it seem the statues are slowly returning back to the place where it belonged in Nepal. The excitements and joy could be seen in the face of people when the statues were placed back the original place.\n\nWhen the communities are now able to take back their statues, so more statues will be going in future. So it has became urgent that the government prepare a proper guidelines on reinstalling of the statues and artifacts, as well as safety and integrity of objects.\n\nphoto 1 : Community members of the temple performing the rituals to welcome back in the stolen statue in the temple of LaxmiNarayan. © Monalisa Maharjan\nphoto 2 : Statue of UmaMaheshwor after installing it in Tanga Hiti. © Monalisa Maharjan\nphoto 3 : Locals worshipping the statue of LaxmiNarayan after reinstalling in its temple. © Monalisa MaharjanYear2022NationNepal