ALL
jewelry
ICH Elements 15
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Traditional turkmen carpet making art in Turkmenistan
The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.
Turkmenistan 2019 -
Betashar – Kazakh wedding
Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan. First bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility. Masters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance. After introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances. In some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.
Kazakhstan -
Jim-zo: Clay Sculpture
Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan. Later, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. The art was later codified and included as one of the thirteen traditional arts and crafts of Bhutan by the 4th Druk Desi (temporary ruler) Gyalse Tenzin Rabgye in the late 17th century. Since then the art of sculpting has been maintained and passed from teacher to students over many generations until today. Bhutanese jim zop (sculptors) are known for the quality and intricacy of creating delicate clay sculptures. They practice sculpting as a pious act since it is based on the iconographic principles of Buddhist art. It is very important to adhere to the rules that prescribe the precise measurement of the body structure in relation to the limbs, postures, eyes, ears, fingers and nose and the body tints, garments and ornaments. a. Religious Statues and Ritual Objects: Sculptors make clay statues, ritual objects and tsha tsha (miniature clay stupa) and clay masks worn during festivals. Numbers of exceedingly fine and intricate religious sculptures and ritual objects made of clay can be seen in every temple, monastery, and the dzongs of Bhutan. These clay sculptures vary in sizes, varying from tiny statues to over twenty feet. There are clay sculptures of the Buddhas and Bodhisattvas, various deities, gods, goddesses and prominent religious figures which depict the foundation of faith, worship and reverence for the Buddhists. b. Types of Clay used in Sculpting: Clay is the basic material for making sculptures. A special kind of clay can be found deposited in small quantities between mud and gravels usually in marshy areas. Sculptors use the best quality clay as the images and objects they make must stand against the change of weather for generations. Clay is processed into three different forms; tsa dam, kong dam, and jim dam. Each one is used for a specific purpose. Tsa dam is made by mixing clay powder with daesho (paper made from daphne plants) in the ratio of 7:3. If paper is not available, pulps made from the raw bark of daphne plant are used as substitute. This mixture prevents the mud from disintegrating when dried. Tsa dam is used for moulding the basic structure of the statue. Kong dam is prepared in the same way as tsa dam, but by adding more water to make the clay relatively thinner and softer. Kong dam is applied over the basic structure moulded from tsa dam to give proper shape to the statue. Generally the proprietor adds any or all of the seven precious substances (gold, silver, and turquoise, and coral, pearl, bronze and any other precious stones) to tsa dam and kong dam in order to increase the aura of the statue. Jim dam is applied as the final and finishing touch to the statue. To prepare jin dam; the clay powder is mixed with water and then stirred thoroughly until it turns into a thin paste. It is then filtered with the help of a thin cloth. The thin filtered paste is collected in a utensil and then placed on fire until the water component is evaporated. What is left in the pot is a very fine powder. This powder is then mixed with daphne papier mache to give it the binding strength which prevents the clay from cracking. This mixture is again mixed with water and stirred and applied to give the final touches to the statue. c. Process of Clay Sculpting: Clay sculpting process starts with the measurement of the space available where the statue will be kept later, or the size required by the owner/sponsor. Accordingly, the basic structural frame is made by using copper wires for smaller statues, iron or steel rods for bigger statues as support. Steel rods are wrapped with copper wire to add the value of the object. Gold and silver wires are considered the best to make the basic frame. The frame is added with tsa dam while the internal part is left hollow for zung to be inserted later. When the tsa dam on the structure dries perfectly, kong dam is applied over it to give all the external physical features, forms and the attires. The parts such as hands and head are made separately and attached later to the body for smaller statues, though the head of bigger statues are made directly with the statue. The sculptor must ensure that the parts made separately are proportionate to the whole structure. Any part of the statue that is not proportionate to the whole body is considered an impious act of the sculptor and therefore must be avoided at all cost. Sculpting is a tedious job, requiring the sculptor to apply the wooden chisel again and again to fill any gaps or remove the lumps over and over again. The statues are left for a long time to allow the clay to dry naturally, and to develop minor cracks which are also left unrepaired to allow air to pass for rapid drying. When no more cracks appear, it means the clay has dried up completely. The cracks are then repaired with tsa dam by mixing with glue. Once this is done, the sculptures are ready for final layers of finishing using jin dam. At this stage the sculpture is finally ready for zung (the inner relic). Learners have to undergo rigorous training for several years under a master sculptor known as Jimzo lopoen. As sculpting for religious purpose is considered a spiritual act, sculptors have to choose the most auspicious day and time to start a project. Once completed, an expert (usually a monk) will insert a zung shing or sog shing (a strut inside the statue as its backbone) and zung consisting of written mantras and other precious substances. Then the statue is painted using appropriate colours. Upon completion of all these steps, a drub or rabney ceremony is conducted by an accomplished lama. The painters and sculptors are highly regarded for their profession.
Bhutan -
Gaada: Dress of Lhop Community
One can easily identify a Lhop in a crowd by his or her unique clothing. They have a distinct clothing culture that marks the physical identity of their ethnic group community. The origin or tradition of the clothing is still unknown, but the elders of the Lhop community believe that it has been passed down from generation to generation. In the past, the Lhop wore clothing made from the fibers of the nettle plant, which grows on the foothills of mountains 500 to 1000 meters above sea level and is called Yadzin. With the planting of cotton in the Lhop community, the nettle fiber was abandoned. Nowadays, the traditional clothing of the Lhops is quickly being replaced by the national clothing Gho and Kira. The Lhops have their own traditional dress called Gaada. It is a simple, without pattern, white, coarse cotton cloth about 3 x 2 meters in size. Both men and women wear simple, without pattern, white cotton clothing. Lhop dress Gaada is a white piece of coarse cloth about 3 x 2 meters in size. Lhop men and women wear Ra-hem and Gui-hem, respectively, which are made of Pas-jin (cotton). Ra-hem Ra-hem is a simple, plain white garment that is folded over from the back, crossed over the chest, and knotted at the neck. The cloth is tied around the waist with a belt called Pa-dzin. The edges are tied together at the center fold point using a bamboo spindle called a rim. The cloth is pulled up above knee length and tied tightly. The loose cloth forms a large pouch in the front part of the body, which can hold many things. Gui-hem Women put on their clothes in the same way, but the cloth covers their body from the shoulder to mid-calf, leaving a smaller pouch on the front along the torso. In their traditional dress, they do not need carrying bags. Gui-hem was always like any other Kira worn by most Bhutanese women, except that it was made of cotton. They tie the edge of their cloth over their shoulder with a brooch made of bamboo called a lung. On important occasions, women wear jewelry. Both men and women wear Pun-gop (tego or shirt) over their shoulders. The Lhops use very few garments at home. Currently, they do not weave or knit their own clothes. Wear and tear on their clothes are crudely repaired or sewn with the help of native bamboo needles, selvages, and threads (Jin) made from plant fibers. Steel needles and mill threads from commerce are rapidly displacing selvages and Jin. Lhops no longer wear their traditional clothing regularly, but they still wear it at Lhop dances.
Bhutan
ICH Materials 49
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Indonesia - Balinese Dance ‘Sanghyang Surya
This is an original dance reconstructed based on traditional dances of Bali. To the Balinese, dance is a form of religious ritual performed according to the Balinese calendar. The traditional dances of Bali are inspired by nature and represent traditions, customs and religious value. The Balinese believe that the movements of traditional dances express the views of nature, while the mudra (hand movements) are related to their daily lives, laws, faith and customs. Traditional Balinese dances can be performed by both male and female dancers, who wear elaborate traditional costumes of bright colors, imprinted with flora and fauna patterns in gold foil, and decorated with accessories adorned by golden leaves and jewelry. The dance moves are very complex and precisely detailed. Dancers are required to possess not just skill, but also inner beauty (taksu), charisma, modesty and restraint, along with special spiritual power to bring the dances to life.\n\nDances performed in the many communities of Bali are typically transmitted through unofficial channels from elders to children in the traditional sekaa groups. The traditional dances of Bali are cultural heritage containing the customs and culture of the Balinese, and an important part of the identity of a community. The three genres of traditional Balinese dances were inscribed to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nCharacteristics:\n∙An original dance reconstructed from the three genres of traditional dance in Bali inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nPerformed by Dance Company of Jakarta State University\nDirected by Ida Bagus Ketut Sudiasa
Indonesia Sep 3, 2016 -
Kris: A Talismanic Ancestral Dagger
The kris is a cultural masterpiece handed down by the ancestors of modern Indonesians. It is a dagger with a length of 15-50 cm, adorned with asymmetrical and elaborate designs and sharp edges. The kris embodies tradition, social function, art, philosophy, and mysticism. Kris blades, hilts, and sheaths are occasionally decorated and inlaid with gold, silver, and jewelry to be given as precious gifts on national occasions, Kris production involves a number of spiritual aspects, as well as metalwork techniques. \n\nThe kris is more of a talisman than a functional weapon and has always been associated with the historic moments of Indonesia, including the Indonesian War of Independence.
Indonesia 2019
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Wedding song
Sobane padagalu or wedding songs are sung by women during the various stages of a wedding. These songs often equate the bride and groom to Sita and Rama of Ramayana or Rukmini and Krishna of Mahabharata. Hence most of the descriptions are mythical in nature. In this song, the bride is described in detail. Her beauty, clothes, and jewelry are compared to those of Sita of the epic Ramayana. It is sung during the bride’s homecoming. The groom’s sister stops the bridal pair at the door, letting them enter only after receiving a gift from the groom.
India 1938 -
Jhamke Fuli
This is a Jhyaure melody played at various festivals by the people living on the outskirts of the Kathmandu Valley. It describes the beauty of the women wearing jewelry and other ornaments.\nInstruments: maadal, saarangi, baansuri, jhamtaar
Nepal 1905
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Online BharatanatyamBharatanatyam is the oldest classical dance traditions among the eight classical dances of India. It has its origin in the southern parts of the country. The art form has its beginning as a temple tradition and later evolved on to the proscenium stages. The history of Bharatanatyam is as vibrant as the cultural traditions of south India, especially Tamil Nadu. The sculpture, fine arts, music, and every other art tradition is interlinked with this age-old art form which successfully retains its significance until today.\n\nTraditional Bharatanatyam follows a seven-part presentation, which is called margam. The art form generally includes a solo dancer and musicians along with on or more singers. The music and vocal performance and the dance movements trace back to the ancient Natya Shastra, and many other Sanskrit and Tamil texts.\n\nThe solo Bharatanatyam dancer wears a dress that resembles a Tamil Hindu bridal attire. She wears a brightly colored sari, specially designed for the dance to accommodate the dancer’s movements. Her body is also adorned with jewelry—on her ears, nose, and neck that outlines her hair.\n\nGiven our current situation with COVID, much of world is going digital, and performing arts are also adapting. However, online Bharatanatyam sessions are offered by Aiswarya Lakshmi. The sessions allow participants to have a similar learning experience from a mentor or teacher. Having gotten her Bharatanatyam training from the prestigious Kalakshetra Foundation, India, her sessions follow the dancing and teaching methods of the school. The focus on the Bharatanatyam vocabulary and basics of dance textual traditions will sculpt a participant into an artist themselves and a better connoisseur of classical Indian arts.\n\nFor further information, send Aiswarya Lakshmi a message at lakshmi.aiswaryaa@gmail.com\n\nPhoto 1 : Dear All, Image courtesy of Prateeba Mayuran, Bharatanatyam and Kuchipudi dancer, Dance photographer, Chennai, India\nPhoto 2 : Handful of Flowers, Image courtesy of Prateeba Mayuran, Bharatanatyam and Kuchipudi dancer, Dance photographer, Chennai, IndiaYear2021NationIndia
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Mother’s Day in NepalMother’s Day is a holiday in honor of the mothers, that is celebrated in different forms throughout the world. Nepalese Mother’s Day which is known as “Amako mukh herne din” which literally means to look upon a mother’s face in the Nepali language, is celebrated across the nation on the last day of the dark fortnight of April or early May.\n\nOn this auspicious day, regardless of age, all the sons and daughters prepare traditional sweets and gifts. Then they visit their mother and bow deeply to the mother’s toe to receive her blessing and offer her gifts and sweets. In consequence, the mother blesses them by touching their foreheads with her hand (bowing deep down to the toe is an ancient ritual that expresses honor and respect to the elders and love, good fortune, and blessings to the younger). On the other hand, married daughters dress in a colorful sari, wear different jewelry, and visit their mothers by carrying baskets full of delicious traditional foods, fruits, and sweets. All family members gather together, thank their mother, get a blessing from her, and spend quality time together.\n\nHowever, those who have already lost their mother go to Mata Tirtha (Mata means mother and Tirtha means pilgrimage), a sacred pond southwest of central Kathmandu to do ritual offerings for the departed soul of the mother.\n\nThe story behind Mata Tirtha.\n\n“Legends says that there was a boy who used to take his cows to graze nearby the pond. After the sudden death of his mother, he was depressed. On Mother’s Day, he went to the forest to pray at the edge of the pond in remembrance of his mother. As he offered gifts, his mother’s beloved face miraculously appeared in the water. He wanted her to go back home but it was impossible because she was dead. The dead mother agreed to appear in the pond every year, and the boy started visiting his mother on the same day every year.”\n\nTherefore, until today people with the hope to see their mother’s face in the pond go to Mata Tirtha. It is said, however, that a lady visiting the pond wished to see her mother’s face, and as soon as she saw her mother’s face, she jumped into the pond to join her and disappeared into the depths. Since that event, it is said that the dead people stopped being seen in the pond.\n\nBut, nevertheless, those whose mother is dead still go to the pond to take a holy bath, do sraddha (Hindu worship) and offer gifts nearby the temple to offer respect to the demised soul to rest in peace.\n\nSo, people across the country come to this pond, often traveling many hours they arrive at dawn, pray for the peace of their mother’s soul and take a bath in the pond which is considered a holy bath, and do sraddha. Every year on this day, a big religious fair takes place at Mata Tirtha. After the offerings and praying and holy bathing in the name of the deceased, people say that they feel the warmth of their mother’s blessing. So, after finishing all rituals they go to the fair and enjoy it.\n\nBut nowadays Mother’s Day celebration is being westernized. People instead of preparing traditional sweets, bake or buy a cake with “Happy Mother’s Day” on it and instead of eating at home, they eat out.\n\nIn spite of that, Mother’s Day is one of the most important traditions in Nepal. It is a special time for a family reunion and showing respect to the mother.\n\nphoto : Daughter is putting 'Tika' on mother's forehead to get blessing on Mother's Day . © Rashmi MaharjanYear2022NationNepal