ALL
retreat
ICH Elements 5
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Traditional folk treatments for animals
One of the most important achievements of Mongolian culture is its traditional medical treatment of domestic animals. Mongolians engaged in animal farming for many centuries and accumulated a great deal of experience that it transmitted to younger generations orally. The oriental sutra "Nei-jin" says: 'The northern country is cool and cold. Cold diseases are frequently occurred. So, they cure cold diseases by cauterizing. They cure hot diseases by bleeding. It is evident that during the Hunnu period there were two popular treatments: cauterization and bleeding. A Mongolian traditional medical treatment of the most ancient origin, which does not demand elaborate schooling, includes the Mongolian folk medical treatment of the domestic animals. Livestock breeders treat their animals (if those diseases are non-infectious) by fumigating, bathing, sweating, applying a poultice, covering with warm cloth or felt, setting bone, cauterizing, scorching, bloodletting, lancing, shaking, massaging and stinting.
Mongolia -
Yig-par ko-ni: Woodblock Engraving
Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose. In Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today. Moreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. He created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.
Bhutan -
Gelong: Monks in Bhutan
Gelong, monks and Zhung Dratshang, Central monastic body or Geduen lobdra, monastic schools in Bhutan play an important role in religious and cultural life of the different sections of society. In the past, each family enrolled at least one of their sons into the local monastery, so that monks constituted a considerable proportion of the male population. Although this percentage has declined with the passage of time, the roles of the monastic community have increased in recent years. The Head Abbot or Je Khenpo, who is responsible for the nation’s religious affairs, holds a prominent place in the social and cultural life of the people. Five deputies or senior masters assist him in supervision across the kingdom. Below them are the monks of other ranks with specific responsibilities. A boy may be enrolled in the monastery at an early age, on an auspicious day. He starts to wear the maroon robe and his head is shaved. The novice receives ordination step by step, based on the monastic code of conduct specified in the Vinaya. The curriculum begins with the learning of the alphabet, spelling and reading, and advances to the memorisation of prayers and other relevant texts besides observing daily monastic rules of discipline. They also learn various ritual arts, metrical rhymes, trumpet playing, making ritual cakes etc. As they proceed to higher classes, they learn grammar, prosody or literary science, in preparation for pursuing higher Buddhist philosophical studies. After having gained a basic proficiency in religious studies from the monastic schools, the monks graduate to higher Buddhist philosophical studies. Besides emphasising liturgical, doctrinal and esoteric scriptures, monastic education also offers training in the auxiliary sciences and arts such as medicine, astrology, calligraphy, painting and grammar. The novice monk is eligible for full ordination only after the successful completion of a graded nine-year course. The entire period of study encompasses fifteen to twenty years. Needless to say, many whose abilities fail to meet the progressively higher standards settle for the lesser monastic grades, while the select few, in accordance with their accomplishments, rise up the hierarchical ladder. The monk’s education does not end with his gaining proficiency in Buddhist studies alone in the Buddhist colleges. After receiving theoretical teachings, he must undergo retreat for three years to practice meditation, called ‘losum choesum,’ which means three years and three faces of a month (the first face from the 1st day to the 15th day which is known as upper-face, the second face from the 16th to the 30th, known as the lower-face. Choesum means a complete month – upper and lower faces – and the upper face of the following month, which makes one and a half months). Performances of rituals on daily, monthly and annual basis are part of the normal monastic life. The monk must master different types of instruments including the trumpet, drum, clarinet and cymbals. Since almost every important occasion in the life of the average Bhutanese is coloured with religious significance, monks also visit households to perform annual rites for diverse occasions such as birth, marriage, sickness, death, construction of houses, promotion of senior officials, inaugural functions and many other day-to-day needs.
Bhutan -
The Ceracap Inai Dance
The Ceracap Inai Dance is a court dance originating from the Palace of the Sultan of Malacca. Beginning from the retreat of the Sultan of Malacca when attacked by the Portuguese and Dutch armies, the Sultan and his entourage retreated via Muar River which, at that time, was the land boundary of the reign of the state of Malacca with the state of Johor, and then was enthroned near the settlement at the bank of Muar River. This dance has elements of Indian influences and performed at the palace by palace maidens in front of the sultan and state dignitaries at merriment events. Hence, this dance has a “homage” segment that is paying respect before it starts to be performed. The lighting of fire in this dance too means to ‘brighten’ and ‘brings happiness’.
Malaysia
ICH Materials 30
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Yig-par ko-ni (Script engraving)
Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose.\n\nIn Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today.\n\nMoreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. \n\nHe created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.
Bhutan -
Yig-par ko-ni (Script engraving)
Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose.\n\nIn Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today.\n\nMoreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. \n\nHe created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.
Bhutan
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Sample Data Ⅱ : Nagaland, Orissa Cultural Atlas of India - Development of a web-based statewide database on the cultural resources of India
The early history of the Nagas is shrouded in obscurity and many theories abound of their origin and migration. How and when they came to settle in the north‐eastern region of India is an unsettled question. \nSeveral traditions exist within the multi‐ethnic Naga communities on their origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim to be their ancestors. The Ao is distinguished with two phratries –Chongli and Mongsen. The Chongli claim that the three males and females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with his sister Elongshe. They were the first human beings who emerged at Longtrok. \nEach male member along with his sister formed the three phratries of the Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with his sister founded the Jamir clan respectively. The three siblings intermarried and through these marriages, the Ao clans came into existence and a well‐ knitted clan exogamy marriage evolved that is followed to this day.
India 2009 -
ICH Courier Vol.33 Village Guardian Rituals and Communities
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 33 is 'Village Guardian Rituals and Communities.'
South Korea 2017
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LEARNING SOCIAL ROLES WHILE PLAYING TRADITIONAL GAMESTraditional games in Papua New Guinea, mainly played by children, were an integral part of society. The nature of those games can be categorized as games of skill, games of strength, water sports, and games for quieter mood.Year2013NationSouth Korea
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Memories and Traditions: ICH of Laos in the Twenty-First CenturyThe ICH of Laos is vibrant despite the instability experienced by the country’s populace throughout the twentieth century. Peace returned to the country in 1976 once the Lao People’s Democratic Republic (PDR) was established on 2 December 1975. However, a large proportion of the population relocated to other countries, including many custodians and practitioners of ICH, not only those of the Lao ethnic group but also other ethnicities such as Hmong. The relocation of these masters or knowledgeable persons led to a break in the transmission of this wisdom to younger generations. Over time the restrictions mentioned above were lifted, allowing for the revival of various ICH elements. Memory served as a reservoir of knowledge for ICH traditions whose practice and transmission had ceased temporarily. The masters of some elements are no longer present in Laos to transmit the wisdom of techniques, symbolism, and use. Memory is thus crucial since this knowledge is not recorded in books, but rather is passed on via oral instruction.Year2021NationLao People's Democratic Republic