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decoration
ICH Elements 9
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Traditional craftsmanship of Mongol costume
Mongolians do believe that their traditional costumes represent and express the essence of the state existence. According to the symbolic meaning, we do say as the hat represents the rising state, the deel represents the harmonic state, the belt represents succeeded state, the boot represents the support of stay. The traditional costumes, accessories and decorations of various ethnic groups of Mongolia illustrate their origins and historic background, specific features of culture, practices and aesthetic manners. The distinct characteristics of different ethnic groups can be seen through their hats, men’s deel (traditional garment) and their accessories or cuffs, lapel, shoulder of women’s deel, hair dressings, decorations and boots.
Mongolia -
NONPARSOZI, mukhparsozi
Nonpar or mukhpar is tool for decorating breads. It is made from wood with applying small pieces of wires. In the front of nonpar is designed ornament which will be put on the face of round bread.
Tajikistan -
Najeonjang (Mother-of-pearl Inlaying)
National Intangible Cultural Heritage, Republic of Korea Najeonjang, or mother-of-pearl inlaying, is a Korean traditional method of decorating the surface of diverse household objects by lacquering and inlaying them with strips of mother-of-pearl. This traditional handicraft is known to have originated from Tang China, but discoveries made at many archaeological sites related with ancient Korean kingdoms prove that Korea has a long tradition of the craft and that ancient Korean people exploited it profusely to produce all kinds of everyday household objects. To produce a lacquer work inlaid with a mother-of-pearl design, the artisan needs to make a “white frame” with wood first of all. He then lacquers its surface and decorates it by inlaying carefully prepared strips of mother-of-pearl, some of which are as thin as threads, on a prearranged pattern by using the techniques of kkeuneumjil and jureumjil. Each of the individual work processes is completed with a stage of grinding, lacquering, and polishing the surface. In the Goryeo and early Joseon Periods, the most favored designs included peony blossoms, chrysanthemums, and lotus flowers. Designs became more diverse during the mid-Joseon Period as artisans began to extend their interest to flowers with birds, white cranes, grapes, apricot flowers, and the Four Gracious Plants. The traditional technique of inlaying mother-of-pearl is a time-consuming process that is currently preserved by, among others, two government-designated artisans, Song Bang-ung and Yi Hyeong-man.
South Korea -
Gungjung Chaehwa (Royal Silk Flower Making)
National Intangible Cultural Heritage, Republic of Korea Gungjung Chaehwa, Royal silk flower making, is the art of making flowers with silk or ramie fabric preserved in the royal court of Joseon for the decoration or celebration of various royal and state events such as banquets and ceremonial rituals. The art, which has been registered on the list of Important Intangible Cultural Heritages in recognition of its close connection with the traditions of the Joseon royal court, uses various silk flowers as symbols of peace, longevity, or health.
South Korea
ICH Materials 30
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NONPARSOZI, mukhparsozi
Nonpar or mukhpar is tool for decorating breads. It is made from wood with applying small pieces of wires. In the front of nonpar is designed ornament which will be put on the face of round bread.
Tajikistan -
NONPARSOZI, mukhparsozi
Nonpar or mukhpar is tool for decorating breads. It is made from wood with applying small pieces of wires. In the front of nonpar is designed ornament which will be put on the face of round bread.
Tajikistan
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Commonalities and Diversity of Asia-Pacific Intangible Cultural Heritage: For Asian Values and Safeguarding Strategies of Lacquer Crafts\t
Keynote Presentation\t\nCommonalities and Diversity of Asia-Pacific Intangible Cultural Heritage: For Asian Values and Safeguarding Strategies of Lacquer Crafts by Ki-dong Bae (Professor Emeritus, Hanyang University)\n
South Korea 20210218 -
Historical Change of Korean Lacquerware and Najeon Craft
Presentation 1 Historical Change of Korean Lacquerware and Najeon Craft by Jaeho Lee (National Museum of Korea, Art Department Curator)
South Korea 20210218
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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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The Commonality and Diversity: For the Asian Values of Lacquer Crafts Culture and Its Safeguarding StrategiesKey matters on modern significance of intangible heritage and its safeguarding Intangible heritage is living cultural heritage which can express human’s wisdom and sensibility intactly by this time. Even though some of them already disappeared, are about to disappear and would disappear not before long, there still remain many of them in our thoughts and experiences. Such heritage is the infinite future resources and traces of the past that human can enjoy in this digital era. The traditional cultures can play a more important role for us in feeling human’s emotions and humanity in the digital era because they contain old human’s memories, and can be an economic means as well. These intangible heritages, in essence, may have the same function even though their forms are different. In particular, we can see that certain cultures spread to neighboring regions, which led to the creation of a new form of culture in a community that accepted them. This process is important as an asset for sharing humanity and at the same time becomes a meaningful source for each community to have its cultural identity as an expression of diversity of human thought.\nTherefore, how to preserve the shared or coexisting intangible heritage among cultural communities is a key topic in the international society today. Meantime, there have been some cases in which even though they are the same kind of heritage, certain heritages in some areas were inscribed on the list of World Heritage but others were pushed aside, in spite of their equally excellent values. In today’s fast-changing society, if culture is neglected even a little bit, it will disappear. Then, if it disappears, total amount of culture in that society will eventually shrink, which means that the future values will be lost. What is called culture inevitably comes to vanish without those who use it, no matter how creative it is. In order to preserve traditional heritage that may disappear at any time, it is an essential process to persuade the society, develop modern utility and seek for strategic methods, deeply thinking of its future value of such heritage.Year2021NationSouth Korea