ALL
ICH Elements 5
-
Geumbakjang (Gold Leaf Imprinting)
National Intangible Cultural Heritage, Republic of Korea Geumbakjang, or gold leaf imprinting, refers to a technique of applying decorative patterns on fabric with thin gold sheets. Nowadays, women's traditional wedding costumes feature such patterns; in the Joseon Period (1392~1910), however, gold foil ornament was used only in the royal household. Few relics featuring gold foil patterns remain due to problems of preservation. A ceremonial robe worn by Princess Deokon (1822~1844), the third daughter of King Sunjo of the Joseon Dynasty, is decorated with the gold leaf Chinese characters “壽” and “福,” symbolizing “longevity" and "happiness," respectively. This robe is designated as National Folklore Cultural Heritage. Gold foil designs are produced by stamping the glued surface of a pattern block onto fabric, pressing thin gold sheets against the glued patterns before they dry, and removing the leftover sheet outside the patterns. An artisan of gold leaf imprinting has to master the skills needed at each of these stages, i.e., carving decorative patterns on wooden blocks, choosing and arranging patterns to suit the garment, understanding the properties of gold and glue, and processing them, all of which require extensive experience over a long period. Among these, preparing the gold sheets, or geumbak, requires great skill as well extensive labor. In recognition of its value as an indigenous craft for producing gorgeous and dignified dresses in Korean style, gold leaf imprinting has been designated as an important intangible cultural heritage so that the tradition can be revived.
South Korea -
Geumsok Hwaljajang (Metal Movable Type Making)
National Intangible Cultural Heritage, Republic of Korea Geumsok Hwaljajang refers to the skill of making metal printing type and printing books with it, or to an artisan with such a skill. The world’s first metal printing type was made during the Goryeo Period (877 – 1394). A reprinted version of a book Nammyeong Cheon hwasangsong jeungdoga (Song of Enlightenment with Commentaries by Buddhist Monk Nammyeong) printed with metal type in Gaegyeong after the Goryeo Dynasty relocated the capital to Ganghwado in 1232 (the 19th year of the reign of King Gojong) is still extant. The printing of Sangjeong yemun (Detailed and Authentic Codes of Ritual and Etiquette) with metal type tells us that the skill had developed earlier. During the Joseon Period (1392 – 1910), metal printing type was improved, with the central government offices playing a leading role. In Korea, metal type was made with a forging technique. The production process is composed of four stages, cutting out letter patterns, making prototypes, forging and finishing. There are two kinds of metal type production, depending on forging techniques used. These are lost-wax casting, which was chiefly used at the beginning, and sand casting, which was commonly used after the introduction of Chojugabinja which was the first metal type, during the reign of King Sejong in 1434. Metal printing type is a work of comprehensive art made with a combination of many diverse skills and techniques that display the ingenuity of Koreans.
South Korea -
Sing-par tab-ni: Woodblock Printing
The Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet. Following the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972). Starting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others.
Bhutan -
Gakjajang (Calligraphic Engraving)
National Intangible Cultural Heritage, Republic of Korea Gakjajang refers to the skill of engraving calligraphic letters to be used for wood printing blocks or to an artisan with such a skill. The oldest existing print done with wood blocks is the Great Dharani Sutra of Immaculate and Pure Light made in the Silla Period (circa 57 BC – 935 AD), while the wood blocks of the Tripitaka Koreana, made between 1236 and 1251 during the Goryeo Period, are regarded as the most outstanding still in existence. It became common practice to use hanging boards containing engraved characters in royal palaces and temples, and even in private houses. Towards the late Joseon Period (1392-1910), this once exquisite skill went into decline, but the reliance on the traditional practice of wood block printing remained high until it was pushed aside with the introduction of modern photography and printing technology during the colonial period.
South Korea
ICH Materials 25
-
Dong Ho Folk Painting: A Breath of Indigenous Spirit
Dong Ho folk painting is produced in a village on the southern bank of the Duong River, about 25 km, northeast of Hanoi, Dong Ho paintings are printed using woodblocks on do paper, which is handcrafted from do tree bark growing in the forests of Vietnam. The tough, firm, and durable do paper plays a vital role in producing Dong Ho folk paintings. Imbued with refined natural colors, these paintings are created basted on the values and techniques that have been transmitted for generations, which is why they are still beloved by many people.
Viet Nam 2019 -
Dong Ho Woodblock Folk Paintings(KOR)
Dong Ho folk painting village is located on the southern bank of the Duong river in Song Ho commune, Thuan Thanh district, Bac Ninh province, about 25km northeast of Ha Noi. Dong Ho paintings are a traditional art form with their own characteristics. The characteristics of Dong Ho paintings are featured in their materials, colors and products that are printed with a woodblock. Dong Ho paintings are printed on Do paper, which is handcrafted paper produced manually from the bark of the Do tree that grows in the forests of Viet Nam. The film demonstrates the cultural aspects of the paintings in theme expressions and skills of making the woodblocks and printings.
Viet Nam 2019