ALL
textile art
ICH Elements 20
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Traditional knowledge related to piled carpet technique
Today, piled weaving is vividly demonstrated in the patterned piled carpets that are distinguished by their quality and durability. Sheep, caprine or camel hair is used for base of the carpets. Piled carpets are original and colorful as are other items of the applied and decorative arts of the Kyrgyz. Kyrgyz piled carpets, are weaved on a simple horizontal machine – ‘dyukoun’. Instruments of masters also include wooden comb – ‘tokmok’, which is used to nail picks and piles, a knife – to cut piled threads, and scissors – to trim the piles. Geometrical shapes are prevailing in the Kyrgyz piled carpets. These are: squares with jogged edges or elongated endings – ‘omurtka’, triangles – ‘tumarcha’, cross shaped figures – ‘chaidosh’, simple or stepped rhombs – ‘it taman’, star shaped forms – ‘jyldyz’ as well as various octangulars and etc. Plant and horn shaped motifs are also present in the ornaments such as ‘toguz doubou’ (nine hills), ‘alma kouchout’ (apple pattern) and etc.
Kyrgyzstan -
Batik
The word “Batik” means “drawing out with wax”. The coloured and patterned cloth has gained popularity not only in Malaysia but also in international fashion scenes. This fabric normally carries motifs that reflect the flora and fauna, geometry and landscape of nature. Terengganu Batik is renowned for its vibrant colours, bold prints and its versatility. It is soft, light and breezy and very well suited for the summer and tropical climate and its fabric is made into shirts, dresses, crepe de chine, scarves, kaftans, sarongs, pillow cases, bags, table cloths and many more items. There are two types of batik, the hand drawn and the block print. The hand drawn is based on the artist’s imagination and creativity. The artist begins by using a small pen-like container filled with hot-melted wax. It is then hand-drawn onto a white fabric with hot liquid wax creating a design. Brushes are then used to paint dyes within the outlines, thus allowing for the creation of shaded and multihued designs. The gracefulness and speed of their freehand never ceases to amaze one’s attention. It is a beauty of the highest form of traditional batik where each hand-drawn article of clothing is unique. The block print batik uses either a copper or a wooden block that looks like a domestic iron, artistically designed with intricate patterns. The block is dipped in a hot melted wax and press printed on the white cloth, which is then dyed in the colours required, rinsed and dried. Many contemporary designers also incorporate elements of this ancient craft into their colourful creations. Today, batik is not only used for outfits, but innovative commercial uses of this beautiful and artistic textile are made into bags, cushion covers, curtains, slippers etc.
Malaysia -
Traditional knowledge related to embroidering and making of 'Tush kiyiz’
Tush kiyiz represents intensely embroidered ornamental carpet used to decorate the house. It is of a rectangular shape and embroidered on different types of fabrics. Initially it was used for insulating purposes in the yurt. Most probably, the first wall carpets were made of felt, which is evident from its name: tush – meaning “outer” or “in front”, and kiyiz – meaning “felt.” tush kiyiz is an example of Kyrgyz embroidery. Embroidery is one of the most ancient and most wide-spread crafts of Kyrgyz people. During the centuries Kyrgyz women have developed their own ornamental style, which is dominated by vegetative and zoomorphic motifs such as the ornaments of leafs, branches, flowers as well as round and spiral patterns. Kyrgyz embroidery leaves a lot of room for artistic expression and improvisation. Some Kyrgyz women embroider without stencils based on their own memory and imagination.
Kyrgyzstan -
Embroidery art
Embroidery is a type of needlework. Beauty of Uzbek embroidery, ancient origins of its patterns and diversity of techniques applied indicate to the fact that this craft has passed a lengthy process of historical development, and has rich traditions. Large-sized decorative embroidery can be divided into several types: suzani (wall-mounted panels; literally - "needle"), nimsuzani (literally - "half of suzani"), ruyidjo, joypush yakkandoz and choyshab (bedspreads and bedsheets), takyanpush (pillow coverlet), oy-palak and gulkorpa (Tashkent versions of suzani), sandalipush (coverlet for sandal), zardevor, dorpech or kirpech (embroidery used for decorating upper parts of walls), joynamoz (prayer rug), bugdjoma (coverlet for blanket), beshikpush (coverlet for cradle), etc. Embroidered items of small size are represented by oyna-khalta and shona-khalta (sacks for keeping mirror and comb), qiyiqcha, miyonband, chorsu and belbogh (versions of men's waist kerchiefs), doppi (skullcap), sarpokkun, qoziqlungi and tanpokkun (long towels with embroidered ends), bugjoma (linen used for wrapping dress), sarandoz and romoli-peshonaband (types of head shawls and headdresses for women), dast romol (handkerchiefs), jiyak (embroidered edges used for decorating certain elements of a dress), etc. Ornamental pattern and composition of embroidery depended on its practical purpose (i.e. for what purposes it was used). Main embroidery motifs are symbols of cosmogonic origin (i.e. sun, moon, stars in the form of large and small rosettes), vegetative and geometric patterns, stylized images of animals and birds. For embroidery of Uzbekistan peculiar is application of distinct technique of sewing, i.e. complete sewing of large surfaces of the pattern, and leaving (relatively) small area for the background. Also, different types of one-sided satin-stitch and chain-stitch are used, which fill motifs of an ornament completely. Satin-stich can be of two types, i.e. "bosma" and "kanda-hayol". There are different types, patterns and traditions of embroidery, depending on their belonging to their respective regions: Bukhara, Fergana, Shakhrisabz, Nurata, Tashkent, Fergana, etc.
Uzbekistan
ICH Materials 58
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Making Ala-Kiyiz, the Method of Making Shyrdak
List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 2012\nAla-kiyiz is the most vivid example of Kyrgyz handicrafts. Translated as “motley felt,” ala-kiyiz represents a felt carpet with ornaments heaved onto its upper surface. It is mostly a carpet for everyday use rather than as element of decoration.\n\nShyrdak is made with a mosaic technique and is one of the most complex techniques in felt carpet making. One of the most important qualities of shyrdak is its durability. The average lifecycle of a shyrdak is approximately a hundred years, sometimes even longer.
Kyrgyzstan 2017 -
Traditional Kazakh Felt Manufacturing
Felt making is one of the oldest traditions, bearing an artistic and aesthetic value and symbolism closely associated with folk customs and rituals. The process of collecting wool is twice a year—in autumn and in spring. A story about the historical value and ubiquitous use of rams’ skins. The process and the staged technique of felting. One way to preserve traditional felt making. It is a question of the ecological value of felt, the methods of extraction from natural materials (plants and stones), and the use of certain ornaments associated with nature and animals.
Kazakhstan 2017
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THE METALLIC THREAD OF MALAY EMBROIDERYHistorically, Malaysia (the Malay Peninsula) was known as the Golden Chersonese, and in the past, Malay populations lived in riverine and coastal settlements, which were some of the most important trading hubs in Southeast Asia. The Malay maritime empire was once a large kingdom, stretching from the coast of Vietnam and Cambodia to Southern Thailand, the Malay Peninsula, Singapore, Borneo, Sumatra, Riau, Sulawesi, and Southern Philippines. Across the Malay-speaking world, fabrics embellished with gold were for the rich and powerful, such as the ruler of the kingdom. Besides the golden fabric, songket, Malay embroideries were mostly used by nobility and royals. In the fifteenth century, the Melaka Sultanate instituted sumptuary laws governing the types of ornaments and colors for interior and soft furnishings, such as curtain fringes, bolster ends, cushions, prayer mats and other items. Across the Malay world, the numbers of dais, bolsters, and layers of siting mats, were associated with a certain hierarchy, varying across the regions.Year2018NationSouth Korea
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The Journey Towards Knotted AccessoriesKnotting is, in essence, the act of tying a thread or a cord so that it does not come undone, while knot craft is the art of weaving together various shapes using threads or cords made through various methods in order to serve a certain physical or psychological purpose.\nThe origin of knotting can arguably be traced back to the advent of humanity itself. In primitive times, it was necessary to fashion cords and knots out of tree bark and grass for survival purposes in the context of the hunter-gatherer lifestyle; uses would have included tying or linking together hunting tools or carrying captured prey. With the advancement of humanity, however, knots surpassed their purely utilitarian purpose and evolved into craft items that are closely linked to everyday life, with the addition of various materials and crafting techniques. For example, each civilization has evolved its own knotting techniques and shapes influenced by its surrounding environment, to craft items such as belts or waist cords, baskets, and straw mats. Over time, knots have also become accessories worn for aesthetic purposes and ornamental items used to decorate the household, in addition to ritual items used in various ceremonies. In this regard, knots have surpassed their original survival and everyday life purposes to take on aesthetic and spiritual functions as well.Year2022NationSouth Korea