This article lists the practices listed in UNESCO intangible cultural heritage in Iran.
Understand
The country has fourteen practices included in the "representative list of intangible cultural heritage "From UNESCO and two practices on"emergency backup list ».
No practice is included in the "register of best practices for safeguarding culture ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The Radif of Iranian Music | 2009 | * Performing Arts * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | The Iranian Music Radif is the traditional repertoire of classical music from Iran that is the essence of Persian musical culture. More than 250 melodic sequences, called gushe, are organized in cycles, the basic mode composing the backdrop to which are added the most diverse melodic motifs. Although the interpretation of traditional Iranian music is essentially based on the art of improvisation (depending on the mood of the artist and the reactions of the audience), the musicians devote several years to the acquisition of the mastery of the radif and the musical tools necessary for its interpretation and composition. The Radif can be vocal or instrumental, using different instruments using different performing techniques, such as long neck lutes. tār and setār, the strings struck zither santur, the pike fiddle kamānche and the reed flute ney. Transmitted orally from master to disciple, the Radif embodies the marriage of aesthetics with the philosophy of Persian musical culture. No less than ten years of work are necessary for learning the Radif, during which the students must not only memorize the radif repertoire, but also engage in a process of musical asceticism intended to open the doors of spirituality. This extremely rich treasure lies at the heart of Iranian music and reflects the cultural and national identity of the Iranian people. |  |
| 1 The traditional skills of carpet weaving in Kashan | 2010 | * Know-how related to traditional craftsmanship * Knowledge and practices concerning nature and the universe | In Kashan, a city that has long been the center of quality rugs, nearly one in three people are employed in the manufacture of rugs, and of these more than two-thirds are women. The carpet-making process begins with a design, drawn from a set of established styles, with patterns of flowers, leaves, branches, animals and scenes inspired by history. The loom employed is called dar; the warp and weft threads are made of cotton or silk. The rug is made by tying strands of wool or silk on the warp using a technique called farsi stitch; the knots are held in place by a weft thread, the whole being compacted using a comb. The Farsi style of weaving (also called asymmetric knot) is practiced in Kashan with exceptional delicacy, evidenced by the underside of the rug with its fine and regular knots. Kashan rugs owe their colors to the use of natural dyes, including madder, walnut stain, pomegranate skin and grape leaf. The traditional skills of weaving Kashan rugs are passed on to girls by learning from their mothers and grandmothers. It is also by apprenticeship that men acquire the techniques of drawing, dyeing, shearing sheep, making trades and tools. |  |
| The traditional know-how of weaving Fars rugs | 2010 | * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | Iranians are renowned the world over for their mastery of the art of carpet weaving, the weavers of Fars, in southwestern Iran, one of the most renowned of them. The wool used to make them is shorn by the men of the community in the spring or fall. The men then build the loom, a horizontal frame placed on the ground, while the women spin the wool on spinning wheels. The dyes used (red, blue, brown and white) are mostly natural and obtained from plants: madder, indigo, lettuce leaf, walnut stain, cherry stems and pomegranate skin. The women take care of the design, the choice of colors and the weaving; they reproduce on the carpets scenes from their nomadic life. They weave without cardboard (pattern), so that they never weave two rugs with the same design. The dyed yarn is tied around the warp yarn to create the rug. Finally, the edges are sewn, the excess wool is removed to bring out the patterns and the rug undergoes a final cleaning. All these skills are passed on orally and by example: mothers teach their daughters the use of materials, tools and techniques, while fathers train their sons to shear wool and make looms. . |  |
| The rituals of Pahlevani and Zoorkhanei | 2010 | * Know-how related to traditional craftsmanship * Social practices, rituals and festive events * Performing Arts * Oral traditions and expressions | Pahlevani is an Iranian martial art that combines elements of Islam, Gnosticism and ancient Persian beliefs. It designates a ritual set of gymnastic and calisthenic movements, performed by ten to twenty men handling each of the instruments which symbolize ancient weapons. The ritual takes place in a zoorkhane, sacred building surmounted by a dome which includes an octagonal arena dominated by one or more circular rows of terraces for the public. the morshed (master), who directs the ritual of the Pahlevani, recites epic and Gnostic poems and marks the rhythm on a zarb (drum on foot). The poems he recites convey ethical and social teachings and are part of Zoorkhanei's literature. Participants in the Pahlevani ritual can come from all social strata or religious persuasions and each group has strong ties to its local community, working to help those of its members who are in need. During instruction, ethical and chivalrous values are taught to students under the supervision of a pīshkesvat (champion). Those who master the various arts and techniques, observe religious principles, and successfully pass the various ethical and moral stages of Gnosticism can acquire the prestigious rank of pahlevanī (hero), which gives them status and authority within the community. There are currently 500 zoorkhanes in Iran, each bringing together practitioners, founders and several pīshkesvats. |  |
| The music of the Bakhshis of Khorasan | 2010 | * Performing Arts * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | In the province of Khorasan, the Bakhshis are renowned for their talent as dotār, a long-necked lute with two strings. They declaim Islamic and Gnostic poems and epics on mythological, historical or legendary themes. Their music, called maghami, consists of instrumental and / or vocal pieces, performed in Turkish, Kurdish, Turkmen and Persian. the Navāyī is the most widespread magham: it is extremely varied, vocal, devoid of rhythm, accompanied by Gnostic poems. The other examples are notably the Turkish maghams Tajnis and Gerāyelī, the religious themes of Shākhatāyī, and the Loy, a former romantic magham of the Kormanj Kurds of northern Khorasan. For the Bakhshis, one of the strings of dotār is male and the other female; the male string remains open, while the female string is used to play the main melody. Bakhshi music is transmitted either by the traditional method by direct teaching from master to student, a method reserved for men of the family or neighborhood, or by modern methods where a master trains several students of both sexes and from various origins. Music transmits history, culture, fundamental ethical and religious rules. This is why the social role of the Bakhshis is not limited to that of a simple narrator, but makes them judges, mediators and healers, as well as custodians of the ethnic and regional cultural heritage of their community. |  |
| The ritualistic drama of Ta‘zīye | 2010 | * Performing Arts * Know-how related to traditional craftsmanship * Oral traditions and expressions | Ta‘zīye (or Taziyeh) is a ritual dramatic art that features religious events, historical and mythical tales, and folk tales. Each performance has four elements: poetry, music, song and movement. The representations can in certain cases include a hundred roles which are divided between historical, religious, political, social, supernatural, real, imaginary and fantastic characters. Each Ta‘zīye piece is unique in its theme, costumes and music. The performances are rich in symbols, conventions, codes and signs that Iranian viewers fully understand; they take place on a stage, without lighting or scenery. The actors are exclusively men who therefore play the female roles; Most of them are amateurs who earn their living from some other activity, but who gamble for spiritual rewards. If the Ta‘zīye holds an important place in Iranian culture, literature and art, its ritual pieces also inspire proverbs used in everyday life. Its performances help promote and strengthen religious and spiritual values, altruism and friendship while preserving ancient traditions, national culture and Iranian mythology. The Ta‘zīye also plays a significant role in preserving the craftsmanship associated with it, including costume making, calligraphy, and instrument making. Its flexibility has allowed it to become a common language for different communities, fostering communication, unity and creativity. Ta‘zīye is transmitted by example and oral instruction, directly from teacher to student. | .jpg/150px-Mourning_of_Muharram_in_cities_and_villages_of_Iran-342_16_(135).jpg) |
| 2 The Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān | 2012 | * Oral traditions and expressions * Performing Arts * Social practices, rituals and festive events * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | Qālišuyān rituals are performed in Iran to honor the memory of Soltān Ali, a holy figure among the inhabitants of Kāšān and Fin. According to legend, he was martyred and his body found and carried on a carpet to a stream in which he was washed and buried by the inhabitants of Fin and Xāve. Today, the Soltān Ali Mausoleum is the site of a ritual where a carpet is washed in the sacred stream in a large gathering. It takes place on the Friday closest to the seventeenth day of the month of Mehr, according to the solar agricultural calendar. In the morning, the people of Xāve gather in the mausoleum to sprinkle the carpet with rose water. Once the wrapping rituals have been completed, they return it to the inhabitants of Fin, outside, who rinse the carpet under running water and sprinkle it with drops of rose water using a wooden stick. neatly cut and nicely decorated. The carpet is then brought back to the mausoleum. The people of Kāšān bring a prayer rug and the people of Našalg celebrate their ritual on the following Friday. These communities maintain the oral transmission of the procedures but also recreate the tradition by adding new and festive elements. |  |
| 2016 | * Oral traditions and expressions * Performing Arts * Social practices, rituals and festive events * Knowledge and practices concerning nature and the universe * Traditional crafts | The Novruz, or Nowrouz, Nooruz, Navruz, Nauroz, Nevruz, marks the New Year and the beginning of spring in a very large geographical area, including, among others, theAzerbaijan, the'India, the'Iran, the Kyrgyzstan, the Pakistan, the Turkey and theUzbekistan. It is celebrated every 21 March, date calculated and originally set based on astronomical studies. The Novruz is associated with various local traditions, for example the mention of Jamshid, mythological king of Iran, with many stories and legends. The rites that accompany it depend on the location, from jumping over fires and streams in Iran to tightrope walks, placing lighted candles at the door of the house, to traditional games. , such as horse races or traditional wrestling practiced in Kyrgyzstan. Songs and dances are the rule almost everywhere, as well as semi-sacred family or public meals. Children are the primary beneficiaries of the festivities and participate in many activities such as decorating hard-boiled eggs. Women play a central role in the organization and running of the Novruz, as well as in the transmission of traditions. The Novruz promotes values of peace, solidarity between generations and within families, reconciliation and good neighborliness, contributing to cultural diversity and friendship between peoples and different communities |  | |
| The culture of making and sharing flatbread Lavash, Katyrma, Jupka, Yufka Note Iran shares this practice with theAzerbaijan, the Kazakhstan, the Kyrgyzstan and the Turkey. | 2016 | The culture of making and sharing flatbread in communities in Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey fulfills social functions that make this tradition continue to be followed by many individuals. The making of bread (lavash, katyrma, jupka or yufka) involves at least three people, often from the same family, who each have a role in its preparation and baking. In rural areas, the process takes place between neighbors. Traditional bakeries also make this bread. It is cooked in tandyrs / tanūrs (earthen or stone ovens dug into the ground), on sājs (metal plates) or in kazans (cauldrons). In addition to the usual meals, flat bread is shared on the occasion of weddings, births, funerals, holidays and prayers. In Azerbaijan and Iran, it is placed on the bride's shoulders or crumbled over her head to wish the couple prosperity while in Turkey, it is given to the couple's neighbors. In Kazakhstan, it is believed that this bread is prepared at a funeral to protect the deceased while awaiting divine decision, and in Kyrgyzstan, sharing the bread ensures the deceased a better stay in the afterlife. This practice, actively transmitted within families and from masters to apprentices, reflects hospitality, solidarity and certain beliefs symbolizing common cultural roots and thus reinforces the feeling of belonging to the community. |  | |
| The art of making and playing the kamantcheh / kamanche, a bowed string musical instrument Note Iran shares this practice with theAzerbaijan. | 2017 | * Performing Arts * Know-how related to traditional craftsmanship | The art of making and playing the kamantcheh / kamanche ("small bow"), a bowed string instrument, has existed for over a millennium. In the Islamic Republic of Iran and Azerbaijan, it is a major component of classical and traditional music, and kamantcheh / kamanche is played at a large number of social and cultural gatherings. Contemporary practitioners primarily use a four-string kamantcheh / kamanche which consists of a horsehair body and bow. The musicians play alone or in an orchestra. Bearers and practitioners are craftspeople, amateur or professional artists, and elementary teachers and students. Kamantcheh / Kamanche is an integral part of the musical culture of both countries. If the manufacture of the instruments gives them a direct source of income, the artisans also perceive this art as an integral part of the intangible cultural heritage of their community. Through their music, the musicians convey a multitude of themes, ranging from mythology to comedy, including Gnostic themes. Today, knowledge about musical practice and kamantcheh / kamanche-making is passed on both in families and in state-funded musical establishments, including music schools. Knowledge about the importance of music for promoting cultural identity is passed down from generation to generation, in all walks of life in both countries. |  |
| The chogan, an equestrian game accompanied by music and tales | 2017 | * Social practices, rituals and festive events * Performing Arts * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship * Oral traditions and expressions | Chogan is a traditional equestrian game accompanied by music and storytelling. The history of the chogan in the Islamic Republic of Iran dates back over 2,000 years. It has always been played most often in royal courts and on urban grounds. In the chogan, two teams of riders compete against each other. The object of the game is to get the ball through the opposing team's goal posts with a wooden stick. The components of playing the chogan are: the actual playing, the accompanying musical accompaniment, and the storytelling. The bearers fall into three main groups: players, storytellers and musicians. The chogan is a cultural, artistic and sporting element which is closely linked to the identity and history of its bearers and practitioners. This element is extremely present in literature, storytelling, proverbs, crafts and architectural ornaments, which constitute valuable aspects of the symbolism of its practitioners. As an integral part of the health of body and mind, the chogan also establishes a link between nature, mankind and horses. Traditionally, transmission has taken place informally within the family or in workshops. Families and local practitioners always actively safeguard the techniques of chogan. However, in recent decades, chogan associations have also been formed. They organize training courses, help local teachers and provide assistance in the transmission of all aspects of the chogan, while safeguarding local diversity. |  |
| Traditional know-how related to the making and practice of dotâr | 2019 | * Performing Arts * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | Traditional skills related to the making and practice of dotar are recognized as fundamental socio-cultural components of popular music among ethnic groups and communities in the regions concerned. The bearers and practitioners are mainly farmers, the men being artisans and musicians and the women musicians. The dotar is a traditional plucked-string musical instrument consisting of a pear-shaped case made of dried mulberry wood, an apricot or walnut wood handle and two strings. According to some beliefs, one of the strings is male and serves as a chord while the other is female and is used to play the main melody. The dotar is played at important socio-cultural events such as weddings, parties, celebrations and ritual ceremonies. For several decades it has also been performed in local, regional, national and international festivals. As they perform, musicians tell epic, historical, lyrical, moral and Gnostic tales that constitute the history, pride and identity of their ethnicity. The traditional know-how linked to the making and the practice of dotar is transmitted informally, from teacher to pupil. The element is also represented in oral and written literature which refers to the history and origins of the bearers. It promotes peaceful coexistence, mutual respect and understanding between the different communities concerned and neighboring countries. |  |
| 3 The pilgrimage to the monastery of the apostle Saint Thaddeus Note Iran shares this practice with theArmenia. | 2020 | * Performing Arts * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | The three-day pilgrimage to the Monastery of the Apostle Saint Thaddeus in northwestern Iran is held annually in July. This pilgrimage venerates two great saints: St Thadeus, one of the first Christian apostles, and St Santukhd, the first female martyr of Christendom. The bearers of the element are members of the Armenian population in Iran, Armenians of Iranian descent residing in Armenia, and followers of the Armenian Apostolic Church. Pilgrims gather in Tabriz before leaving for the monastery. They travel the 700 km that separate Yerevan from the monastery every year. The commemoration ceremony includes special liturgies, processions, prayers and fasts. The high point is the Holy Mass, with celebration of the Eucharist. Times are reserved for performances of traditional Armenian groups and tasting dishes of Armenian gastronomy. This pilgrimage is the main socio-cultural event of the year. It reinforces the sense of belonging to a community, as participants settle in tents close to each other. The monastery has been a place of pilgrimage for more than nineteen centuries. However, during the Soviet period in Armenia, participation in the pilgrimage was prohibited. The bearers of the element have preserved the cultural memory of this pilgrimage and passed it on to families and communities. It was not until after independence in the 1990s that the pilgrimage resumed from Armenia. | .jpg/150px-کلیسای_تادئوس_مقدس_،کلیسای_طاطاووس_(قره_کلیسا).jpg) |
| The art of miniature Note Iran shares this practice with theAzerbaijan, the'Uzbekistan and the Turkey. | 2020 | * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | Miniature is a type of two-dimensional art that refers to the design and creation of small-sized paintings on books, papier-mâché, rugs, textiles, walls and ceramics and other media using raw materials such as gold, silver and various organic substances. Historically, the miniature was defined as an illustration inserted on a page in order to visually support the content of the text, but the element has evolved and is also found in architecture and in the beautification of public spaces. The miniature visually represents beliefs, world views and lifestyles and has also acquired new characters through the influence of Islam. Although there are differences in style, the art of miniature, as practiced in the submitting States, has some common characteristics. In any case, it is a traditional art transmitted by a mentor to his apprentice (non-formal education) and considered to be an integral part of each of the social and cultural identities of the company. The miniature presents a specific type of perspective whose size and patterns change according to their importance, which is the main difference with the realistic and naturalistic styles. Although it has been around for centuries, it continues to develop and thus strengthen the links between past and present. Traditional painting techniques and principles are preserved but the artists also bring their individual creativity to the process. |  |
Register of Best Safeguarding Practices
Iran does not have a practice listed on the Best Safeguarding Practices Register.
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The Naqqāli, Iranian dramatic narration | 2011 | * Performing Arts * Oral traditions and expressions * Know-how related to traditional craftsmanship | Naqqāli is the oldest form of theatrical performance in the Islamic Republic of Iran, and has long played an important role in both courtyards and villages. The storyteller - the Naqqāl - tells stories in verse or prose while making gestures and movements. Sometimes, too, his story is accompanied by instrumental music and is illustrated by painted canvas rolls. The function of the Naqqāls is both entertainment and the transmission of Persian literature and culture. They should know the cultural expressions, languages, dialects and traditional music of their region. Naqqāli requires immense talent, a very good memory and a gift of improvisation to captivate the audience. The Naqqāls are plainly dressed, but they may also wear an old helmet or a brigandine during the performance to better represent the battle scenes. The female Naqqāls perform in front of mixed audiences. Until recently, these artists were considered the main custodians of Iranian folk tales, ethnic epics and popular music. Naqqāli was once played in cafes, in nomad tents, in people's homes and in historical sites like ancient caravanserais. However, the disaffection with cafes and the emergence of new forms of entertainment have turned audiences away from Naqqāli performances. The aging of the master storytellers, the Morsheds, and the growing disinterest of the younger generations have led to a sharp decline in the number of talented Naqqāls, threatening the survival of this dramatic art. |  |
| 2011 | * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship * Performing Arts * Social practices, rituals and festive events * Oral traditions and expression | Traditionally, Iranian lenjes are hand-built and are used by locals on the northern Persian Gulf coast for sea travel, trade, fishing, and diving to harvest pearl oysters. Traditional knowledge associated with lenjes includes oral literature, performing arts and festivals, in addition to navigation and its techniques, terminology, weather forecasting closely associated with navigation, and the skills required to build wooden boats. . The maritime knowledge required to pilot these boats was traditionally passed down from father to son. Iranian navigators found their way around the position of the sun, moon and stars; they used special formulas to calculate the latitude, longitude and depth of water. Each wind was given a name, which along with the color of the water or the height of the waves was used to make weather forecasts. Sailing in the Persian Gulf was also inextricably linked with special music and rhythms, as sailors used to sing while working. Today, the practitioner community is small and consists mostly of older people. Wooden lenjes are being replaced by less expensive fiberglass boats, and lenjes' workshops are transformed into a repair shop for the older of these boats. The philosophy, ritual context, culture and traditional knowledge associated with navigation in the Persian Gulf are gradually fading, although some associated ceremonies are still practiced in some places. |  |
