Haveli,
Aristocratic residential building of a rich merchant or landlord in Gujarat and Rajasthan in western India.
Aristocratic residential building of a rich merchant or landlord in Gujarat and Rajasthan in western India.
Head-panel,
A section of different pattern or certain design structures of Southeast Asian textiles.
A section of different pattern or certain design structures of Southeast Asian textiles.
Heading,
The first weaving of waste thread which will be discarded. In rug weaving, tapestry and some placemats, it is the first few wefts which strengthen the edge.
The first weaving of waste thread which will be discarded. In rug weaving, tapestry and some placemats, it is the first few wefts which strengthen the edge.
Heddle,
Heddles are made out of rods or cords, each with an eye through which the warp thread is drawn. Individual warp threads are drawn through heddles taken through a set of reeds and tied on beams located on both ends of the hand loom. The heddles separate the warp into two sections which allows the weft threads to pass between them easily. Checks the stripes are created by segmenting the warp and weft yarn. For weaving motifs, looms are equipped with "dobby" or "jacquard" setting which help in lifting segments of warp yarn into the weft. An essential feature of a loom which produces shed openings, through which the weft threads are inserted during the weaving process. In Southeast Asia it usually consists of a wide rod (heddle rod) to which selected sets of warp threads are attached by loops of yarn. These loops of yarn are sometimes also known as heddles.
Heddles are made out of rods or cords, each with an eye through which the warp thread is drawn. Individual warp threads are drawn through heddles taken through a set of reeds and tied on beams located on both ends of the hand loom. The heddles separate the warp into two sections which allows the weft threads to pass between them easily. Checks the stripes are created by segmenting the warp and weft yarn. For weaving motifs, looms are equipped with "dobby" or "jacquard" setting which help in lifting segments of warp yarn into the weft. An essential feature of a loom which produces shed openings, through which the weft threads are inserted during the weaving process. In Southeast Asia it usually consists of a wide rod (heddle rod) to which selected sets of warp threads are attached by loops of yarn. These loops of yarn are sometimes also known as heddles.
Heddle sticks,
Additional rods used to select particular warp threads for the purpose of creating the pattern. They are also known as shed-sticks. A supplementary weft is inserted in the sheds they are used to create.
Additional rods used to select particular warp threads for the purpose of creating the pattern. They are also known as shed-sticks. A supplementary weft is inserted in the sheds they are used to create.
Heritage (of Indigenous Peoples),
The “heritage of indigenous peoples” (and other peoples) or “indigenous cultural heritage” refers broadly to the items described in the Draft Principles and Guidelines for the Protection of the Heritage of Indigenous People, 2000, Paragraph 12 states that: “The heritage of indigenous peoples has a collective character and is comprised of all objects, sites and knowledge including languages, the nature or use of which has been transmitted from generation to generation, and which is regarded as pertaining to a particular people or its territory of traditional natural use. The heritage of indigenous peoples also includes objects, sites, knowledge and literary or artistic creation of that people which may be created or rediscovered in the future based upon their heritage. “ Paragraph 13 is to the effect that: “The heritage of indigenous peoples includes all moveable cultural property as defined by the relevant conventions of UNESCO; all kinds of literary and artistic creation such as music, dance, song, ceremonies, symbols and designs, narratives and poetry and all forms of documentation of and by indigenous peoples; all kinds of scientific, agricultural, technical, medicinal, biodiversity-related and ecological knowledge, including innovations based upon that knowledge, cultigens, remedies, medicines and the use of flora and fauna; human remains; immovable cultural property such as sacred sites of cultural, natural and historical significance and burials.” Paragraph 14 stipulates that: “Every element of an indigenous peoples’ heritage has owners, which may be the whole people, a particular family or clan, an association or community, or individuals, who have been specially taught or initiated to be such custodians. The owners of heritage must be determined in accordance with indigenous peoples’ own customs, laws and practices.” For the purposes of these Guidelines, “indigenous cultural heritage” means both tangible and intangible creations, manifestations and production consisting of characteristic elements of the culture of an indigenous people, and developed and maintained by that people, or by indigenous individuals if the creation reflects the traditional literary, artistic or scientific expressions of the people. Such creations, manifestations and productions include the practices, representations, expressions – as well as the instruments, objects, artifact, sites and cultural spaces associated therewith – that indigenous peoples and individuals recognize as part of their cultural heritage. It further includes the knowledge that is the result of intellectual activity and insight in a traditional context, and includes the know-how, skills, innovations, practices and learning that form part of traditional knowledge systems, as well as knowledge that is embodied in the traditional lifestyle of an indigenous people, or is contained in codified knowledge systems passed between generations. Cultural heritage, transmitted from generation to generation, is constantly recreated by indigenous peoples in response to changes in their environment and their interaction with nature and their history, and provides them with a sense of identity and continuity.
The “heritage of indigenous peoples” (and other peoples) or “indigenous cultural heritage” refers broadly to the items described in the Draft Principles and Guidelines for the Protection of the Heritage of Indigenous People, 2000, Paragraph 12 states that: “The heritage of indigenous peoples has a collective character and is comprised of all objects, sites and knowledge including languages, the nature or use of which has been transmitted from generation to generation, and which is regarded as pertaining to a particular people or its territory of traditional natural use. The heritage of indigenous peoples also includes objects, sites, knowledge and literary or artistic creation of that people which may be created or rediscovered in the future based upon their heritage. “ Paragraph 13 is to the effect that: “The heritage of indigenous peoples includes all moveable cultural property as defined by the relevant conventions of UNESCO; all kinds of literary and artistic creation such as music, dance, song, ceremonies, symbols and designs, narratives and poetry and all forms of documentation of and by indigenous peoples; all kinds of scientific, agricultural, technical, medicinal, biodiversity-related and ecological knowledge, including innovations based upon that knowledge, cultigens, remedies, medicines and the use of flora and fauna; human remains; immovable cultural property such as sacred sites of cultural, natural and historical significance and burials.” Paragraph 14 stipulates that: “Every element of an indigenous peoples’ heritage has owners, which may be the whole people, a particular family or clan, an association or community, or individuals, who have been specially taught or initiated to be such custodians. The owners of heritage must be determined in accordance with indigenous peoples’ own customs, laws and practices.” For the purposes of these Guidelines, “indigenous cultural heritage” means both tangible and intangible creations, manifestations and production consisting of characteristic elements of the culture of an indigenous people, and developed and maintained by that people, or by indigenous individuals if the creation reflects the traditional literary, artistic or scientific expressions of the people. Such creations, manifestations and productions include the practices, representations, expressions – as well as the instruments, objects, artifact, sites and cultural spaces associated therewith – that indigenous peoples and individuals recognize as part of their cultural heritage. It further includes the knowledge that is the result of intellectual activity and insight in a traditional context, and includes the know-how, skills, innovations, practices and learning that form part of traditional knowledge systems, as well as knowledge that is embodied in the traditional lifestyle of an indigenous people, or is contained in codified knowledge systems passed between generations. Cultural heritage, transmitted from generation to generation, is constantly recreated by indigenous peoples in response to changes in their environment and their interaction with nature and their history, and provides them with a sense of identity and continuity.
Hijra,
‘Migration’-the Muslim calendar is calculated from the date of the Prophet’s migration from Mecca to Medina in 622 A.D. In English usage it is usually abbreviated to A.H., or Anoo Hijrae.
‘Migration’-the Muslim calendar is calculated from the date of the Prophet’s migration from Mecca to Medina in 622 A.D. In English usage it is usually abbreviated to A.H., or Anoo Hijrae.
Himru,
Himru can best be described as cotton and silk brocade where the extra silk weft, which is used for patterning, is thrown over the surface only where the actual pattern appears, the rest of the patterning thread being left to hang loosely beneath the surface of the fabric. Because of this, the material has to be lined and is ideally suited for winter. Himru thus differs from other mixed fabrics such as mashru, where the entire fabric is woven with the silk weft in a regular satin-weave.
Himru can best be described as cotton and silk brocade where the extra silk weft, which is used for patterning, is thrown over the surface only where the actual pattern appears, the rest of the patterning thread being left to hang loosely beneath the surface of the fabric. Because of this, the material has to be lined and is ideally suited for winter. Himru thus differs from other mixed fabrics such as mashru, where the entire fabric is woven with the silk weft in a regular satin-weave.