玻璃珠的艺术与丰富的知识以及对材料(玻璃)和元素(火)的掌握密切相关。艺术涵盖特定知识和共享技能,反映特定传统工具和流程的使用,并包括各个阶段。在意大利,与生产相关的技术知识有两种形式:1)lume珠子(带喷灯)和2)da canna珠子,通过切割、软化和抛光空心甘蔗制成。在法国,实心珠子是用手电筒制成的,热玻璃通过旋转和重力被磨圆,或者空心珠子是在心轴上或通过吹入空心藤条制成的。在这两个州都很常见的更复杂的Murrine生产包括在核心周围组装彩色玻璃棒。然后,珠子被装饰并以多种方式使用。在这两个缔约国,这种做法主要在讲习班中非正式传播,学徒在专家工匠的监督下通过观察、实验和实践获得知识。也可以通过技术机构的正规教育传播。用玻璃珠制成的礼物被用来标记某些事件和社交场合,这种做法促进了手工和手工工作的社会凝聚力和灵活性。承载者和从业者在由共享记忆和空间组成的集体身份中认识到自己。

2020年度列入人类非物质文化遗产名录。

来源:联合国教科文组织亚太地区非物质文化遗产国际培训中心

 

The art of glass beads is closely linked to the wealth of knowledge and mastery of a material (glass) and element (fire). The art covers specific knowledge and shared skills, reflects the use of specific traditional tools and processes, and includes various stages. In Italy, technical knowledge related to the production takes two forms: 1) a lume beads (with a blowtorch) and 2) da canna beads, made by sectioning, softening and polishing a hollow cane. In France, solid beads are made with a torch and the hot glass is rounded through rotation and gravity, or hollow beads are made either on a mandrel or by blowing into a hollow cane. The more complex production of murrines, common in both States, consists of assembling multicoloured glass canes around a core. The beads are then decorated and used in a wide variety of ways. In both States Parties, the practice is mainly transmitted informally in workshops, where apprentices acquire knowledge through observation, experimentation and practice under the supervision of expert craftspeople. Transmission can also occur through formal education in technical establishments. Gifts made with glass beads are used to mark certain events and social occasions, and the practice promotes social cohesion and dexterity in manual and craft work. Bearers and practitioners recognize themselves in a collective identity made up of shared memories and spaces.

Included in the list of human intangible cultural heritage in 2020.

Source: UNESCO International Training Center for intangible cultural heritage in the Asia Pacific Region.

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