Pilgrimage to the St. Thaddeus Apostle Monastery was added to the list of the Intangible Cultural Heritage of Humanity (UNESCO). The monastery of St. Thaddeus (also known as the Qara Kelisa) is located in the province of West Azerbaijan, 20 km from the southwest of Maku City, in proximity to a village with the same name.
Some scholars believe this monastery is the first Christian building in the world; it is said that Thaddeus was one of the apostles of Jesus Christ who was invited to Armenia in 40 AD. He came to Armenia to preach Christianity.
Among those who changed their religion to Christianity were Sanatrok, king of Armenia, and his daughter Santukhd. However, the king regretted and opposed the new religion. But his efforts to change his daughter’s new religion were in vain, and he finally ordered the assassination of Thaddeus and his daughter, Santukhd, and other Christian groups.
In 302 AD, during the reign of Tiridates (one of the kings of Armenia), Christianity became the state religion in Armenia. The Christians, who have preserved the memory of the martyrdom of Thaddeus and Santukhd from generation to generation, built monasteries in their mausoleum, which Qara Kelisa is one of them.
Qara Kelisa or St. Thaddeus Apostle Monastery has been damaged (earthquake, looting, and so on) and loveness for many centuries, and it also has periods of prosperity and glory. Today, the building has attracted the global attention of Christians across the world for its ritual ceremony. These ritual ceremonies have been performed for more than half a century.
Pilgrimage to the Qara Kelisa is one of the seasonal celebrations. It is held in public with rituals and religious ceremonies. The time of the celebration of Qara Kelisa cannot be determined according to the Solar Hijri calendar (Persian calendar); because this ceremony, like most Armenian holidays, is related to Armenian religious and national events. It is held for three days, almost during the last two weeks of July (Thursday, Friday, and Saturday).
The Iranian-Armenians go to Qara Kelisa from the cities of Tabriz, Urmia, Tehran, and Isfahan, as well as Christians in Armenia and other parts of the world. They visit Qara kelisa to take part in the celebration and pilgrimage for a few days. In addition to the Armenians, Assyrian families and some Catholic families also attend the ceremony.
Baptism of infants and children, the wedding ceremony, the lighting of candles, and the ringing of church bells, are performed during these three days. The Cathedral of St. Thaddeus, along with the Dzordzor Chapel, the church of St. Astvatsatsin, and St. Thaddeus Apostle Monastery, are inscribed on the World Heritage List.

The tradition of calligraphy has always been associated with the act of writing in Iran, and even when the writers had limited literacy, calligraphy and writing were still intricately linked. But with the advent of printing and the emergence of computer programmes and digital fonts, this art gradually declined and the emphasis on pure readability replaced the observance of both readability and aesthetics. This resulted in a decline in the appreciation of calligraphy among the new generations. The safeguarding of the Iranian calligraphic tradition thus became a major concern in the 1980s, and a national programme was developed for this purpose by non governmental organizations in collaboration with the government. This programme aimed to expand informal and formal public training in calligraphy, publish books and pamphlets, hold art exhibitions, and develop academic curricula, while promoting appropriate use of the calligraphic tradition in line with modern living conditions. Some of the work on this programme was started by the Iranian Calligraphers Association before the 1980s, and given its immense popularity, the public sector turned it into a national programme by redefining and coordinating it on a large scale based on the experiences of the public and private sectors.

As a multicultural nomination file, Sericulture and Traditional Production of Silk for Weaving was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity, during the 17th Session of Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage. The session was held in Rabat, the capital of Moroco, between November 28- December 3, 2022. Accordingly, the number of Iran’s cultural elements inscribed on lists of Intangible Cultural Heritage reached 21.

Sericulture and the traditional production of silk for weaving is a kind of time-consuming and tough process, beginning from the production of raw materials resulting in the final applied products. The process consists of caring for the silkworms through their entire lifecycle, spinning silk fibers into silk threads, and using the threads in the production of a variety of handicrafts. Silk fabrics, carpets, rugs, curtains and some embroideries in which the silk threads play the key role, are among the main crafts involved. Silk products have been considered to be precious items throughout their history, which indicate the owners’ wealth and high social status.

Being invented by China, sericulture and traditional production of silk for weaving had been a multicultural concern since its introduction to the world of art, industry and trade. In a way that it sealed a well-known trade route with its name during the third millennium BC. Silk Road was the connecting route of China to the Mediterranean Sea, passing through central Asian and some western Asian countries. During the Sassanid period, the Persian silk was being exported to the entire world. The practice has been completely popular and prosperous, until very recently, especially in the northern provinces, Gilan and Golestan.

The Local Knowledge and Craft of Silk Production were previously inscribed on the National Heritage List in 2017. However, the recent file, “Sericulture and Traditional Production of Silk for Weaving”, was submitted with Afghanistan, Azerbaijan, Turkey, Tajikistan, Turkmenistan and Uzbekistan. It should also bementioned that seventeen items from Iran, or as multicultural files, had already gained the same UNESCO status, including: Traditional skills of carpet weaving in Kashan (2010), Radif of Iranian music (2009), Traditional skills of carpet weaving in Fars (2010), Music of the Bakhshis of Khorasan (2010), Pahlevani and Zoorkhanei rituals (2010), Ritual dramatic art of Ta‘zīye (2010), Naqqāli, Iranian dramatic story-telling (2011), Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf (2011), Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān (2012), Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka (2016), Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz (2016), Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument (2017), Chogān, a horse-riding game accompanied by music and storytelling (2017), Traditional skills of crafting and playing Dotār (2019), Art of miniature (2020), Pilgrimage to the St. Thaddeus Apostle Monastery (2020), and the National programme to safeguard the traditional art of calligraphy in Iran (2021). 

As a multicultural nomination file, Yaldā/Chella was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity, during the 17th Session of Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage. The session was held in Rabat, the capital of Moroco, between November 28- December 3, 2022. Accordingly, the number of Iran’s cultural elements inscribed on lists of Intangible Cultural Heritage reached 19.

Yaldā/Chella is an extremely popular traditional celebration of the sun and the warmth of life among Iranians. Celebrated on the last night of autumn, Yalda is considered to be the longest night of a year. During the Yaldā/Chella night, People in Iran and Afghanistan typically gather around a table at the houses of their elders, which is deliberately adorned with some symbolic foods and objects. It consists of a lamp symbolizing the light, water to indicate cleanliness, and fruits like pomegranates, watermelons, beetroots, jujube and grapes, which are usually red, in order to symbolize warmth.  In addition, they set some Broth, sweets, dried fruits and nuts on the table to be used by the families during their gathering. Storytelling, playing games and traditional musical instruments, reciting poetry and presenting gifts are among the most significant activities for the occasion.

Celebrating Yalda night represents Iranians’ respect for their cultural identity, nature, women, friendship, cultural diversity, hospitality and living in peace against all differences. The culture of celebrating Yalda and its deep meaning for Iran and Afghanistan people are transmitted within families, while the media has played a main role in recent years in its recognition.

Yaldā Night was previously inscribed on the National Heritage List in 2008. However, the recent file, “Yaldā/Chella”, was submitted with Afghanistan. It should also be mentioned that seventeen items from Iran, or as multicultural files, had already gained the same UNESCO status, including: Traditional skills of carpet weaving in Kashan (2010), Radif of Iranian music (2009), Traditional skills of carpet weaving in Fars (2010), Music of the Bakhshis of Khorasan (2010), Pahlevani and Zoorkhanei rituals (2010), Ritual dramatic art of Ta‘zīye (2010), Naqqāli, Iranian dramatic story-telling (2011), Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf (2011), Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān (2012), Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka (2016), Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz (2016), Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument (2017), Chogān, a horse-riding game accompanied by music and storytelling (2017), Traditional skills of crafting and playing Dotār (2019), Art of miniature (2020), Pilgrimage to the St. Thad

As a multicultural nomination file, Turkmen-style needlework art was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity, during the 17th Session of Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage. The session was held in Rabat, the capital of Moroco, between November 28- December 3, 2022. Accordingly, the number of Iran’s cultural items inscribed on lists of Intangible Cultural Heritage reached 20.

Turkmen-style needlework is a decorative-applied art used on the national dress of Turkmen people. In order to make a Turkmen-style needlework product, artists need to prepare thin silk threads through intertwining them in three layers and then, make them shiny by straitening with a large needle. There are several different needlework styles varying according to the region. Traditionally, young girls learn this art from their mothers and grandmothers; therefore, there is no age limit for learning the craft. The main color in Turkmen-style needlework art is red, however, many other colors are also popular like vinous, yellow, white, blue, orange, green and azure blue. Colors and patterns have symbolic meanings in Turkmen-style needlework art. Decorated cloths with needlework are worn in wedding ceremonies, for funerals and other cultural events. However, they are also popular as decorative parts of ordinary clothing, like pants, shawls, coats, scarves and accessories.

Turkmen people call this art “Keshteh”, “Koujkeh”, or “Ilmeh”. The firs signs of this craft dates back to eight thousand years ago, discovered in Kamarband and Hoto caves, Behshahr, Mazandaran province. Nevertheless, it reached its highest popularity in Afsharid, Zand and Qajar periods. There are some slight differences between the needlework products in Iran and Turkmenistan, in terms of colors and patterns. Examples of Turkmenistan needlework art related to 18th century are on display in well-known museums around the worlds. In Iran, Turkmen-style needlework art is more popular among Turkmen people who live in North Khorasan and Golestan Provinces.

Turkmen-style needlework art was previously inscribed on the National Heritage List in 2012. However, the recent file was submitted with Turkmenistan. It should also be mentioned that seventeen items from Iran, or as multicultural files, had already gained the same UNESCO status, including: Traditional skills of carpet weaving in Kashan (2010), Radif of Iranian music (2009), Traditional skills of carpet weaving in Fars (2010), Music of the Bakhshis of Khorasan (2010), Pahlevani and Zoorkhanei rituals (2010), Ritual dramatic art of Ta‘zīye (2010), Naqqāli, Iranian dramatic story-telling (2011), Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf (2011), Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān (2012), Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka (2016), Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz (2016), Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument (2017), Chogān, a horse-riding game accompanied by music and storytelling (2017), Traditional skills of crafting and playing Dotār (2019), Art of miniature (2020), Pilgrimage to the St. Thaddeus Apostle Monastery (2020), and the National programme to safeguard the traditional art of calligraphy in Iran (2021).

As a multicultural nomination file, Crafting and Playing the Oud was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity, during the 17th Session of Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage. The session was held in Rabat, the capital of Moroco, between November 28- December 3, 2022. Accordingly, the number of Iran’s cultural items inscribed on lists of Intangible Cultural Heritage reached 18.

The oud is a kind of lute-type musical instrument which is traditionally popular in Iran. In order to play, the musician needs to put the instrument on their leg starting to fret with one hand, while plucking the chords with the other hand. Like other Persian musical instruments, oud includes different parts; in which a pear-shaped sound box, made of walnut wood, is the mane part. It takes a craftsman twenty-five days to craft an oud. The process consists of the time needed for drying and hardening the wood, fifteen days for treating wood with water and steam to make the wood more durable. In the most common form, oud includes five twin strings. However, it can also have an extra sixth string. Melodic and harmonic tones produced by oud is the result of its bass and baritone ranges. You might see oud in different events being played solo or in ensembles, along with some other traditional songs and dance. Playing oud is presently taught is different art centers, collages and universities. Some people also learn it through apprenticeships. Traditionally, men were more likely to craft oud, while nowadays we can see a lot of women occupied with this practice.

The history of crafting and playing oud can be realized from its recurring presence on the rock reliefs, as well as poets’ books and miniature folios. This musical instrument still plays a main part in defining the identity of Arab and Bakhtiari tribes in the southern parts of Iran, like Khuzestan, Bushehr and Hormozgan provinces. In addition, we can also witness the popularity of this kind of traditional music in other provinces of Iran including Tehran, Kurdistan, Shiraz, Isfahan and Khorasan.

Crafting and playing the Oud was previously inscribed on the National Heritage List in 2018. However, the recent file was submitted with Syrian Arab Republic. It should also be mentioned that seventeen items from Iran, or as multicultural files, had already gained the same UNESCO status, including: Traditional skills of carpet weaving in Kashan (2010), Radif of Iranian music (2009), Traditional skills of carpet weaving in Fars (2010), Music of the Bakhshis of Khorasan (2010), Pahlevani and Zoorkhanei rituals (2010), Ritual dramatic art of Ta‘zīye (2010), Naqqāli, Iranian dramatic story-telling (2011), Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf (2011), Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān (2012), Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka (2016), Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz (2016), Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument (2017), Chogān, a horse-riding game accompanied by music and storytelling (2017), Traditional skills of crafting and playing Dotār (2019), Art of miniature (2020), Pilgrimage to the St. Thaddeus Apostle Monastery (2020), and the National programme to safeguard the traditional art of calligraphy in Iran (2021).

Iftar (also called Eftari, İftar or Iftor in practicing countries) is observed by Muslims at sunset in the month of Ramadan (the ninth month in the lunar calendar), upon completion of all religious and ceremonial rites. Observed by people of all ages, genders and backgrounds, it marks the daily termination of the hardships of fasting from dawn to sunset. The evening prayer is followed by activities such as praying ceremonies, music, storytelling, games, preparing and serving traditional and local meals and marriage arrangements. For communities, it often takes the form of gatherings or meals, strengthening family and community ties and promoting charity, solidarity and social exchange. The ceremonies and rituals related to Iftar are also practised by people who do not necessarily fast during the month of Ramadan. The knowledge and skills are typically transmitted within families through oral instruction, observation and participation, and children and youth are often entrusted with preparing components of traditional meals. During this process, parents also transmit knowledge about the benefits of fasting and the social values and functions of Iftar. Iftar is often supported by governmental entities, NGOs and charities, as well as through television, radio, press and social media.

Illumination is a centuries-old decorative art practised on the pages of manuscripts, calligraphic texts and miniatures. The main component is gold leaf or gold paint, both of which entail specific knowledge and techniques. Natural pigments are also used, and synthetic paints such as watercolour or gouache have become widespread in recent years. Today, traditional and contemporary interpretations of the element can be seen in manuscripts, miniatures and calligraphy as well as in stand-alone pieces of art. The practice is transmitted through apprenticeships as well as through formal and non-formal education, including in many universities, academies, research centres, and public and private workshops. The colours, patterns, and motifs used have symbolic meanings, and it is common to embellish religious texts, literary and historical manuscripts, marriage deeds and even commercial treaties with illuminations. The practice is therefore closely tied to the beliefs and cultural practices of communities. Illumination strengthens the sense of cultural continuity for communities at national, regional and international levels. And as the traditional knowledge and methods of illumination are also used in the restoration of ancient manuscripts and folios, the practice also contributes to the preservation of historical and cultural objects and to their safeguarding for future generations.

Sadeh, or Sada, is a celebration held annually on 30 January. In the folk calendar, it marks the day when farmlands are prepared for their next spring plantation and when people celebrate the end of the coldest winter days, with 50 days and 50 nights remaining to spring. Accordingly, ‘Sadeh’ means ‘one hundred’. The element enjoys diverse manifestations in Iran and Tajikistan. It involves singing, dancing and praying around a fire and offering blessings and dry or fresh fruits. The day also marks the traditional start of agricultural work for the new season, with farmers sprinkling fertilizer in their lands and gardeners pruning their trees and bushes. After the Sadeh celebration, people in the villages meet outdoors to collectively clean water-streams and pools and to repair bridges. In both countries, the practice, including the preparation of traditional dishes, is transmitted through participation, observation and storytelling. Media, social networks, scientific works, articles, conferences and symposiums also contribute to the transmission of Sadeh. The practice unites people from different cultural, ethnic and religious backgrounds, providing an opportunity for peaceful interactions around agricultural and food traditions and promoting diversity and the continuation of oral expressions and memory.