Shadow puppets, or piying, were used to entertain Chinese children for many years. The art of making these puppets has been handed down through the centuries and provides a gleaming example of the country's folk arts. But at a recent handicrafts show in Beijing, local audiences were surprised to learn that the art of shadow puppetry was not uniquely Chinese. It also has a Thai name, called "Nang Talung," and an Indonesian one, "Wayang."

This cultural connection was echoed at the "Asian Wonders ASEAN Art Exhibition" this week at the Yanhuang Art Gallery in northern Beijing. On display were more than 500 authentic and exquisite traditional treasures, including elaborately patterned textiles, dazzling metal ornaments, wood carvings, and lacquer and pottery wares, of all the 10 ASEAN members.

A group of five shadow puppets intrigued curious audiences, who came up at first sight with "Wow, they also have piying!" They laughed as they tried to pronounce the Thai words and touched the puppets.

Traditionally, Indonesian villagers used cattle skin to make shadow puppets and modern artisans still favor this traditional material.

Thai shadow play has long been a favorite evening entertainment in the country's southern regions. Now it also enjoys popularity in the northeastern region.

Many ASEAN countries have become hot holiday destinations for Chinese tourists. The exhibition gave Chinese a glimpse into the spiritual world of their Asian neighbours.

Indonesian handicrafts from Java, Sumatera, Bali and Borneo took on a diversity of faces as fabulous as their country’s numerous islands. For example, the Barong mask and the Garuda statue are impressive examples tapping into indigenous' religious folklore.

A pair of red and white wooden Barong masks with their exaggerated features, exposing scary teeth, loose hair and straggly beards, attracted a lot of attention. They appear as a critical part of the Barong dance, which is one of Bali's religious traditions.
Garuda is worshipped as one of the three principal animal deities in Hindu Mythology. Yet behind its wicked appearance lies a royal mind. Barong is a benevolent deity in the Hindu Balinese pantheon, representing a powerful spirit and guards villages' borders.

Countries with historical traditions and cultural variety are commonly facing a problem of how to revive these ancient treasures in today's world.

Several delicate pillows of Malaysian stall made a strong impression, showing off the refinement and beauty of the conventional batik and "songket" weaving techniques. Embellished with elegant designs and vibrant colours, the use of batik and songket has extended over the years from merely garments to exclusive home furnishings, gifts and souvenirs. "A lot of people, elder and young, take our courses to learn the skills," said Parbiyah Bt. Bachik of Malaysian Handicraft Development Corporation.

However, the rattan weaving works are not so lucky. Being asked whether the rattan products receive as much public attention as the batik, Bachik shook her head immediately. "Young people are unwilling to inherit the woven art, because they can't live on it."

"Many Asian countries also confront similar problems in protecting cultural heritages. So I think the festival offers a good platform for participants to exchange and build broader co-operation," she said.

(China Daily September 7, 2006)