The Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols who have practiced pastoralism on Central Asia’s vast steppe for centuries. Mongols’ traditional Naadam festival consisting of three manly games is considered as one of major cultural heritage elements which Mongols contributed to the nomadic civilizations. The three types of sports games – archery, horserace and wrestling – are directly linked with lifestyles and living conditions of Mongols and thus become the authentic cultural traditions among nomads. National Naadam is celebrated from July 11 to 13 throughout the country, in soums (counties), aimags (provinces), and the capital, Ulaanbaatar. Naadam represents distinct features of Mongolians’ nomadic culture and traditions, with expression of their unique cultural characteristics and images to become an identity of Mongolian people to the outside world. Thus, Mongolian Naadam has served a key factor to unite the Mongolian people and an important symbol of national solidarity. Mongolian people develop their physical strength, strong will power, patience, space and time related sensitivity and friendly hospitality from the three manly games which provides the cognitive and moral education basis. Main bearers of this cultural heritage are practitioners of the three games. i.e. those who significant part of the Mongolia population. Currently, over 100,000 people practice the traditional wrestling in various clubs and training courses, in addition to 3,000 students studying in several wrestling universities and colleges. Besides, the home schooling is considered one of most effecient forms, as it is the main traditional method to teach and learn the wrestling. Youths who practice wrestling would develop postive personalities such as being friendly, caring to the elderly and modest, besides strong will power, physical strength and courage. The main bearers of horserace appear racehorse trainers and jokey-children. Nowadays, about 400-500 horserace tournaments take place annually and altogether 200,000 horses (some recounted across tournaments) participate in them. About 100,000 racehorse trainers normally train these horses, while over 70,000 children ride and race. Besides, the audience of those tournaments would reach over 300,000 people. The Mongolian traditional home schooling provides extensive knowledge and skills, traditions and customs, culture and art elements of horserace. Compared to other two forms, relatively fewer people (about 10,000) practice and are interested in archery. Similarly, home schooling methods tend to dominate in learning and transmitting archery that family members and relatives become archers a lot. There are hundreds of thousand artisans and craftmen who make various tools and items used in the three manly games through employing meticulous skills and design to make them as collections of various art pieces. For instance, wrestling outfits – hat, boots and shorts, racehorse saddles and jokey’s outfits, and bows and arrows used in archery competitions have specific traditional technology and techniques each. These three sports games make a core blend of traditional arts and sports. Title-singing of horses and wrestlers indicate musical elements embracing songs and melodies. • Wrestling. After the wrestling site has been chosen based on the quality of the grass and the flatness of the site, the wrestling matches begin. Judges in groups of 8, 16, or 32 are divided into two groups which line up at the right and left side of the wrestling site and the wrestlers are divided into two groups at the left and right wings. To present the wrestler to the audience, judges will hold the participant's hat and sing praise songs while the wrestler performs an eagle dance before assuming the position to begin. Wrestling is not only a display of strength and bravery; it is also a competition of skill and technique. The object of the match is to make one’s competitor to fall on the ground with his elbows, knees or any other part of the body touching the ground, at which point he loses. Wrestlers who lose in each round will get eliminated from the tournament. The number of rounds differs from tournament to tournament. There are often 9 rounds at the national festival which takes place on July 11-12 annually and altogether 512 wrestlers wrestle. A half leaves after each round. From the fifth round, winning wrestlers can earn titles starting from hawk, falcon, elephant, garuda /mythical bird/, and lion, to the coveted champion. Wrestlers are divided into two groups or so-called ‘wings’ that the highest ranking wrestlers are listed at the top depending on their titles, such as first grand champions, then champions, lions, garudas, elephants, hawks, falcons etc. • Horserace. Horse-trainers choose potential race horses among horse flocks and train them meticulously, carefully adjusting their daily training and diet. Horse races are grouped in age-specific categories such as stallions, adults, 4-years old, 3-years old, 2-years old and 1-year old which race in different distance categories from 10 km to 30 km. Race horses have their mane and tails trimmed to improve their appearance while their trainers use specially crafted wooden sticks or a brush to remove the sweat from the horse after the race. These sweat-removing tools are often carved and decorated with traditional patterns and images of horses to symbolize their strength. Young riders wear special clothing including the deel and hat. Typically, children aged 6-10 years old jockey racehorses. When registration of the applicant horses is completed, the race administrator rides around the Naadam site three times, while children riding race horses sing ‘Giingoo’ to raise spirits of horses before racing. The winning horse is given the title of ‘Tumnii ekh’ (the mightiest of all), whereas the last horse in the race is given a nickname ‘Buren jargal’ “complete happiness”. The praise song is performed to congratulate winning horses and is called ‘singing titles’. • Archery. This competition is divided into two categories; Khana sur (big bow) and Khasaa sur (small bow). Men shoot from a distance of 75 meters to the target, and women from 65 meters. The target is called ‘zurkhai’, and is made of leather balls neatly lined along the flat ground in two rows. Each archer shoots 40 arrows and the one who shoots the most targets wins.

Mongolia 2010

For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.

Mongolia 2013

Stone carving (stone cutting) is an ancient art of Uzbeks as well. Artefacts found during archaeological excavations say, that the very first treated stones in Uzbekistan belong to the Paleolithic, Neolithic and Bronze Age. The masters of those times knew how to process the stone, knew the techniques for transporting heavy solid stones, used lever devices to lift them, knew which stones were lighter and which were more difficult to process, already had tools to give pattern and relief to the stone. Their wide use of granite, marble, limestone and gypsum is indicated by excavations of ancient monuments in southern Uzbekistan - in the towns of Koratepe, Fayaztepe, Ayritash. Here Buddhist temples were decorated with carved stone, sculptures were created from stone. Later, stone cutting became a craft, and the art of stone carving reached its height in Maverannahr, Khorasan, Khorezm and other territories. For example, during the reign of Amir Temur, architectural masterpieces such as Gor-Emir, Shahi-Zinda, the Bibihanum mosque, the Ahmad Yassawi mausoleum and much more were created, where magnificent sculptures and carved stone with letters are presented. The displaced stone is magnificent - the tombstone of the great Temur and the grates carved from marble in Gori Emir. A lot of stone and marble was used in the architecture of ancient Khiva. The entire foundation of the palaces is laid out there by them, and they are all carved from geometric and floral figures. The stone-cutting walls of the Khiva Palace of Tashavli can be considered a magnificent example of beautiful stone carving, it is therefore called the Stone Courtyard. There are several types of stone carving: line threads, chain, lattice, deep, multi-layer, flat threads, etc. It also matters which stone works with - soft, pliable, medium hardness or hard.

As ritualized practices devoted to disaster-averting and peace-pleading, Ong Chun Ceremony widely spreads along the coastal areas both in Minnan, China and Melaka, Malaysia. It is practiced by the communities with both commonness and localities. In Minnan, it mostly takes place every three or four years when the northeast monsoon arrives in autumn; while in Melaka, it is preferentially held in the dry season of the lunar leap year, both starting on an auspicious day meticulously selected and lasting for days or months. The element is rooted in folk belief and customs of worshiping Ong Yah, the deity reverently acknowledged as Tye Tian Soon Siew Ong Yah, among the coastal communities. Local inhabitants believe that, Ong Yah is appointed as commissioner by the Heaven to protect people and their lands from disasters on regular patrols of inspection. Those who lost their lives at sea, respected as “good brothers,” become wandering souls lonely and homeless. Rituals for welcoming and escorting Ong Yah at regular intervals are therefore held for his visit to the land and rescuing “good brothers.”

China,Malaysia 2020

The Hüsn-i hat is the art of writing with Islamic letters of Arabic origin by using reed pen and soot ink in a measured and proportional manner while taking into consideration of the aesthetic values. A special paper glazed with organic substances (aharlı kağıt), reed pen (kamış kalem), pen-knives, a special slab for trimming the reed pen (makta), inkwell (hokka) and pen case (divit) are the most used tools in its practice traditionally. The Hüsn-i hat is written on special paper, leather or other writing materials and it may also be applied on the surfaces of stone, marble, glass, wood, etc. by using specific techniques. Holding the reed pen and its directions on the paper by the hattat ensures the perfection and compound of letters. There are different styles of writing which have been evolved over centuries: Thuluth, jali, naskh, muhaqqaq, raykhāni, tawqi, riqā’, kufic, ta’liq, nasta’liq, siyaqat, diwani, riq’a, gubari are among the commonly preferred styles. These writing styles, using the tools and traditional craftsmanship related to the element have been transmitted through master-apprentice relation from generation to generation. The Quran, hadiths (statements of the Prophet Muhammad), Turkish laconic and poetical couplets are written with hüsn-i hat. Therefore, hattats have applied Sufistic rituals while writing hüsn-i hat. Apart from the sacred and literal works, the element also practised in state correspondences such as imperial edicts, warrants and religious and public buildings in Seljuk and Ottoman period. Today, the element is still practised in sacred and literal works and religious buildings in Turkey.

Turkey 2021

a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)

Iran 2011

With the abacus as a tool, mathematical algorithms as a theoretical facility, Chinese Zhusuan is figure-based knowledge and practices through moving beads on an abacus according to the defined formulas. The abacus is made of bamboo or wood in the shape of a rectangle, divided horizontally into two decks with a string of five beads (one in the upper deck and four in the lower) or a string of seven beads (two in the upper deck and five in the lower). Each bead in the upper deck has a value of 5 while each in the lower has a value of 1. Atypical abacus has 13 to 19 rods connecting the beads. Zhusuan practitioners can perform mathematical calculations including addition, subtraction, multiplication, division, exponential multiplication, root, equations of higher degree, thus demonstrating the wonderful wisdom and creativity of the Chinese people. This time-honoured tradition has played a vital role in giving impetus to mathematical studies, promoting algorithmic practices, and nourishing intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent the specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after moderate trainings, while proficient practitioners usually develop an agile mind. Through oral teaching and bodily practice, Chinese has maintained and transmitted Zhusuan for generations. With a scientific theoretical system and a simple operation method, Zhusuan has long been popular in various aspects of Chinese living and production. As an important legacy of mathematics and cultural tradition, Zhusuan has become a national symbol of cultural identity.

China 2013

By the beginning of the 1970s the number of Kandakar masters and centers of engraving sharply reduced. Production of engraved items suspended in many centers of Uzbekistan. At present, however, centers of engraving are being revived and the system of apprenticeship is being re-introduced. Nowadays, the masters of traditional engraving work in such cities as Tashkent, Shakhrisabz, Qoqand, Ferghana, Bukhara and Khiva. Also a new phenomenon emerged, i.e. masters of engraving began to participate in designing the interiors of religious buildings (mosques, madrasahs), cafes and teahouses (which are usually designed in a traditional style). Changes are observed in the ornamental designing as well. For example, engravers try to improve further the designs of the items produced by them, by including new patterns and by applying the technique of incrustation with semi-precious stones. Within the framework of measures to create new jobs, develop tourism, promote small business and craft production, the state also pays attention to the development of this type of craft and art. This is manifested in tax preferences, the provision of free conditions and other innovations.

The art of wood carving in Uzbekistan is part of the Central Asian artistic heritage and its origins date back to ancient times. In the traditional architecture and life of the peoples of Uzbekistan for a long time, carved wood was very popular. In architecture, it was used as important architectural details and structures such as columns, cornices, doors, ceilings, and gratings. The use of carved wood in everyday life, or as it is also called household carving, absorbed a wide range of objects from furniture to small household utensils. Local wood species were used as a material: plane tree, elm, walnut, juniper, here, apricot, poplar, tal, pear, quince, cida, which differ in a variety of texture and pattern. When decorating various household items, furniture and musical instruments, the craftsmen used ornamental carving, painting and inlay. The main centers of woodcarving art are Khiva, Urgench, Bukhara, Samarkand, Tashkent, Qoqand, Margilan, Andijan, Fergana, Shahrisyabz etc.

The Sacred blessing water in Wat Hongrattanaram has had a quasi-legendary reputation for many centuries as stories about this pond and Wat Hongrattanaram temple can be dated back since the Ayutthaya period. Reflecting the big role of water in this temple’s rituals, it still maintains the old temple layout that opens with its front gate to the canal side where the holy water pond is also situated. When the kingdom of Ayutthaya was overthrown as a result of the Siamese-Burmese war, the capital city of Thailand was moved by King Taksin to Thonburi on the west bank of the Chaophraya river. The king setup his new capital by imitating the strategic places and landmarks of Ayutthaya, also bringing over the belief in the sacred power of blessed water. Thanks to Wat Hongrattanaram’s proximity to the old Grand Palace, the King chose it as the place to ask for blessings for his military campaigns against the Burmese occupation of Siam. According to the myth, the temple’s most accomplished monks performed magic ceremonies that involved the pond’s four cornerstones of which each faces one of the cardinal directions. Going back to Thai customs, it has long been a belief that water becomes holy through the chanting of sacred chants by the Buddhist monks and other spiritual leaders. Being a devout practitioner of Buddhist vipassana meditation himself, King Taksin the Great attached deep beliefs to the importance of conducting such ceremonies before going to war. His decision to choose this particular temple for the holiness of its water continues to distinguish it from other temples and due to its long history, its sacred pond became well-known among the people of past and present, among locals and even among foreigners who have faith in the sanctity of water.

The Saman dance is cultural heritage of the Gayo people traceable to the 13th century, developed later by Syeh Saman incorporating religious messages. Saman is performed by boys and young men, always in odd numbers, sitting on their heels or kneeling in tight rows. The players wear black costumes embroidered with colourful Gayo motifs, symbolizing nature and noble values. The trainer or leader, called penangkat sits in the middle of the line and leads singing of verses containing messages about tradition, development, religion, advice, sarcasm, humor and even romance. Players clap their hands, slap their chests, thighs and the ground, click their fingers, sway and twist their bodies and heads forward and backward, left and right, synchronizing with the rhythm, sometimes slow, sometimes fast and energetic, in unison or with alternate dancers making opposite moves. Saman movements symbolize nature, the environment, and daily lives of Gayo people. Villages invite each other for Saman competitions to build friendly relationships. Saman is performed to celebrate national and religious holidays, and is a game among village children, who learn it informally. The frequency of Saman performances and transmission are decreasing, despite community and government efforts. Therefore safeguarding is urgently needed. A Saman performance consists of 7 parts, called: Rengum, Salam, Dering, Uluni Lagu, Lagu, Anak ni Lagu, and Lagu Penutup (closing song). According to other sources, there are 9 parts: Keketar (introduction), Rengum, Salam, Gerakan Tari, Anak ni Lagu, Saur, Syair, Guncang and Penutup, or only 4 parts.

Indonesia 2011

Glazed tile and ceramic household stuffs or wallboards of several colours and motifs made by firing the pulped clay soil are called “çini”. Çini-making means the craftsmanship shaped around traditional Turkish art of çini since 12th century with its own specific production and adornment techniques like “minai”, “luster”, “polishing”, “underglaze”. Çini craftspeople generally have used “underglaze technique” since 16th century in their production pursuant to the prescriptions they prepare with their traditional production knowledge about nature. In this technique clay is pulped. Having shaped, the clay is lined and dried. Next, it is fired in çini ovens smooth surface called “biscuit” appears. Patterns prepared by drilling on the paper with openwork technique are transformed to the surface with coal dust and the outer contours are drawn by hand with black paint and brush. Later, patterns are dyed with dyes prepared according to the prescription. The surface of çini is covered with glaze and after it is fired at 900-940°C the çini-making is completed. Among çini adornments generally geometric shapes, plants and animal figures symbolizing cosmic thoughts and beliefs are used in different colours. Using red, cobalt blue, turquoise and green on white or navy blue background is the characteristic feature of traditional çinis. The basic element that characterizes the art of çini is traditional craftsmanship manifested in the applications and the knowledge transmitted from generations to generations about the supply of the raw material, preparation of dyes, production and usage of the tools, firing process, adornment techniques and aesthetics.

Turkey 2016