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

Cultural environment - a set of sociocultural objects related to the creation and dissemination of cultural values, as well as the style and nature of cultural relationships of people, cultural and everyday conditions and a spiritual and moral atmosphere in society.

Kulapheach is a daily used item such as pots, clay pots, made of baked clay. Archaeological excavations in Cambodia have uncovered many Kulapheach kilns and Kulapheach at some archeological sites such as Angkor Mean Tani kiln, Anlong Thom kiln, Torb Chey kiln, Sorsey kiln, Bangkong kiln. In Phnom Penh, there is Choeung Ek station. According to the research evidence, the oldest Pheach is found at La Ang Spean (the cave bridge) station dating to 4,000 BC. Today, despite modern technology for the production of consumer goods, traditional Kulapheach production is still available in some provinces, such as Kampong Chhnang (Andong Russey village), Kandal province (Russey Chuk village, Kaom village or Chroy Metre), Kampot province, Takeo, Prey Veng and Kampong Speu province. There are three main stages in the production of traditional Kulapheach: preparation of soil and firing; Clay soil used for Kulapheach production is from silt, or soil from a hill. First, they dry the soil and finely grind and sift only the mines. Then mix the soil with water so that it can be used to make a Pheach. There are five stages in molding Pheach and those are Pen, Reas, Bamporng, Berk, and Veay Bat. ‘Pen’ is the process of kneading the wet soil then piling it up and continuing kneading on a flat board until it has no air left in the soil. Sprinkling dried clay soil to make the kneaded soil not sticky. Next, knead the clay into long rounded pieces and continue to knead each one to form a desired shape. The second step is called ‘Reas’ or to shine which means taking the kneaded soil in Pheach shape to shine and smooth with a tool made of palm branch called ‘Tro Naes’ some called ‘Lakor’ by placing one hand claps around the Pheach and the other hand holds the inside. This method is to make the Pheach melt together, no longer see the link and no air on the surface. After that, the Pheach is ready to make a neck and mouth. The Pheach makers use their two fingers, pushing from the outside and holding the thumb from the inside, pulling it one and a half around round. In order to make the neck and mouth of the pot look more beautiful, they can use "Chea leaf” or some areas called" Chroy leaf "or" Guava leaf ", to drag the neck and mouth around. The third stage is called ‘Bamporng or inflated’ people use a tool called “Tro Naes” and “Khleong” to inflat the Pheach by hitting it gently until it gets bigger and more rounded except the edge of the Pheach mouth, the neck remains the same size. The fourth stage is called "Bourk or Opening", that is, people use “Cher Bet ka eng” if the or called "Cher Dek Khnot") drag on the shape of the Pheach to get it pleated then use a tattoo stick to draw various decoration. The final step is to ‘close the bottom.’ To center the bottom of Pheach, hold it from the inside and use Tro Naes ot hit gently from the outside around the bottom of the Pheach until the bottom stick together. To make Pheach smoother, a damp cloth is used to wipe it, except where there are pleaded spots or decorations. After the Pheach is ready, it is dried (in the shade) so that the pot hardens and it does not explode or crack during cooking. After drying, the Pheach will be baked and there are two ways to bake it: "bake on the field" and " bake in the kiln". The Pheach used to bake in the kiln are usually small Pheach, while the Pheach baked in the open air are usually large pots such as pots, pans, stoves and so on. To bake in the kiln, you need to sort the Pheach in order and it takes only half a day to bake, because the oven is closed, the heat is good, making the Pheach perfectly hard. For baking on the field, first, use firewood to lay the ground. Then arrange the Pheach on top of the firewood, cover the Pheach with straw and sprinkle a little water on the straw to make the fire last longer. In order for the fire to burn around them, small pieces of wood and straw were added between the Pheach. When baking Pheach, keep the fire burning by adding firewood and straw until the Pheach is completely baked. Baking in the open air takes a whole day. However, whether baking in the kiln or on the field, people don’t remove the Pheach immediately after it is done, they let it cool first. Nowadays, the traditional Pheach production in some areas is facing actual loss, as in the village of Kam, there are only a few families who still make Kulapheach, compared to before, when almost all the villagers earn a living through it. Nowadays, the subject of Kulapheach making is also included in the curriculum of the School of Fine Arts.

Traditional pottery art in Bhutan is known in Dzongkha as Dza-zo and the artisans are Dza-khem; in Kurtoep dialect they’re known as Phreng, art, and Phreng cho-khan, artisans. Dza-zo traditional form of pottery falls within the scope of recognized traditional Bhutanese arts and crafts. Today, traditional artisans in Gangzur village in Gangzur village block, Lhuentse district continue to make Bhutanese pottery. The nearby village of Maenjabi in Maenbi block formerly practiced the art, but over the past twenty years lost its artisans to age and migration for work. Archaeological evidence shows that ceramics have been important from the time of early settlement in Bhutan. Earthen pots were used as household items in the absence of utensils made of copper, bronze, and iron as we know them today. With the visit of Guru Rinpoche to Bhutan in the 8th century, handicrafts were introduced to Bhutan, including Dza-zo pottery, which was then propagated by Drubchen Thangthong Gyalpo (1361-1485) and Rigzin Pema Lingpa (1450-1521) in the 14th and 15th centuries. The tradition of handicrafts reached its peak in the 17th century when Zhabdrung Ngawang Namgyel (1594-1651) took personal interest in arts such as Lhadri painting, patra engraving, tshem-zo embroidery, chag-zo blacksmithing, and troe-zo silversmithing. He reinforced the practice of these artisanal skills including pottery. Traditional pottery was first practiced in the villages of Rinpung in Paro, Wangbarma in Thimphu, Shar Goenkha in Wangdi and Gangzur in Lhuntse district. From these places, the skills and knowledge have been passed down from generation to generation until today.

Naqqoshlik is drawing an ornament - a pattern built on rhythmic alternation and a combination of geometric or graphic elements, performed by means of painting, drawing, sculpture or embroidery. Uzbek national patterns have their own names, going back in history. Traditional Uzbek ornament is found in decorative art embroideries, in wood carvings, in paintings on clay and ceramics, on Uzbek fabrics, on buildings. At the heart of the ornament is a picture of simple things. For example, knives are designed to protect, a flowering garden is a symbol of fertility and agriculture. Each flower carries information: a scarlet poppy - the image of an innocent girl, a tulip - a symbol of purity, a rose - peace and beauty, wildflowers - a young man. Often, a different meaning was embedded in the image of flowers. For example, they believed that they carried healing power and health. The ornament creates a vector image in which a magical meaning is laid, reflecting the course of human life. This is an oriental vector style with geometric patterns. Geometric patterns have abstract forms: - zigzag lines - circles - polyhedra - stars - ornamental motifs - meander - human figures - stylized inscriptions. Ethnic patterns are folklore images, folk motifs in which a creative union of religion and culture is concluded. They carry a semantic and ritual load.

National Intangible Cultural Heritage, Republic of Korea Earthenware is divided into ceramics and porcelain, depending on how clay-made objects are baked. An object mixed with white clay and baked at a high temperature is called china or porcelain. Sagijang refers to this skill or to an officially recognized artisan with such a skill. Ceramics and porcelain, particularly blue porcelain made during the Goryeo Period (877 – 1394) and thereafter are recognized as the best in the world. During the Joseon Period (1392 – 1910), Saongwon (Palace Kitchen Management) was in charge of porcelain production. Its branch in Gyeonggi-do made special objects to be used by the royal family. The government-run porcelain kilns were closed toward the late Joseon Period, following which porcelain artisans started private businesses in Mungyeong, Goisan, and Danyang. As for the process of china production, first of all, sandy soil is put into water to remove foreign materials. A desired form of is made with the soil, using a foot-operated spinning wheel. The object is then put into a kiln for pre-firing. Glaze is applied to the pre-fired object, and it is again put into a kiln for second firing. Experts say that grayish-blue-powdered celadon of Joseon evokes a folksy and lively feeling, while white porcelain evokes the character of a gracious scholar.

The Pottery Making Craft of the Cham people in Bau Truc Village, Phuoc Dan town, Ninh Phuoc district, Ninh Thuan province is a pottery production craft village with a long tradition and is typical not only in Vietnam but also in Southeast Asia. Bau Truc Pottery has existed since the end of the 12th century until now, this is considered one of the very few ancient pottery villages in Southeast Asia that still retains the primitive production method from thousands of years ago. The Traditional Pottery Making of the Cham in Bàu Trúc Village is done by hand, with the main materials being clay and sand taken from the village. The Traditional Pottery Making process of the Cham people includes many interconnected stages. The first is choosing and taking the soil. The treatment of the soil before making pottery determines the quality and efficiency of the product after firing. After taking the soil, people break it into small pieces to filter out the impurities, taking only the yellow clay and then incubating it to keep it soft. Taking a sufficient amount of clay, the Cham woman gracefully kneads it until it becomes soft, then places it on a large jar to create a block. The ceramic product is completely handmade, “shaped by hand, without a turntable.” The artisan walks backwards around the pottery-shaping table and uses the unique Cham pottery-shaping technique of straight strokes (different from the horizontal strokes in pottery villages that use turntables). After that, they use a “circle” to brush around the body of the pottery, then use a wet cloth to wrap around their hands, and rub the outside of the pottery until it is shiny. Next comes the step of decorating the pattern. After shaping, the product is left in the shade for 24 hours, then rubbed thinly and continued to dry for another 7 days until completely dry, before being fired. Thanks to this, the product will be “ripe” thoroughly and will not crack. The product is fired in the open air after being crafted. Depending on the conditions of sunlight and wind, combined with the process and technique of spraying colors (extracted from cashew nut oil, dong tree ...) will produce products with characteristic colors such as red-yellow, pink-red, gray-black, strange and beautiful brown streaks, clearly showing the ancient Cham culture. Products serving daily life, decoration and beliefs, religions such as: ceramic vases, tea sets, animals, reliefs ... Natural colors through the firing and incubation process. Each Cham ceramic product shows the style, craftsmanship, and ingenuity of each craftsman. In addition to household ceramic products, Bau Truc ceramic craft also promotes the development of decorative ceramics, fine art ceramics, souvenir ceramics with aesthetic content, giving high economic value such as: decorative ceramic lamps, night lights, flower vases, water bottles, teapots, vases, water towers, .... The Traditional Pottery Making of the Cham in Bàu Trúc Village contains the secrets and ingenuity of the craftsmen, creating products imbued with the cultural identity of the Cham people. The Pottery Making Craft of the Cham people in Bau Truc Village plays an important role in the economic, cultural and social life. Pottery products are indispensable in the daily life of each family and in the cultural beliefs of the Cham community. With its unique values, the Traditional Pottery Making of the Cham in Bàu Trúc Village has been recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage (in 2017), and this Heritage has also been listed by UNESCO in the List of "Intangible Cultural Heritage in Need of Urgent Safeguarding" (in 2022).

Viet Nam 2022

Uzbekistan is the place where the richest heritage of ceramic art is preserved. Nowadays the interest of the representatives of the contemporart traditional and untraditional ceramic art to the history of ceramic is increasing. In terms of execution technique it is divided into two types, i.e. unglazed and glazed ceramics. Though, unglazed moulded ceramics has more ancient origins. Since the end of the VIII – beginning of the IX century glazed ceramic wares emerged and got widely spread in the cities of Mawarannahr. During the IX-XII centuries glazed ceramics resembled a true artistic perfection and were of high quality. In the XIX century major schools and centers of ceramics got formed on the territory of present-day Uzbekistan. In the past, masters (potters), producing ceramic wares were called "kosagar" (a master skillful in creating flat and small wares like "kosa" (a bowl)) and "kozagar" (a master skillful in creating high and big wares like "koza" (a jug)). At present, this kind of classification lost its significance because some masters (potters) produce both small and big ceramic wares (i.e. jugs, vases, etc.).

Phù Lãng pottery making was taught to the villagers by the founder of the craft, Mr. Lưu Phong Tú, around the Trần dynasty, 14th century, and has developed to this day. The primary products are pottery with brown glaze and related colors. Product types include religious ceramics, household appliances, and decorative items with the outstanding feature of using the embossing method in the form of bubble engraving, also known as double engraving, with natural, durable, and unique glaze color; The shape of the ceramic is rustic but strong and very bold in shaping sculpture. The production process is specialized with worker teams: furnace team, broaching team, pattern team, enamel team, and cleaning team. The stages include selecting soil and treating clay; shaping on a rotating table (household ceramics and fine art ceramics) and shaping by printing on wooden molds or terracotta molds (worship ceramics); tick, scrape products; glazing (the material used to make glazing is the ash of forest trees, ash as white as lime; currently we use ash from ironwood, bamboo, wood, lime, crushed pebbles, white alluvial mud); fired with wood to create scratches on the ceramic surface (temperature 1000 degrees Celsius, for 3 days and 3 nights continuously). Products made of Phù Lãng ceramics are lustrous, have an echo when tapped, and come in a variety of eel skin tones, including light yellow, dark yellow, brown, and yellow-brown. There are 3 main product lines: altar ceramics (incense burners, altar stands, tops), household ceramics (vases, jars, pipes) and fine art ceramics (paintings, flower pots, vases, animal-shaped kettles). The soul of Phù Lãng ceramic products is created from the rusticity of this eel skin glaze.