Sho-na or in other words Thing-sho is an especial product of De-zo with blue or indigo colour and shining black writing surface. This paper is particularly manufactured for gold, silver, copper and bone ink. Though the making process is quite identical, the unique is it uses indigo colour while making paper pulp. For making Sho-na, it requires different tools, ingredients and processes that most of the paper makers don’t know therefore, it is expensive compared to ordinary daphne paper. Unlike ordinary paper, Sho-na usually comes in manuscript form with three different sizes mainly in length base; 1)\tDatshedma (length of an arrow) 2)\tTershedma (a foot) 3)\tDomang and Bum (nearly a metre) Examining the records of golden scriptures (Ser-dri-ma) that were held in Dzongs, monasteries, temples and even in some wealthy individuals across the country, the oldest of all according to its oral sources is the 9th century golden scripture was brought from Tibet. However, in Bhutan, the writing golden scriptures thrived in the late 17th century after numerous Spiritual Masters had initiated writing their master’s biography or autobiography in gold using Sho-na paper. It is not that one cannot write golden scriptures in an ordinary Daphne paper but, the visibility will be poor as gold and paper’s colour does not match very well. Therefore, to make clear visibility Sho-na are used for writing gold, silver and copper inks. The papers are normally prepared on demand by the Sho-na makers. Sho-na making seems to be disappearing and there are only countable manufacturers in the country. The cause of declining no of the practitioner is due to the rarity of the Gold Script writing project.

“Lbaeng Veay Kon Koal” is a kind of game that is played in many countries. They have played the game from ancient times to the present day, especially in India. This game has two types: "Horseback Rider" and "Pedestrian Runner". But today in Cambodia, this horse-riding golf is gone, no one has ever seen or heard of it, only the sculpture on the terrace of the north corner of Angkor Thom, which is probably built during the late 12th century or early 13th century. On foot, golf is still played today, for example, in Prek Sangke village, Koh Sor Tin district, Kampong Cham, and Kampong Speu provinces. This Veay Kon Koal game can be called in different names by different districts or regions across Cambodia. Those names are "Veay Kon Koal", "Veay Bror Dum" or “Leng Pek.” To play the game, People have to divide themselves into two groups to compete like in football. The number of people is not limited, more or less, depending on whether there are people or not. This game is often played in rice fields or farm fields that have been harvested, along the wide trails or sometimes in the fields with water up below the knee. The main equipment for this game is golf/ball and sticks. The golf (or so-called "Kon Bror Dum" are usually made of light spruce wood, such as Derm Ror Lous or Derm Kor Chang to be rounded and dried. Otherwise, they use coconut or palm fruit. The sticks or hooks for beating, are made from the branch of a palm tree or Kandol tree, Sangke tree, Trabek tree, Krasang tree or any wood that as big as the size of Kid’s wrist. The stick should be smooth and the grip should bend in order to make it easy to hold or they can use Russey Ping Pung, Russey Prech, Russey Prei, Pdoa which has a curve trunk. This game can be played both day and night, and if played at night, they burn the golf ball almost become live coal, which is then called the "fireball". Before playing, they set a "goal" on either side of each group, depending on the size of the yard, and plugged in a piece of wood to mark the place. At the start of the game, both teams line up facing each other with golf balls which is in the middle of the playing field and each team has to choose a representative to stand in the middle in front of the golf ball. Then the two of them hold the stick and raise the interface or confront each other to be ready "Kae", hit gently, changing from right to left and from left to right 3 times. Then both players hit the ball and run past the opponent’s goal. If the player runs past any team, that team is lose. This game does not allow the players to use their hands, but they can use their feet, instead. The game will be in vain and the golf ball will have to be Kae again.

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

The Traditional Bronze Casting of Che village (Tra Dong) has a history of thousands of years and has been preserved, maintained and promoted to this day. According to legend, the profession dates back to the end of the Tien Le dynasty and the beginning of the Ly dynasty, brought to the village by two people with the surname Vu. The mold-making stage with two types of outer molds and molds is the most important. Bronze casting tools include: a pot, a tube and a fire-blowing tank. The main materials are copper and metals mixed according to a secret formula. The fuel for cooking copper is coal. The melting temperature is about 800 to 1000 degrees Celsius. The practitioner is male. When cooking, the craftsman observes by experience to know when to pour it into the mold. When pouring copper into the mold, the copper must flow evenly and pour continuously until it is full. They have experience so that the copper expands and releases gas quickly, does not stick to the mold and cracks the product. The final stage is to cool and polish the product. Many bronze casting products are rich in form and diverse in types and are consumed nationwide and exported abroad. With skillful and talented hands, artisans have restored traditional products such as: casting bronze drums, bronze gongs, bronze statues, worship items, incense burners, animal figures... and the most outstanding is the art of casting Dong Son bronze drums with sophisticated patterns and details according to ancient patterns and designs. Currently, the number of establishments maintaining and developing the bronze casting profession in Tra Dong craft village is more than 130 households. These establishments provide regular jobs for nearly 400 workers. In 2018, The Traditional Bronze Casting of Che village (Tra Dong), Thieu Trung commune, Thieu Hoa district, Thanh Hoa province was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage.

A type of folk song conveying the thoughts, feelings and wishes of the community, usually performed every spring. Types of Pao dung used in daily life include lullabies, fun, lovemaking, and coal singing. In the rituals of beliefs and customs, it is used in the award ceremony, the wedding ceremony, the funeral, the full month offering... In the ritual, they use the available methods. In real life, the practitioner will improvise in accordance with the real situation. It is recorded in the Nom Dao script. For each branch of Dao, the singing style has a difference in the sound of the melody.