Mr. Huỳnh Bá Quát played a pivotal role in introducing stone carving from Thanh Hóa to Non Nước. The villagers commemorate both the village festival and the anniversary of their ancestors' deaths on the sixteenth day of the third lunar month each year. For their part, the stone masons celebrate the arrival of spring with an ancestral ceremony on January 6. Stone carvers pass on their craft from father to son. Because the method of teaching the job is to teach the job by hand, the team of workers is divided into three basic levels: apprentices, secondảy workers, and master workers. Rough stone/marble miners are called “Civil Mandarin”. The worker who creates the raw product is called "Military Mandarin". Craft tools used in stone sculpture include sledgehammers, crowbars; the soar, the touch; nasal hooves; tarpaulin; nose tick; corn nose; Measure; saws sawing stones and saws cutting rings; drill; and grater. The process of developing a product involves mining and choosing raw stone, making blanks (figuring out the base, making drawings and prints, chiseling blanks, forming products), engraving patterns, embellishing forms, grinding and polishing products. To achieve a stunning color, the laborer needs to apply food coloring to the stone along with bits of green tea, brown shoe polish, and indigo. Based on usage, products include products serving daily needs (flower vases, column bases, teapots) and products serving spiritual needs (feng shui objects, statues, portraits, mausoleums, tombs).

The craft of mounding and bronze casting has been present in Đại Bái since the 10th century, under the Lý Dynasty, associated with the name and merit of the craft's ancestor Nguyễn Công Truyền. To create a bronze casting product, the craftsman must perform many complex and complex technical operations. The first step is to build the furnace (floating furnace and submerged furnace; the structure of the furnace includes the furnace body, a lid - cyclone, and an annular iron ring - rotating; the raw materials for making the furnace are pond mud and rice husks). Next is the product creation process including shaping to create a product model; creating molds to cast into bronze; preparing, cooking and pouring copper; engraving and arranging patterns on the surface of the product; polishing and coloring the product. When smelting copper, combine the appropriate ratio of copper, zinc, and a very small amount of lead; molding: creating a mold according to the shape of the item to be manufactured; inlaid: create an additional round inlaid sheet, hammer the product with a specialized hammer (awl - inlaid awl, mounding awl, barrier awl, parasol awl, patting awl), touch with a tick (brake tick, cupped tick, sharp tick), round, circle, pat the gums, roast, flatten, and cure. The finished product will be husked, washed to create shine, and burned with ironwood charcoal. The final step to create the finished product is flowering (which professionals call this). Techniques such as inlaid molding, copper manipulation, engraving embossed patterns, engraving sunken patterns, inlaying green copper, black copper on red copper, inlaying gold and silver on copper, etc are very good techniques, high in their bronze mounds. Products of Đại Bái bronze mound craft village are very diverse, such as household items (pots, trays, bowls, pots, urns), worship items, fine arts items, and musical instruments. Page themes are often chrysanthemums, clouds, patterns, string flowers, seal lines, stylized flowers and leaves, stylized animals, geometric shapes, bold lines, and thin lines. Products mainly serve religious and decorative needs. Dai Bai people always avoid "offending" the profession's ancestors.

Sybyzgy (kaz. "syb" - whisper, whispering, "yz" - buzzing, rattling, "gy" - the end of the word, the term, meaning hissing sound) is one of the most ancient and fascinating with specific magical sounding wind instrument of traditional musical life. Popularity of sybyzgy among folk musicians explained by the simplicity of the forms and the availability of the material from which it is made - the hollow stem of the umbrella plant -kurai (“qurai”). Name of the musical instrument comes from the specific of pronunciation of the Kazakh coloristic tembroideal sound ө which arises from the sensitivity of auditory perception overtones. However, the pure sound of sybyzgy related to timbre coloring and the sounds it produces something trembling, resembling high flute. Therefore, the people say: “Sybyzgynyng bezildegen uni” (“sad, crying sound of sybyzgy”). Sybyzgy is made from cane, as well as of wood and copper. From three to five holes were made in the hollow cane. Technique of playing on sybyzgy is difficult, despite the primitive nature of the instrument. However, this kind of design can give a deep, “natural” tone and rich overtones sounds. Three holes in the tool allow you to use more than two octaves. Masters performers on sybyzgy noted three method to extract the sound: the sound of the instrument, the sound resonates from the sound hole and the throat.

National Intangible Cultural Heritage, Republic of Korea Yeomsaekjang refers to a craftsman who dyes cloth with natural pigments. Specifically, the art of dyeing, which has been designated as Important Intangible Cultural Heritage, involves dyeing with indigo. In the Joseon Dynasty, dyeing was a highly specialized skill such that a dyeing specialist was attached to the royal court. Natural dyes used for coloring cloth are plant, mineral, or animal matter, used as is or slightly processed. There are all kinds of dyes, but the indigo bush (Persicaria tinctoria) was the most difficult to use; the complicated dyeing process also required a high level of skill. With modernization as well as the introduction of chemical dyes, traditional dyeing has all but vanished. Thanks to a handful of dedicated craftsmen who have worked to revive the art since the 1970s, however, the art has been kept alive.

Weaving simple carpets for everyday use. Carpets are weaved in special tool with wool, cotton and with silk threads. For coloring of carpets in some workshops use natural dyes

National Intangible Cultural Heritage, Republic of Korea Dancheong refers to Korean traditional decorative coloring of blue, red, yellow, white, and black made on wooden buildings and structures like royal palaces or temples for the purpose of style, or to a painter specializing in the skill. A Buddhist monk with such a skill is called hwaseung. Dancheong is found in tombs dating from the Three Kingdoms Period (circa 57 BC – 668 AD). The skill developed with the development of Buddhism. Let us see how the dancheong work is accomplished. First of all, the space where dancheong is to be done is cleaned. Water boiled with a small amount of glue is applied to the surface of the space five times. Bluish green soil mixed with water is then applied to the surface. A sheet of paper with the original drawing of a pattern is put on the space and the powder pouch is put lightly on the drawing sheet. The process causes powder to attach to the space through awl-made holes in the drawing sheet, thus forming a pattern. Mineral pigments in blue, red, yellow, white, and black are applied to the pattern thus formed on the space. Dancheong helps preserve the wood and make the building look sacred and dignified. The practice was once in vogue also in China and Japan, but has been handed down to the present day only in Korea.

Skills of applying ornaments through coloring and beating forms in fabrics. Decorated fabrics are used for dresses, table-cloth, curtain, bed cover and etc.

Skills of applying ornaments through coloring in fabrics.