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.

The Custom of “Dismantling the Kitchen” is a passed down practice by women after giving birth to look after their health and to forgo the abstinence ties during the abstention period of 40 days or 44 days. The community calls it as abstinence or ‘heat one self’ (Berdiang) period which means the said women are to rest from doing their normal household chores that may affect their health. The period too can discipline the mothers by taking nutritional food and to manage one self so that to be continually healthy. According to the Terengganu community, the Berdiang is a process to heat the mother’s body, cleanse the dirty blood, stimulate blood flow and shrink the womb. The mother who has just given birth lie down on a sleeping bed of which underneath it is placed a heated stove filled with firewood and charcoal. This heat is needed to heat up the body, shrink the womb and to dispel dirty blood. The ingredients for this ceremony are rice flour, water, lime, raw thread and woven coconut leaves that are blessed before hand by the midwife. The flour is to heal any illness that might be inside the mother’s body. All these ingredients are used to bathe the mother, the baby and all the equipment used during the abstention period like the stove, sleeping bed and wrapping cloth. The sleeping bed and stove will then be dismantled after the ceremony. The next process is the Forgoing Ceremony that is to release the official tie between the mother and the midwife. The ingredients are woven coconut leaves and raw thread. The woven coconut leaves are placed on the mother’s head and then pulled accompanied with prayers and mantras. The raw thread are wrapped around the body from the head down to the feet and then removed from the body. The end of this ceremony marks the end of the official tie between the mother and the midwife. They have been released from the abstention period and given the ‘healer’ against any threats or evil ‘wind’. This custom is believed to avoid the mother from getting body illness or illness of the nerve in future. It is also believed that it can avoid disturbances from evil elements within the surrounding during abstinence that might return to disturb both mother and baby. This ceremony is indirectly giving the mother a chance to appreciate the midwife’s service in managing both mother and baby during the abstinence period. This custom can still be practiced even if the midwife was not the one receiving the baby and the mother did not undergo the heating up process. If the newly-given birth mother who is released from hospital requests the service of the midwife during the abstention period, then indirectly there established a tie between the mother and the midwife. As such, to release this official tie then the custom of ‘dismantling the kitchen’ needs to be conducted.

The main function of "Chang-Er" is used for winnow rice, beans, sesame, and so on. Besides, it can be used for drying other things. There are three types of Chang-Er and they are Chang-Er om (for winnowing), Chang-Er Krong (for drying things), Chhnang Kolobei (which is smaller and has a shallower expression than Chang-Er om used for drying things). The main material used for making Chang-Er is bamboo. The first weave the bamboo and cut it into shapes according to the size of Ehang-Er and split it into small squares of about 5 centimeters. Then put it on a small, thin strip and seal it neatly, the bamboo center section is called the "Bantos Antorng" and the back section is called the "Bantos Tbanh" Also, they have to soak the closed bamboo board in water for 2 or 3 days before weaving. The first stage is called "Antorng or korbat" After extracting Bantos from the water, you can weave them together until it has the smooth shape of chang-er. The next step is to take the woven skein to put it in a “Kandab” bamboo skewer with a round shape on one side and a flat one on the other side and bend it in a circle according to the shape of the Chang-Er. In order to place the Kandab Chang-Er, the woven skein is bent around to make it rise, and then Bantos Kandab is used to pinch both sides around the place where the punch is made until it is completely formed. Then they use a sharp iron (called a "Jak Kantob") and "Knouch" (a double-strand rope made from Phdao) to tie around the crotch so that the woven Chang-Er does not slip out of the Kandab. Finally, the woven Chang-Er will be lightly roasted in the kiln, which is dug into a hole about half a meter deep. There is also another to make chang-er in closed walls with a roof like a hut. Before roasting, water is poured on the stove to moisten it slightly to prevent the ash from heating up. For Chang-Er that do not have walls and roofs, old mats are used to cover Chang-Er to keep a good heat. The fire must be taken care of carefully, because if the fire is too strong, it will burn, but if the fire is too low, the Chang-Er will not be red.

National Intangible Cultural Heritage, Republic of Korea Nubi is a method of sewing in order to put cotton, fur or mulberry paper between the outer fabric and the lining of cloth, or of broad stitching without putting anything between the outer fabric and lining to strengthen the cloth or to make it warmer. Nubijang refers to this skill or to an artisan with such a skill. The method became a common practice following the introduction of cotton growing. Some monks wore the same robe for tens of years, repairing it with this method. Nubi techniques developed to a point where even ordinary people came to adopt them. Among the things needed for the work of nubi are thread that matches as closely as possible that used on the clothes or bedding, needles, scissors, a heating iron, a push stick, a measuring stick, and a thimble. Regular straight lines are chiefly used for the nubi work on clothes or bedding, but a mixture of straight and curved lines are also used to make a pattern when working on wrapping cloth or pouches. The country’s traditional manual nubi sewing is said to be an artwork similar to embroidery, but it is gradually disappearing, as the work takes time and does not bring much economic benefit.

Silver is closely associated with and has an important meaning in the lives of the Red Yao people. The Silver Carving profession of the Red Yao people has existed for a long time, containing many unique values of the ethnic group. In the past, Silver Carving was mainly used to create jewelry, decorative accessories on traditional Yao clothing, or silver coins. They only used pure silver to preserve the prestige of their traditional profession. Silver Carving also requires meticulousness, meticulousness as well as experience passed down through many generations. From the stages of choosing silver to heating silver, all are performed by experienced people. The carving stage is also done entirely by hand. Using rudimentary tools and manual techniques, craftsmen skillfully crafted and engraved silver products to create sophisticated patterns and sharp shapes: bracelets, buttons, rings, pendants, silver bells... Commonly used patterns: sunken patterns, raised patterns, butterfly patterns, dragons, melon seeds, swirls on the top of the head, willow leaves, engraved names... According to traditional experience, after carving, the Yao people will use a type of forest tree to coat the silver to create a bright and perfect whiteness for the product. The Yao people also create many product models with innovative patterns and unique designs to sell to tourists. The Silver Carving profession of the Red Yao people demonstrates the patience, meticulousness, dexterity, sophisticated and skillful techniques of the craftsmen, reflecting the soul, intelligence and aesthetics of the Red Yao people in Sa Pa - Lao Cai. The Silver Carving profession is maintained to serve the life, beliefs, religions as well as to create unique products for tourists.

Ondol, literally "warm stones," refers to an underfloor heating system unique to Korea. It has its roots in a primitive form of heating based on a hearth and flues dating back to the Bronze Age and the Proto-Three Kingdoms period. Since early examples of ondol can be found across the Korean Peninsula at sites dating to between the third century BCE and the first century CE, it is estimated that the practice of making and using underfloor heating facilities has been transmitted on the Korean Peninsula for more than 2,000 years. Unlike Western-style indoor fireplaces, the ondol system does not directly emit exhaust through the chimney. The smoke from a firepit first flows through flues made underneath the floor of a room, keeping the room warm for long periods without producing indoor smoke. As the quintessential element of traditional Korean housing culture, the ondol system informs on how Koreans have traditionally heated their houses. It illustrates their knowledge and use of the natural environment and their everyday lives. Ondol is also an important element in house building, interior design, and furniture design. Ondol rooms have long been established as one of the most important elements in Korean popular culture. While the unheated wooden-floored spaces within a traditional Korean house is an architectural response to the summer heat, the ondol rooms are preparations for harsh winter weather. Ondol is a unique Korean housing technology clearly distinguished from the underfloor heating systems found in China and Manchuria. Despite great advancements in heating technology and recent radical changes in housing and lifestyles, underfloor heating continues to thrive the present. Ondol has been designated as National Intangible Cultural Heritage for its sociocultural value as an indispensable element of Korean housing culture and popular culture, and also for its evidential significance to the creativity and wisdom Korean people exerted in their efforts to adapt to the local climate. * As the ondol system is part of Korean housing customs long shared widely across the nation, no particular holders or holder groups have been recognized for this element.