Art metal processing works made by masters found in museum funds of Kyrgyzstan and those that are passed from generation to generation shows that the Kyrgyz possessed metal processing techniques from the ancient times. The Kyrgyz metalwork masters are named as ‘usta’ or ‘zergher’. Distinct features of different techniques of metalworking can be observed in the works of the Kyrgyz masters, such as forging, molding, appliqueing, notching metal with silver, engraving, minting, pattern plating, pelleting, fretwork and black finishing. Silver is the most common metal used by the Kyrgyz. Masterpieces distinct to the Kyrgyz jewelry making have been created with a help of simple tools used in metalworking. The kit of jeweler’s main instruments included an anvil, hammers for different purposes, dies, stamps, chisels, puncheons, mandrels, cutters, poin-tools, etc. Motives of the ornaments used in jewelry and metal works are very diverse. Of a particular interest are the Kyrgyz traditions of metalworking expressed in details of the horse equipment. They are richly decorated with metal braces covering joints of belts made by embossing technique and notching. Kyrgyz jewelers broadly used the technique of denting, that is coating notched iron plates with silver. Such coated plates of different size and forms were then used to embellish harness elements, man’s belts, knives, fire stones, trunks, cases for dishes, etc. Quite often jewelry articles were framed with granules. This technique was primarily used in woman’s adornments, such as ear-rings, rings, seal-rings, bracelets, and etc. Like formerly, granulation was combined with filigreeing and incrustation. Community of craftspeople metalworking was a purely masculine craft, but women zergers are also known.

Blacksmithing includes a variety of techniques, including casting, welding, copper embossing, thread inlay, steel engraving, and double-engraved silver. Blacksmithing is inseparable from nomadic pastoral cultures, and is one of the wonders created by the nomadic pastoralists of Mongolia. The steel hearth, fire tongs, and other household tools are made by blacksmiths. Since ancient times, Mongolian artisans have made weapons and other army equipment, as well as tools and instruments, in a communal manner, meaning that blacksmithing workshops are found in many different sites in Mongolia. There are famous designs and schools of blacksmithing, such as Dariganga, Noyon Sevrei and Archuul, and although the artisan creates his work according to customary designs, one can find individual styles in their works. Traditionally, Mongolian artisans transmit their knowledge to the next generation through a master-to-apprentice way. In this method, the master becomes both a parent and teacher for the apprentice.

Jewelry is a type of decorative and applied art: the manufacture of art jewelry, household items and others from precious metals (gold, silver), often in combination with precious and crafting stones, as well as artistic products from other metals (bronze, copper), made with fine craftsmanship. Jewelry art is one of the most ancient types of folk art of Uzbekistan, which has retained its vitality to this day. Major centers of this art in the XIX-ХХ centuries were located in Bukhara, Khiva, Tashkent, Samarkand, Margilan, Qoqand, Qarshi, Shahrisabz and Kitab. Depending on the functional purpose, jewelry can be divided into several types. Sometimes jewelry, used for the same functional purpose but created in different regions of Uzbekistan, bore different names.

Skills of applying jewels and gemstones on wood and metal stuff, furniture, musical instruments and etc.

Mangala/Göçürme is a traditional game which can be played on special boards or improvised ones such as pits on the ground. The game can be played with pellets made of stone, wood, metal and bone, nuts, or seeds, which are distributed across the pits; the player who gathers the most pellets wins the game. There are several variations of the game. For example, the board can have two, three, four, six or nine pits arranged in order according to the number of players, and the duration varies according to the number of players.

Kyrgyzstan,Kazakhstan,Turkey 2020

Khon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art, and the shadow play. It tells the story of Ramakien – the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with the army of Thosakan (Ravana), king of the giants, and his final victory. The dancers wear elaborately embroidered costumes. The giants and monkeys all wear masks that cover their entire head. The colours and shape of each mask are unique to each character. The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression. The dance postures and movements, the music, and the repertoire have been handed down from generations since the 15th century. The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking persons or revered monks, and celebration of sacred sites and temples. Dancers, musicians, craftsmen and other members of Khon community annually perform a ceremony to honour Khon masters of the past, teachers, and deities. During this ceremony, new members are initiated into the community. Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.

Thailand 2018

The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.

Turkmenistan 2019

Beautiful rite of 'Betashar' (kaz. 'open face') symbolizes inclusion of a bride into a groom’s family clan. First bride’s mother arranges Kazakh traditional headwear “Saukele” on her daughter’s head covering her face with veil called “jelek”. The groom’s eldest sisters-in-law (“jenge”) bring the bride under their arms to the guests. Then the bride puts her feet on a white carpet with an image of Tengrian calendar embodying the Universe or lamb fleece – the symbols of fertility. Masters of improvised music poetry Akyns start the ritual by singing a bridal song “Betashar jyr” to the accompaniment of Dombyra. The song praises groom’s family ancestors, parents and all relatives in dedicated couplets. In return the bride with her sisters-in-law bow to every relative and family listed, thus giving her respect and greeting – “Salem beru”. The relatives, whom the bride has just bowed, reward Akyn with money for his performance. After introducing all the relatives and expressing good wishes, Akyn lifts the bride’s veil with the neck of his Dombyra, thus revelaing the bride’s face to everybody. Mother-in-law (“Ene”) takes off the veil, kisses and welcomes new member of the family. Then the groom takes the bride by the hand showing her to all guests. At this moment elder relatives shower the newlyweds with sweets and coins (“Shashu” ritual), wishing them happiness and abundances. In some regions Betashar includes: bride’s stepping over the fire, fumigation of bride with harmala (“adiraspan”) smoke and pouring oil on fire to endear the Spirit of fire.

Traditional jewelry. Jeweler masters produce adorning jeweler stuff with gold, silver, bronze, pearls and precious stones.

Jewellery art (kaz. 'zergerlyk') - is knowledge and skills in the field of traditional Kazakh art manufacturing of silverware. Since ancient times, there were produced a variety of silver jewelry: rings, earrings, necklaces, bracelets, pendants, buckles and much more. Especially highly prized precious silver vessels, such as jugs, bowls, mugs, decorated with engraved images. Archeological findings suggest that Kazakh people achieved a higher level in the development of jewellery making. Chylik findings were made using such techniques as stamping, engraving, true grain, incrustation (VII-V century BC); Issyk finding included “Golden warrior” (IV-III century BC); Berel kurgan findings (IV-VI century BC) from Eastern Kazakhstan are the testimony of a unique “animal style” in jewellery making. Jewellery is mainly made with silver. This craft is widespread across Kazakhstan but each region has its specifications concerning technique and design. Jewelry sets are made for men, women, and children; as well jewellery making is used for decorating musical instruments, household items, weaponry and horse gears; some made for rituals, others have symbolic or sacred value. Zergerlyk used for making details in men’s clothing, rider’s gear, horse riding gear, for example, horse equipment (er-tuman), traditional belts (beldyk, kyseh beldyk and kyemer belbeu), sword and knives’ handles and scabbards, powder flask (okhshantai), snuffboxes (nasybai). Women’s decorative items include forehead jewellery (shekelyk), braid jewellery (shashbau), earrings (syrgha), necklaces (alkhah, onirzhiyek, tumar), bracelets and cuffs (bilezyk), rings (zhuzyk), belt buckles (khapsyrmah), buttons (tyuime), personal hygiene items (tyss tazlaghysh, khulakh tazlaghysh), tools for crafting, spindle (urshykh), thimble (oymakh). Zergers also make child’s cradle set: bessyk (cradle), shumek (tube to flow urine), syldyrmakh (rattle), yemyzik (pacifier), tumar (amulet, charm) and other items. The jewelry pieces in the form of circle, oval, triangle, half oval, rectangular, petal, peak and beak are frequently combined to make a larger piece, for example pectoral decorative items onzhyrek and alkah are made of several triangle and rectangular plates, khudaghy zhuzik (a special large double ring presented when marriage brokerage occurs) and bes-blezyk (a bracelet connected with chains with three rings). Geometric style from Western Kazakhstan is famous for large-scale decorative items that are assembled from pre-made pieces that are joined together by soldering (plates, borders, solar symbols, grain). Most common techniques include true grain, plated filigree, stamping, embossing, engraving, niello, enamel, casting, forging, and incrustation with precious and semi-precious stones. Stone (tas) are sliced flat and are called eye (koz) as they considered to be protection charms. The most popular stone is cornelian (akhykh) as it symbolizes prosperity and joy.

The Neypo ritual is a seasonal offering performed across Bhutan to appease local deities, Ney village in Lhuentse to the northeast is one of many villages to perform this ritual. Neypo literally means "Zhidag", a category of deity who protects the area under their control or certain parts of the valley. The identity of the protector figure varies from region to region, as does the ritual. In Ney village, the Neypo ritual is performed every year on the 15th day of the third lunar month of the Bhutanese calendar. The ritual is performed in their Lhakhang, temple, in order to appease the local deity Zhidag Drakpa Gyalpo with offerings. In return, the community asks for his protection of their farms from wild animals. The Zhidag is believed to dwell below the village in a dense forest on the left side of Kurichu. Zhidag Drakpa Gyalpo has a grim appearance with a black face, dark clothes, and a reindeer mount with ten horns. He has one face and two hands; in his right hand he holds a flaming sword and in his left hand he holds a robe or Zhagpa sling. Within a single second he could cover the distance between any two places. Eighth century tantric master Guru Rinpoche (Skt. Padmasambhava) bound Drakpa Gyalpo by oath and made him the protector of the East Gate of the hidden land Baeyul Khempajong, and sworn to be the Dharma protector in the region. During the Neypo ritual, the entrance to the dense forest is sealed off for people which will last for a whole season, which is called Rigya lungya dam or Ridam. Ridam is a common practice of mountain closure in which the path to the Zhidag Phodrang, deity’s abode, and the surrounding dense forest are closed to human access from spring to autumn until the rice harvest. During this period, people are generally not allowed to enter the area to collect natural resources or visit any place in the area. After performing rituals, no one is allowed to go there unless except for exceptional occasions. This restriction applies to outsiders as well as people from the village.

Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan. Later, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. The art was later codified and included as one of the thirteen traditional arts and crafts of Bhutan by the 4th Druk Desi (temporary ruler) Gyalse Tenzin Rabgye in the late 17th century. Since then the art of sculpting has been maintained and passed from teacher to students over many generations until today. Bhutanese jim zop (sculptors) are known for the quality and intricacy of creating delicate clay sculptures. They practice sculpting as a pious act since it is based on the iconographic principles of Buddhist art. It is very important to adhere to the rules that prescribe the precise measurement of the body structure in relation to the limbs, postures, eyes, ears, fingers and nose and the body tints, garments and ornaments. a. Religious Statues and Ritual Objects: Sculptors make clay statues, ritual objects and tsha tsha (miniature clay stupa) and clay masks worn during festivals. Numbers of exceedingly fine and intricate religious sculptures and ritual objects made of clay can be seen in every temple, monastery, and the dzongs of Bhutan. These clay sculptures vary in sizes, varying from tiny statues to over twenty feet. There are clay sculptures of the Buddhas and Bodhisattvas, various deities, gods, goddesses and prominent religious figures which depict the foundation of faith, worship and reverence for the Buddhists. b. Types of Clay used in Sculpting: Clay is the basic material for making sculptures. A special kind of clay can be found deposited in small quantities between mud and gravels usually in marshy areas. Sculptors use the best quality clay as the images and objects they make must stand against the change of weather for generations. Clay is processed into three different forms; tsa dam, kong dam, and jim dam. Each one is used for a specific purpose. Tsa dam is made by mixing clay powder with daesho (paper made from daphne plants) in the ratio of 7:3. If paper is not available, pulps made from the raw bark of daphne plant are used as substitute. This mixture prevents the mud from disintegrating when dried. Tsa dam is used for moulding the basic structure of the statue. Kong dam is prepared in the same way as tsa dam, but by adding more water to make the clay relatively thinner and softer. Kong dam is applied over the basic structure moulded from tsa dam to give proper shape to the statue. Generally the proprietor adds any or all of the seven precious substances (gold, silver, and turquoise, and coral, pearl, bronze and any other precious stones) to tsa dam and kong dam in order to increase the aura of the statue. Jim dam is applied as the final and finishing touch to the statue. To prepare jin dam; the clay powder is mixed with water and then stirred thoroughly until it turns into a thin paste. It is then filtered with the help of a thin cloth. The thin filtered paste is collected in a utensil and then placed on fire until the water component is evaporated. What is left in the pot is a very fine powder. This powder is then mixed with daphne papier mache to give it the binding strength which prevents the clay from cracking. This mixture is again mixed with water and stirred and applied to give the final touches to the statue. c. Process of Clay Sculpting: Clay sculpting process starts with the measurement of the space available where the statue will be kept later, or the size required by the owner/sponsor. Accordingly, the basic structural frame is made by using copper wires for smaller statues, iron or steel rods for bigger statues as support. Steel rods are wrapped with copper wire to add the value of the object. Gold and silver wires are considered the best to make the basic frame. The frame is added with tsa dam while the internal part is left hollow for zung to be inserted later. When the tsa dam on the structure dries perfectly, kong dam is applied over it to give all the external physical features, forms and the attires. The parts such as hands and head are made separately and attached later to the body for smaller statues, though the head of bigger statues are made directly with the statue. The sculptor must ensure that the parts made separately are proportionate to the whole structure. Any part of the statue that is not proportionate to the whole body is considered an impious act of the sculptor and therefore must be avoided at all cost. Sculpting is a tedious job, requiring the sculptor to apply the wooden chisel again and again to fill any gaps or remove the lumps over and over again. The statues are left for a long time to allow the clay to dry naturally, and to develop minor cracks which are also left unrepaired to allow air to pass for rapid drying. When no more cracks appear, it means the clay has dried up completely. The cracks are then repaired with tsa dam by mixing with glue. Once this is done, the sculptures are ready for final layers of finishing using jin dam. At this stage the sculpture is finally ready for zung (the inner relic). Learners have to undergo rigorous training for several years under a master sculptor known as Jimzo lopoen. As sculpting for religious purpose is considered a spiritual act, sculptors have to choose the most auspicious day and time to start a project. Once completed, an expert (usually a monk) will insert a zung shing or sog shing (a strut inside the statue as its backbone) and zung consisting of written mantras and other precious substances. Then the statue is painted using appropriate colours. Upon completion of all these steps, a drub or rabney ceremony is conducted by an accomplished lama. The painters and sculptors are highly regarded for their profession.