The firing of Longquan celadon is a traditional skill based on raw materials that exist in Longquan City (located in Zhejiang Province, China): burnt petuntse, violet-golden clay, limestone, quartz and others. For many centuries, at first these raw materials were compounded in proportion, and then moulded by hand, finally high fired at temperatures around 1310ºC. The process results in the celadon that Longquan became known for. The methods were handed down by families.

China 2009

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.

Chăm pottery products are made with the skilfulness, flexibility and softness of hands and bodies of Chăm women, showing the individual creativity based on the knowledge handed over by the community. This has the following characteristics. The pottery is entirely handmade by women. Instead of using a turntable, women have to move backwards to revolve around the product placed in a fixed place to create the shape for it. The pottery is not glazed but fired outdoors. Raw materials (clay, sand, water, firewood and straw) are exploited locally. After being collected from Hamu Tanu Halan field along the banks of Quao river in Bàu Trúc village (Ninh Thuận province), the clay will be reproduced after a few year periods. The clay for making pottery of Bình Đức village (Bình Thuận province) is exploited in Xuân Quang village (3 kilometers from Bình Đức village to the Northwest). Tools for making pottery are simple because they are made use of local materials by artisans such as bamboo hoop scraper-polisher, bamboo hoop scraper to thin pottery products and clamshells and wetted coil cloth to make the product smooth. Without using a kiln, the finished pottery products are dried and baked outdoors with firewood and straw at a temperature of about 800 Celsius within 7-8 hours. Chăm’s pottery products are mainly household utensils, worshiping products, and fine art works including Jars (jek), pots (gok), trays (cambak), vases (bilaok), rice jars (khan brah). These products are characterised as being unique and carrying individual imprints.

Viet Nam 2022

National Intangible Cultural Heritage, Republic of Korea It is not known exactly when Koreans began covering their houses with tiles, but archaeological excavations suggest that tiles had become an important roofing material by the Three Kingdoms Period (1st century BCE ~ 7th century CE). This suggests that tile makers and roofers with highly advanced skills were in business at the time. According to historical records, there were even wabaksa (literally meaning “tile experts”), some of whom went over to Japan and taught their skills to the Japanese. The government of the Joseon Dynasty set up Waseo (Bureau of Roof Tiles) in 1392, the first year of the reign of its founding monarch, King Taejo, to oversee roof tile production. In 1406, the sixth year of the reign of King Taejong, it was renamed Byeorwayo (Special Kiln for Roof Tiles) to concentrate more on distribution. Aside from tile-making technicians, Buddhist monks were assigned to the office to produce and distribute tiles in massive quantities. Two types of artisans participated in making tile-covered roofs: the roof tile makers called wagong or wajang but were sometimes called wabyeokjang as well because they produced bricks as well as roof tiles, and; the roofing technicians, called gaejang, literally meaning the “covering artisan.” In Korean, beonwa meant both “roof tile production” and “roofing with tiles”; in Chinese characters, however, the word is written differently: “燔瓦” for the former and “瓦” for the latter. Roofs constitute an important aesthetic element of traditional Korean architecture. The gently curved roof lines accentuating the beauty of traditional Korean-style wooden buildings require the sharp eyes and deft hands of skilled roofers. The traditional tile roofing technique has been designated as an important intangible cultural heritage so that the ingenious skills of roofers can be preserved and transmitted to future generations.

National Intangible Cultural Heritage, Republic of Korea Jewajang refers to the skill of making roof tiles, or to an artisan with such a skill. Roof tiles were used to make the buildings look better, in addition to their inherent function. In olden days, they symbolized the authority and wealth of the building’s owner. Roof tiles are divided into convex and concave types. Ancillary ornamental tiles include convex roof-end tile, concave roof-end tile, roof tile with demon face design, dragon finial, and tiles placed at both ends of the top ridge. Looking at how roof tiles are made, sticky clay mixed water is put into a wooden mold. After a period of drying, the clay is cut to an appropriate size and pattern and then put into a kiln, which is heated to a temperature higher than 1000℃. Adequately baked roof tiles are black or silver gray in color. Each region developed its own unique roof tiles, but concrete or slate-roofed buildings have lately pushed aside buildings with roof tiles. At present, roof tiles are produced only in Ulsan and Jangheung, Jeollanam-do.

The profession plays an important role in their lives because they often use silver as an amulet and are involved in many rituals. The profession requires ingenuity and meticulousness. To create products, artisans have to go through many sophisticated stages. Tool set includes: blower, furnace, crucible, casting mold, hammer, pliers, anvil and chisels. The material is Indochinese silver coin (flower spread). How to identify and choose silver requires own experience. Professionals are persistent, industrious and creative. Crafting process: kiln burning, silver smelting, molding, shape making, pattern carving and remodeling, polishing. Products include all kinds of rings, necklaces, suitable for the situation, gender and nature of use. In the process of practicing, they have rituals to worship.

National Intangible Cultural Heritage, Republic of Korea Onggijang refers to the skill of making earthenware pots and jars, or to an artisan with such a skill. Koreans have used earthenware pots and jars for thousands of years. The place where an earthenware artisan worked was called Onggijeom, which was divided into a workshop and a kiln. Traditional pots and jars, along with porcelain items, were the main items produced in private kilns. Pots and jars were made after the application of caustic soda to the surface of clay-made objects and putting them through a pre-firing stage. Just 40 or 50 years ago, there were many places selling traditional pots and jars across the country. Their number stood at about 500 when surveys were made in 1968 and 1969. However, they have been pushed aside by their machine-made western cousins. Traditionally, caustic soda was used as glazing in the production of pots and jars. Recently, it was replaced by a lead oxide named Gwangmyeongdan. With the use of lead glazing, the quality of pots and jars declined and the number of Onggijeom decreased to about 250 by 1984 and to less than 199 by 1989. Stainless steel and plastic goods have pushed traditional pots and jars out of the market.

The Rice Paper Making in Mỹ Lồng, My Thanh commune, Giong Trom, Ben Tre was born more than a hundred years ago. At first, the rice paper kiln only produced for many families in need during the spring days, Tet months or death anniversaries to worship ancestors, spring gifts for the family or in-laws, to entertain guests during the spring days or death anniversaries. By the 1980s, the 20th century, Rice Paper Making in Mỹ Lồng gradually became a commodity product and developed into a craft village, a craft commune. The difference between My Long rice paper and other places is that My Long rice paper is made from sticky rice and rich coconut milk of the homeland. The rice used to make the rice paper must be delicious, fragrant, not too dry, washed thoroughly and ground into a watery powder. The coconut must be old, with thick flesh, grated to get a thick and viscous milk. Mixing the rice paper is usually done by experienced people, the right and sufficient flour will prevent the rice paper from sticking to the mold, making it easy to flip when drying. People make rice paper with many flavors, especially with coconut or ginger, creatively combining the experience left by their grandparents. Finely ground rice mixed with coconut milk, ginger essence - depending on preference, you can add flavor, egg yolk to the cake, along with some spices such as sesame (black, white), salt, milk ... My Long grilled coconut rice paper product is famous for its characteristic stickiness, fatty taste and strong aroma of traditional sesame rice paper. Nowadays, rice paper has many varieties for tourists to choose from such as: egg milk rice paper, salty rice paper, ginger rice paper ... My Long rice paper has become the pride of the people of Xu Dua, Ben Tre province. With its typical value, the Rice Paper Making in Mỹ Lồng, Ben Tre province was included in the List of National Intangible Cultural Heritage in 2018 by the Ministry of Culture, Sports and Tourism.

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 bamboo handicraft of Xuân Lai has existed since the 17th and 18th centuries, famous for its unique bamboo smoking technique that creates products with shiny brown and black colors without paint. After being selected, the bamboo will be soaked in pond mud for 4 months to ensure durability and to prevent termites, then brought into the kiln for smoking. The kiln is sealed, only smoking with smoke, not fire, to create color and not burn the product. Each worker is responsible for a stage. Men are responsible for difficult technical parts such as chiseling and framing; women do lighter steps such as folding bamboo strips and tying knots. The products of the handicraft village are very diverse, have high use and artistic value, and are made of natural materials that are environmentally friendly. In the past, the main products were houses, beds, tables, chairs, household items, etc. Today, craftsmen here have created many new products such as screens, swings, shelves, and even built houses and shops from bamboo according to customer requirements.

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.

Dariganga people have this tradition of building open top kiln using mud and clay from the place where they moved and stayed in the new pasture. When building the kiln they put the cooking-pot (togoo) on the ground and took measures for the kiln. To build the kiln, the soil should be fewer stones and soft enough to dig. Once dug up the hole, stones removed from the soil, and soil mixed from lactic acid milk derived from the Eezgii . Additionally, the wet cow dung and clay usually mixed. The mixture of the soil and the lactic acid milk should be dry, if it’s too liquid then it is impossible to build a clay kiln. The role of the hole in the kiln is to set the fire with cow dung and collect the ashes inside.