Knowledge of the Kyrgyz concerning treatment and use of medicinal plants is distinguished by depth and diversity. It contains knowledge and practice about harvesting, drying, and storing medicinal plants, and their use in traditional medicine. Different tinctures, decoctions, ointments, and powders made of plants for treatment purposes are used today in traditional medicine to treat bleedings, heart deceases, kinks, scabs. Except plants, natural objects, minerals, and animal limbs are used in traditional medicine. The so called psychological treatment methods such as spells and exorcisms were used in the past, to which the Kyrgyz, rarely, but still resort to nowadays.

Tshar-zo, the age-old tradition of working with bamboo and cane is a popular art, spread and practiced throughout Bhutan. The availability of numerous species of bamboo and cane has enabled the Bhutanese to master the skill of weaving these raw materials into a variety of articles for various uses. Throughout Bhutan, the use of bamboo and cane products has always complemented the use of wooden items, forming an integral part of the lifestyle and economy of the people. Bhutanese farmers weave a variety of functional bamboo and cane articles used for a variety of domestic, agricultural and commercial purposes. Bamboo (Neomicrocalamus andropogonifolius), is locally named Ringshu in Dzongkha and as Yula in Khengkha. Cane (Calamus acanthospathus) is locally known as Munzi in Sharchopkha, and as krath or gren in Khengkha. These are the two common species used in the production of a variety of articles. Bamboo and cane strips are used in their natural colour or dyed into yellow, black, red, green, maroon and brown, to weave colourful articles with geometric designs.

Solo Tshung-nang is one of the special gifts offered to guests along with a bottle of wine (normally ara-locally brewed alcohol), for family members, weeding ceremonies, and also to any guest during special occasions. Solo Tsungma is locally prepared from either dried or fresh chili peppers – preferably dried chili powdered and mixed with Nam black sesame seeds, pumpkin seed and other delicacies neatly wrapped in particular leaves such as; Laga wild banana leaf, Chong-shing laga fig leaf and other specific wild leaf which have broad in width. Amongst these wrapping leaves, laga is preferred and widely used. The practice of making and offering Solo Tshung-ma is active and a popular gift in the villages within Decheling, Norbugang and Choekhorling gewogs (block) under Pemagatshel Dzongkhag (district). Prerequisite ingredients and materials: -\tLaga: wild banana leaf (preferred), Chong-shing laga fig leaf, Mong-nang laga, lau laga, and other wild leaves as wrappers. -\tKudpa ney-nga: Five coloured thread (preferred) or fiber of any other tree such as Soga do (bamboo thread) and Phrang three bark fiber etc. -\tLocally grown and dried chili -\tNam: black sesame seeds are one of the most important ingredients for preparing the pickle thus calling it nam-solo or sesame pickle. -\tBrum-sha lung: pumpkin seed -\tNam-jor: similar to sesame -\tTsha: salt Types of Solo Tshung-nang: -\tNam solo (chili and sesame mixed pickle) - \tNam-jor Solo (chili and white sesame mixed pickle) -\tBrumsha lung Solo (chili and pumpkin seed mixed pickle) -\tChur Solo (chili and fresh cheese pickle) note this kind cannot be preserved but is also offered as gift. When offering Solo Tshung-nang it is always offered along with local wine ara, or ara dama, which is raw or un-brewed wine. It is popular to fill a So-palag traditional bamboo container with ara as an appetizer locally called Kam-tang where first the ara is offered followed by Solo Tshung nang. When given as an appetizer, it is traditional that you must offer the tshung nang with a knot concealed underneath.

The Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet. Following the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972). Starting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others.

Agriculture is the practice of cultivating plants and livestock and over centuries, rise in agricultural has contributed in the growth civilization. Early people have developed and improved varieties of plants and till date the practice is considered to be the important aspect of Bhutanese livelihood. It is one of the sources of income as over69% of the population here, directly depends on it for their livelihood (MoAF, 2011). In 2011, agriculture sector accounted for about 17.7% of the total GDP of the country (RNR Statistics, 2012) Asham (Maize) plays a critical role in the entire life of given economy and is a pre-dominant cereal crop for the eastern part of the Bhutan for many years contributing to more than half of total maize production in the country. Asham cultivation was one of the main cereal as well as cash crops that supported and supports lively hood for major households in the part of the country. To these days, the practice and culture of maize cultivation is one of the main live hood and sources of income. Most communities in the eastern part of the country depend on cultivation of Asham to produce following products: •\tKharang- grits, grind maize used as staple food •\tAsham me-gogni- roasted corn •\tAsham bokpi- corn flour •\tTengma- roasted and pounded maize •\tAsham mu-nang- a local term for popcorn •\tZhu- brewed alcohol Apart from above products, asham is also used as cereals for bartering during the olden days to exchange with wooden and bamboo products produced from other parts of the Dzongkhags. Moreover people also used to exchange with rice, chili, meat and dairy products within or outside the community. People used to offer asham, kharang and bokpi to monks and gomchen(great meditation masters) as they visit begging for cash and kind. Asham and its product were also used during the religious rituals at households. Crafting of Torma (Sacrificial ritual cakes) and Sur (Smoke offering) during the rituals were done by using corn flour. There has been lots of transformation in the culture, practice and process in cultivation maize in the region due to introduction of hybrid seeds, improve in tools and technologies used compared to old and traditional ways of cultivation.

The Knowledge and Techniques of Writing on Buông Leaf of the Khmer in An Giang belong to the category of folk knowledge heritage, containing the value and content of Buddhist scriptures, also known as Buông Leaf scriptures (Xatra Slákrít). This is a rare ancient book engraved on Buông leaves, written in ancient Khmer or Balinese, which appeared in the 19th century. Buông Leaf scriptures have 4 types: Buddhist scriptures; Folk tales; Festivals, folk games; Folk teachings, showing the values of technique, aesthetics, art and have important significance in the spiritual and religious life of the Khmer people. From choosing leaves, drying leaves, processing and using black powder to highlight the letters, especially writing on leaves (or carving letters on leaves) is very elaborate. The artisan uses a pen with a sharp metal tip (called a decha) to slowly carve on the dried leaves, carving on the leaves must be done evenly. After writing, people mix soot with oil and rub it on the leaves, then wipe the surface of the leaves clean, so that the letters stand out. When all the documents are written, the pages are pierced to "close" them into a book with a wooden cover, also known as Satra. Each set of Sutras is 5 - 8cm thick, weighs 300 - 600 grams. Each set of Sutras has 4 - 10 books (volumes); each book has 20 - 60 sutra leaves; each leaf has 5 lines, with about 150 words. The content written on the leaves, in addition to copying sutras, also includes stories and lessons of high educational value to help people become good, maintain filial piety towards grandparents, parents... contributing to preserving and promoting the cultural identity of the Khmer people. With its unique values, in 2017, the Ministry of Culture - Sports and Tourism recognized "Knowledge and Techniques of Writing on Buông Leaf of the Khmer" as a National Intangible Cultural Heritage.

Needle grass (called chiy in Kyrgyz) is used for traditional handicrafts. Needle grass grows in all regions of Kyrgyzstan. Needle grass is harvested when it is ripe between 15 of August and 15 of September. If harvested too early, needle grass become fragile, if harvested too late, it becomes too stiff at the bottom. Needle grass is harvested with roots because the bottom part is the most durable and looks like a knot that prevents chiy from falling apart. Making such mats requires mastery and patience because a craftswoman needs to wrap every stem of thatch with different woolen thread. The threads must make a pattern at the end. This makes needle grass mat making especially challenging. •\tWhen harvested, needle grass is cleared of leafs and outer layer and then dried on a sun. Depending on a size of a future mat, needle grass is cut accordingly. •\tMats can be prepared manually or by using a special machine. Self-made weaving machine consist of two vertical poles with a hanger at the top. One perpendicular pole is put on top of those hangers. •\tThe perpendicular pole has notches to hang threads. Then, weaving threads are wrapped around two equally heavy stones. •\tStones are hang in such a way that they are located on a different side in relation to a perpendicular pole. •\tNeedle grass stems are a placed in such a way that top of one stem lies next to the bottom of another stem. A craftswomen takes stones and moves them back and forth in such a way that threads wrap each stem creating a pattern. •\tWhen weaving is done, the fluffy edges of needle grass are cut even. The bottom part of the mat is not cut. The edges of mats are strengthened by a zigzag weaving. There are needle grass mats both with and without ornament.

Tush kiyiz represents intensely embroidered ornamental carpet used to decorate the house. It is of a rectangular shape and embroidered on different types of fabrics. Initially it was used for insulating purposes in the yurt. Most probably, the first wall carpets were made of felt, which is evident from its name: tush – meaning “outer” or “in front”, and kiyiz – meaning “felt.” tush kiyiz is an example of Kyrgyz embroidery. Embroidery is one of the most ancient and most wide-spread crafts of Kyrgyz people. During the centuries Kyrgyz women have developed their own ornamental style, which is dominated by vegetative and zoomorphic motifs such as the ornaments of leafs, branches, flowers as well as round and spiral patterns. Kyrgyz embroidery leaves a lot of room for artistic expression and improvisation. Some Kyrgyz women embroider without stencils based on their own memory and imagination.

Technology of cooking the famous national dish with rice, beef or lamb, oil, carrot and other ingredients. Palav (pilaf) has different kinds: white, yellow, bargitoki (with grape leafs), pustdumbapalav (with sheep’s tail fat) and etc. In 2016 the nomination of “Oshi Palav, a traditional meal and its social and cultural contexts in Tajikistan” was inscribed on the Representative List of UNESCO.

Skills of cooking of a dish with beef, grape leafs and some vegetables.

Zuun tsaast khőzőr or Card with hundred leafs, is one of the intangible cultural heritage elements that were being transmitted for hundreds of years in the Uriankhai ethnic group. According to people, this game of card with hundred leafs was invented for declining the gambling games of Manchu and the ordinary card game. This tradition has its own specific rules. People play this game from December 22 to until spring comes (from the beginning to the end of the nine 9 of Mongolian winter). Herders keep their livestock in the fence early, and play this game in the long nights of the winter. Before start the game people who are joining in this game will wash their hands, and get blessing from card, and then hosting person will open the game. Uriankhai people play this game for checking the luck of that year, and to remove the all the bad energies and for inviting the every good things and happiness to their life.