The Ritual of Pahlevani and Zoorkhanei is a collection of rhythmic moving skills, music and dramatic art in a holy place named “Zoorkhane”. In this ritual a group of 10 to 20 men, using tools that symbolically represent the ancient weapons, perform rhythmic and musical, dramatic and ritualistic movements. Zoorkhane, the place for the administration of the Element enjoys a special architecture, a blend of Mithraic temples and Islamic architecture. The major sections of the place include a dome, the arena (Gowd: an octagonal pit, 70cm deep, wherein the rituals are administered and the practitioners stand on specific spots according to age and seniority), the audience seats (overlooking the arena), and “Sardam” wherein the Morshed sits. The Zoorkhane gate is short to encourage bending at the entrance to pay respect toward the holy place. The tools, equipment and sportswear of Zoorkhane are mostly made in the cities of Tehran and Mashhad by skillful craftsmen. In the history of Iran, this Element has been influenced by epical myths and a worldview based on the ancient Iranian ethical trilogy “Good Though, Good Deed, Good Speech”. It roots back to Mithraism in 3000 years ago. This ritual has been and is practiced from the ancient times in most parts of Iran as well as some regions of such neighboring countries as Afghanistan, Tajikistan, Azerbaijan, Iraq, Pakistan and India. The element enjoys a masculine nature and its practitioners belong to all social strata. Ethical and chivalrous values are instructed under the supervision of a Pahlavan (""champion"", a master in skills and heroic ethics) within the epical poems recited by a Morshed (""preceptor""), accompanied by music and sport rhythmic movements. “Morshed” is a singer who plays “Zarb”, an Iranian percussion instrument, recites epical and mystical poems, and leads and harmonizes chanson with the music and sport-like dramatic movements. The poems that are recited by the Morshed constitute part of Zoorkhanei literature. In the course of the ritual, dramatic, sport-like, musical and acrobatic movements are performed and, finally, the ceremony is ended with prayers that connote expansion of peace and friendship among nations, and resolving the needy people’s hardships. Golrīzān Ceremony: One of the side programs of the Element is the “Golrīzān” Ceremony that is organized as a homage for pioneers (Pīshkesvat's), champions and preceptors, or for collecting financial contributions for the needy, the sick, or orphans. In this ceremony flowers are put at every corner of Zoorkhane, as a sign for invitation for contribution; the collected contributions are, then, secretly granted to the needy, by a group of trustees. The practitioners in the ritual wear special sportswear, usually, consisting of a pair of trunks - decorated with Arabesque drawings- and a t-shirt. On the clothes and some of the Zoorkhanei tools, motifs of Botee-Jeghghe (an abstraction of a bent cypress symbolizing a humble champion) are observed.

Iran 2010

Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Mokjang or moksu is a traditional Korean term for artisans who deal with wood. Among the jobs of mokjang, daemok refers specifically to the building of wooden architecture, such as palaces, temples and houses. Woodworkers who engage in daemok are called daemokjang. The term daemokjang also refers to traditional wooden architecture. Daemokjang apply traditional skills and knowledge to construction. Thus, daemokjang complies with the definition of the intangible heritage as ‘knowledge, skills’. In addition, they use traditional materials and techniques. Thus, daemokjang constitutes ‘e) traditional craftsmanship’. Mokjang are divided into somokjang and daemokjang. Somokjang refers to those who make small-scale wooden objects, such as chests, cabinets, desks, dining tray-tables, and wardrobes. Daemokjang are those who build large-scale buildings, such as wooden palaces, temples and houses. Daemokjang are in charge of the entire construction process: planning, design and construction of buildings, and supervision of subordinate carpenters. Thus, the skill of daemokjang cannot be acquired in a short period of time. It takes decades of education and field experience. Wooden architecture has a long history in Korea. Among the best examples are Changdeokgung Palace and Bulguksa Temple, which are inscribed on the UNESCO World Heritage List. These architectural treasures were constructed under the command of daemokjang. In this sense, traditional Korean wooden architecture, built and restored with the skills and knowledge of daemokjang, are appreciated not as mere buildings, but as works of art. The knowledge and skills of daemokjang practitioners are recorded in historical documents, and verified in actual buildings. These practitioners are recognized as successors of the cultural heritage of traditional architecture. Daemokjang skill holders make efforts beyond preserving and transmitting the skills of traditional architecture. Their activities extend to the maintenance, reparation, and reconstruction of historic buildings, ranging from traditional Korean houses to national treasures. Thus, they are recognized as the guardians of traditional Korean architecture. All in all, daemokjang are recognized as successors, symbols, and preservers of the traditional architecture of Korea. This recognition plays a significant role in forming the identity of daemokjang.

South Korea 2010

Inscribed in 2018 (13.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As one of the popular Korean folk tradtion, ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents' belt and employ various techniques to send the opponent to the ground. It is played on diverse occasions, including traditional holidays, market days, and festivals. Ssireum games occur on sand in any available space around a neighborhood, and are open to participation by community members of all ages, from children to seniors. The winner in the final game for adults is awarded an ox, which symbolises agricultural abundance, and the title of Jangsa. When the games are over, the Jangsa parades around the neighborhood riding the ox in celebration. The customary practice of providing an ox as a prize is meant to allow the winner to farm more effectively.

South Korea 2018

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Tajikistan,Uzbekistan 2008

There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.

Mongolia 2014

Mumtoz ashula (classic song) cycles is a lyrical genre which differs from other song genres with extention of the melody, steady lyric character, emotional and mounful meaning, great range, the complexity of the rhythm method and perfection of the style. The style of singing is solo with own accompaniment on tanbur, dutar and tor. Its genre composition is represented by mumtoz ashula, mumtoz yalla, katta ashula (Ferghana Valley), khalq ashula and muhammas (Bukhara), suvora and naqsh (Khoresm) and lyrical-lengthy songs of religious character (such as munojot, nat, khamd, manzuma, yakkakhonlik, khonaqoi, qalandari, etc.).

The Hüsn-i hat is the art of writing with Islamic letters of Arabic origin by using reed pen and soot ink in a measured and proportional manner while taking into consideration of the aesthetic values. A special paper glazed with organic substances (aharlı kağıt), reed pen (kamış kalem), pen-knives, a special slab for trimming the reed pen (makta), inkwell (hokka) and pen case (divit) are the most used tools in its practice traditionally. The Hüsn-i hat is written on special paper, leather or other writing materials and it may also be applied on the surfaces of stone, marble, glass, wood, etc. by using specific techniques. Holding the reed pen and its directions on the paper by the hattat ensures the perfection and compound of letters. There are different styles of writing which have been evolved over centuries: Thuluth, jali, naskh, muhaqqaq, raykhāni, tawqi, riqā’, kufic, ta’liq, nasta’liq, siyaqat, diwani, riq’a, gubari are among the commonly preferred styles. These writing styles, using the tools and traditional craftsmanship related to the element have been transmitted through master-apprentice relation from generation to generation. The Quran, hadiths (statements of the Prophet Muhammad), Turkish laconic and poetical couplets are written with hüsn-i hat. Therefore, hattats have applied Sufistic rituals while writing hüsn-i hat. Apart from the sacred and literal works, the element also practised in state correspondences such as imperial edicts, warrants and religious and public buildings in Seljuk and Ottoman period. Today, the element is still practised in sacred and literal works and religious buildings in Turkey.

Turkey 2021

Bibaha/Vivah has been in practice for hundreds of years with its first documentation in one of the Hindu epics. As per the epic, the first official marriage was celebrated between Lord Ram and Sita (Hindhu gods). It was also practiced by RISHIS, the great saints who existed in the Ganges valley civilization, before it reached down to the common people. This practice came down in line through religious texts and personals, in the eight different types mentioned above. The Bibaha/Vivah system then spread into other parts of the world with migrating people.

The term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan. Colloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil. Regarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes. It is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.

The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan. Thereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now. Some of the remarkable calligraphers that are enlisted in the Bhutanese history were; 1.\tDenma Tsemang 9th century 2.\tNgawang Penjor as Dzongpon and Ngedup Penjor (1964) 3.\tDrungyig Zimchenpa Tandin Wanggyel 17th century 4.\tLopen Wangdue 17th century 5.\tLopen Phuentso 17th century 6.\tTshewang Dorji 17th century 7.\tLopen Gangchen, also called Kuenga Pelden, 19th century during the reign of Desi Jigma Namgyal (1825-1881) 8.\tDrungyig Tshewang Ngodrup, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck (1862–1926) 9.\tGonpo Tenzin from Lingzhi, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck 10.\tZhongar Dzongpon Kuenzang Wangdue, 20th century during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 11.\tDrungyig Tsowo Dasho Kezang Dawa, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 12.\tTangbi Kezang, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 13.\tUra Yeshey Wangdi, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 14.\tSonam Peljor, 15.\tDasho Gaydon Thinley Dorji (?) 20th century during the reign of His Majesty the 2nd and 3rd King Jigme Dorji Wangchuck (1929–1972) 16.\tDasho Shingkhar Lam Kuenzang Wangchuk (?) 17.\tSey Dopola Aka Dasho Phuntsho Wangdi (1892-1953) 18.\tLam Norbu Wangchuk (?), 21st century during the reign of His Majesty the 4th King Jigme Singye Wangchuck (1955–) 19.\tYarab Aja Lama Drodul Zhenphen Dorji Tenzin (1921-2005) 20.\tLam Pema Tshewang, (1926-2009), 21.\tLopen Gonpo Tenzin from Chumey, Bumthang 22.\tLam Nado from Namgyal Dratshang (?) 23.\tDasho Tenzin Dorji (1928-2012) 24.\tLam Tenzin from Ramjar, Tashi Yangtse 25.\tChabje Geshey Gedhun Rinchen (1926-1997) 26.\tChabje Khenchen Ngawang Tenzin Doendup, 68th Je Khenpo (1925-2020) 27.\tLopen Daupo from Bartsham 28.\tLam Kuenzang Wangdi (aka Lam Nyingkhula) 29.\tLopen Yonten Gyaltshen, Central Monastic Body 30.\tDasho Sangay Wangchuk Generally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write. However, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.

Indonesian Batik is a traditional hand-crafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century, made by applying dots and lines in hot wax to cloth using a canthing tulis pen or canthing cap stamp, as a dye-resist. Patterns and motifs have deep symbolism related to social status, local community, nature, history and cultural heritage. The batik community noted the younger generation’s interest in batik is waning, and felt the need to increase efforts to transmit batik cultural heritage to guarantee its safeguarding. Thus, the following is arranged. The program is collaboration between the Batik Museum and elementary, junior, senior, vocational school and polytechnic, to include education in batik cultural values and traditional handcraft in curricula as local content or subject. The project has gone on for 3 years, and continues to expand to Pekalongan District and neighbouring Batang, Pemalang and Tegal districts. Data and interviews with headmasters, teachers and students prove that the programme is popular and successful. The project is a good example of transmission of intangible cultural values to the younger generations by including modules of cultural heritage in the curricula of educational institutions. The main objectives of the programme are: To increase the awareness and appreciation of the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills, among the younger generation at elementary, junior, senior, vocational school and polytechnic educational strata. To increase the awareness of headmasters, teachers, parents and the batik community in Pelaongan, regarding the importance of transmission of batik culture to the younger generations. To involve the management and staff of the Batik Museum in educational activities for students and the general public regarding batik cultural values and training in batik traditional handcraft. The priorities of the programme are: To train staff of the Museum for teaching batik history, cultural values and traditional handcrafts to students. To prepare and distribute proposal invitations to headmasters, so that they would send their students to participate in the programme. To train school teachers to become trainers in batik local content (training of trainers), and/or to place batik craftspersons in schools to give education and training in batik. To organize tests for students participating in the programme, to evaluate the results of the transmission of batik culture

Indonesia 2009

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity The Yeongsanjae is performed to help all beings and spirits enter into the world of truth, by worshipping and admiring the Buddha, Buddha’s law and monks. It is the highest and biggest ritual utilized by Korean Buddhists to represent the world of Buddha here and now and is based on the philosophy of the Lotus Sutra. It is also a means for meditation and training. The order of a Yeongsanjae performance is as follows: 1. Reception Ritual (siryeon): The purpose here is to receive all the saints and spirits of heaven and earth with the guidance of the Soul-Guiding Bodhisattva so that the ritual can be performed in a holy way. 2. Spirit Reception (daeryeong): The masters of the ritual are the spirits, dead and alive, i.e., all people. Dead spirits are invited to the ritual, while those present at the ritual are told why it is being performed and given the directions they should follow, based on the Buddha’s Law. Families of the deceased dedicate food and liquor as an expression of their love and respect for the dead. 3. Cleansing of the Dirt (gwanyok): This is the ritual to cleanse the three karmas of the spirits that have accepted invitation so as to facilitate the achievement of serenity. 4. Donation of Money (Jojeon Jeoman): “Jojeon” means money that can be used in the nether world, and “jeoman” means to endow money with value. The necessity of money is to awaken us to the fact that our life is maintained by material blessings from the outside. 5. Tea Donation (Sinjung Jakbeop): A tea ceremony is dedicated to all the saintly spirits invited with the hope that the ritual will be performed well. 6. Reception of Buddha (Gwaebul Iun): Sakyamuni Buddha, the master of the ritual and who will preach on the Lotus Sutra, and all the Buddhas and Bodhisattvas are received according to the Law of Buddhism. 7. Dedication of Rice Meal (Sangdan Gwongong): With the Buddhas and Bodhisattvas invited, a rice meal is dedicated. In this ritual, wishes are made that, with the merciful help of the Buddhas and Bodhisattvas, all beings will obtain happiness and that the light of truth lit by Buddha will shine over the world of suffering. 8. Sermon (Beopmun): A monk in place of Buddha reconfirms the purpose of the ceremony, presenting concrete ways to realize that purpose. The monk delivers a sermon in which the audience is invited to the door of truth. 9. Meal Ritual (Sikdang Jakbeop): This ritual meal is intended not for the Buddhas and Bodhisattvas, but for the monks attending the ceremony. However, symbolically, it is for all beings in this universe, and through this service a foundation is laid for becoming a Buddha. 10. Blessing Ritual (Jungdan Gwongong): All of the saintly beings attending the ritual are asked to help ensure a good performance of the ritual. It also asks for blessings on all those present at the ritual. 11. Meal for the Dead Ritual (Sisik): Since the attendees are fortunate to be listening to the words of Buddha and since all rejoice that the dead have all gone to heaven, a happy rather than sorrowful ritual is performed for the departed to celebrate and congratulate themselves on going to heaven. 12. Farewell Ritual (Bongsong & Sodae Baesong): At the opening of the ritual, all beings were politely received with chants, so likewise, they should be given a proper farewell. The farewell is the final step in affecting the deceased’s final destination. Since Yeongsanjae was designated an Important Intangible Cultural Heritage by the state in 1973, it has been under national protection. In 1987, when the Yeongsanjae Preservation Association was officially established, it started to perform activities to ensure its transmission. The Yeongsanjae has been transmitted by the Taego Order, a Korean Buddhist order. Based at Bongwonsa Temple, the Taego Order maintains the tradition of Buddhist rituals and as such, most of the transmitters are monks of the Taego Order. Currently, Monk Kim In-sik (Buddhist name: Guhae) is the primary Yeongsanjae expert in terms of Buddhist music, following the ranks of Jigwang, Byeokeung, Songam, and Ileung. Assisting Kim are Ma Myeong-chan, Lee Su-gil, Oh Chan-yeong, Lee Byeong-u, Lee Jo-won and Han Hui-ja, who are all trainers in Buddhist music and dance or making the ornamental paper flowers for the ritual. A total of 240 transmitters are leading the Yeongsanjae Preservation Association. Until 2006, Bongwonsa Temple held a Yeongsanjae ritual for the public on the fifth day of the fifth lunar month. In order to encourage more people to participate in the ritual, it is now held on Memorial Day, a national holiday which falls on June 6.

South Korea 2009