For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.

Mongolia 2013

The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface. In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style. The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories: Carpeting Tools: 1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used. 2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate. 3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps. 4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet. 5- Bench: as a seat for the weaver, made of wood or metal. Carpeting Materials: 1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame. 2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes. 3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied. Design: in order to prepare the design of the carpet, which is the most artistic activity involved in carpeting, certain rules are followed, the most significant of which can be summarized as follows: A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance. The procedure that is followed in Kashan is as follows: 1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj. 2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj. 3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes. 4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around. 5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface. 6- Koomeh Design: short scattered trees together with birds and animals. B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter. Dyeing: Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using various types of natural pigments. Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in Kashan so that the back side of the carpet is made with equal longitudinal and latitudinal knots.

Iran 2010

Semah; originated from the Arabic word sema meaning heavens, fortune and hearing. Semahs are the most effective instruments for the transmission of Alevi-Bektaşi tradition. Semah is one of the main twelve services of the cem rituals which are considered as religious practices by Alevi-Bektaşi adherents. It is possible to encounter various kinds of semahs across Turkey with different musical characteristics and rhythmic structures. The fact that there are variations in melodic and lyrical structure of semahs with the same name is an evident sign of the richness in semah culture. Centuries of oral transmission of semahs from generations to generations has enabled a rich diversity among semah culture. One of the main principles on which semahs are conceptualized is the unity with God which happens through a natural cycle. In this cycle man comes from God and goes back to God which resembles the circulation of the celestial bodies in the universe. However, man is the locus of this circulation. God is omnipresent and semah is the way to reach God. Hand and body motions in semahs have symbolical meanings. For instance, the motion in which one palm faces the sky while the other faces the earth is meant to say “You are God, we are the people, I come from You and hold your essence in me, I am not separated from You”. The motion in which palms first face the sky and then turned to the earth is meant to represent the same thought. When semahçıs (semah dancers) face each other just like in Tahtacı Semah it means that God is present in man and people facing each other will witness the divine beauty of God in man’s visage. The motion in which semahçı (semah dancers) turns the palm of his hand to his face represents man seeing his own beauty in the mirror and therefore he also witnesses the divine beauty of God. When both palms facing the sky are pulled towards the heart it is meant “God I am Man, so God is in me” or “God is in Man”. Semahs are categorized into two groups: 1- İçeri (private) semahs / Order semahs 2- Dışarı (public) semahs / Avare semahs İçeri Semahs (Order semahs): They are performed in Cems (considered as religious practices by Alevi-Bektaşi adherents) where 12 services are carried out. It is not desirable to perform içeri semahs in front of those without the faith. They are performed in three phases: - Ağırlama: The prologue with slow movements. - Yürütme: The phase when the semahs gets faster and livelier. - Yeldirme: The last phase when the semah is the fastest and hardest to perform. While this three-phase composition of semahs is very prevalent it is possible to see other kinds of performances as well. In some semahs it is very difficult to distinguish these phases from each other. Dışarı Semahs (Avare semahs, Yoz Semah or Mengis): They are performed independent of 12 services for the purposes of teaching the semah culture to younger generations or simply entertaining. Nevertheless, they are still loyal to semah principles. Dışarı semahs are mostly comprised of two phases; ağırlama and yürütme or ağırlama and yeldirme. Although semah performances vary according to regions, the main characteristics are common: - Semahs are performed by both women and men, - While semahçıs (semah dancers) in içeri semahs are limited in number there is no such restriction for dışarı semahs. - Semahçıs (semah dancers) start the semahs saluting and inviting each other. - While performing semah, semahçıs (semah dancers) are in a circular order or facing each other, without touching or holding. - Bağlama is usually the accompanying instrument to semahs but there are some regions where other rhythm instruments are also played during semahs. - While there is no specific attire to be worn in semahs it is not uncommon to wear traditional clothes in rural cems (considered as religious practices by Alevi-Bektaşi adherents). - When concluding semahs, dedes (spiritual leaders) usually say a prayer. - Transmission of semah occurs through the performance of the tradition. The basic characteristics and universal values reflecting the understanding of tradition bearers of Semah are as follows: -According to followers of Alevi-Bektaşi belief, every human being has a divine essence and they see man in unity with God called as the belief of “En-el Hak” which means “I’m God”. Thus, during the worship they prostrate towards one another. - Seeing man in unity with God, they internalize a humanist philosophy - According to Alevi-Bektaşi belief, sharing is of great importance in social life. “Musahiplik” (a kind of fellowship as regards to Alevi-Bektaşi belief) in which each individual chooses one another as a spiritual brother or sister committing to care for spiritual, emotional, physical and financial needs of each other, for the purpose of creating a type of communion intimately tied. - Alevi-Bektaşi believers object gender discrimination, therefore they pray side by side. - Alevi-Bektaşi followers consider offending human being as equal to offending God; hence, through establishing a kind of judging mechanism called “düşkünlük”, they use a sanction power over the members to prevent them from committing misdeeds. If one commits any of those, s/he is declared as “düşkün” (shunned) and temporarily or permanently excommunicated from the community or society. - The practices, traditional motifs and teachings are orally transmitted rather than written sources and distinct genres of art and literature particular to the tradition, thereby, have been created. - They practice their authentic worship and cultural transmission through expressions like lyrics, music and Semahs.

Turkey 2010

Turkish coffee culture and tradition goes back to the 16th century when coffee started to be served at coffeehouses in Istanbul. The tradition has two distinguished aspects which make its taste unique and provide means toward socialization. As a beverage Turkish coffee carries special preparation and brewing techniques. It is one of the oldest coffee making methods still in use. The traditional techniques used in preparing coffee led to development of special tools and silverware such as like the boiling pot (cezve), coffee cup (fincan), mortars which have artistic value. Turkish Coffee leaves a long lasting taste at someone’s palate due to its preparation techniques which require time and its freshness. It is softer, more aromatic and more concentrated than other types of coffee. It is easy to distinguish from other coffees with its aroma, ground and foam peculiar to it. Turkish Coffee is not only a beverage but also a communal practice that brings together cultural spaces, social values and beliefs within a context of socialization process. Its role socialization can be traced back to opening of the first coffeehouses with its noticeable decorations in Istanbul. Coffee houses were then, and still are the places where people drink coffee, converse, share news, read books and socialize. The tradition itself is a symbol of hospitality, friendship, delicacy, and entertainment. All these are reflected in the famous Turkish proverb “the memory of a cup of coffee lasts for forty years.” This saying represents how important and profound coffee is in Turkish culture.

Turkey 2013

Ancient Chinese divided the circle of the annual motion of the sun into 24 equal segments; each segment was called a “jie qi” or solar term. Hence the 24 segments are collectively called the Twenty-four Solar Terms. This system of time embodies the traditional knowledge and the social practices through which Chinese organize their perception of the regularity of seasons, of astronomical laws and of other local natural phenomena occurring in the course of the year. It is an indispensable component of the traditional Chinese calendrics and its living applications, serving as a time-frame for agricultural activities and daily life. In International circle of meteorology, this cognitive system has been honored as the Fifth Great Invention of China. Transmitted through generations, the element has profoundly influenced Chinese people’s way of thinking and code of conduct. Upon a specific solar term, people spontaneously arrange farming and daily routine as well as basic necessities of life. Thus this knowledge continuum of time is sustained through a variety of ritual practices and folk activities. Thereby the Twenty-four Solar Terms is an important carrier of Chinese cultural identity.

China 2016

The Lum Medicinal Bathing of Sowa Rigpa (Tibetan Medicine) has been developed by the Tibetan people within a life view based on Jungwa-nga (five elements) – i.e., Sa (earth), Chu (water), Me (fire), Lung (wind) and Namkha (space) – and a view about health and illness based on Nyepa-sum (three dynamics) – i.e., Lung, Tripa and Pekan. In Tibetan, “Lum” indicates the traditional knowledge and practices of bathing in natural hot springs, herbal water or steam to adjust the balance of mind and body, to ensure health and treat illnesses. Influenced by the Bon religion and Tibetan Buddhism, Lum embodies folk experiences in illness prevention and treatment, and reflects the transmission and development of traditional knowledge represented by the treatise Gyud zhi (the Four Tantras) in present-day health practice. Lum is practiced under the guidance of a Manpa (traditional physician) in two ways. One is bathing in Five Types of Hot Springs containing different minerals. The other, bathing with Five Medicinal Nectars, includes three methods: immersion, steam-bathing and applications with sachets. In this process, Manpa, in collaboration with Lum Jorkhan (pharmacist) and Manyok (Lum assistant), conducts symptom differentiation based on observation, questions and pulse palpation. Then preparation of medicines includes herb compound, boiling, fermentation and addition of extra herbs. The element has been transmitted over generations through daily life, religious rituals, folkloric activities and medical practices on account of its safety and accessibility. While providing Tibetans with a sense of identity and continuity, the element reflects cultural diversity and human creativity.

China 2018

The tradition of calligraphy has always been associated with the act of writing in Iran, and even when the writers had limited literacy, calligraphy and writing were still intricately linked. But with the advent of printing and the emergence of computer programmes and digital fonts, this art gradually declined and the emphasis on pure readability replaced the observance of both readability and aesthetics. This resulted in a decline in the appreciation of calligraphy among the new generations. The safeguarding of the Iranian calligraphic tradition thus became a major concern in the 1980s, and a national programme was developed for this purpose by non governmental organizations in collaboration with the government. This programme aimed to expand informal and formal public training in calligraphy, publish books and pamphlets, hold art exhibitions, and develop academic curricula, while promoting appropriate use of the calligraphic tradition in line with modern living conditions. Some of the work on this programme was started by the Iranian Calligraphers Association before the 1980s, and given its immense popularity, the public sector turned it into a national programme by redefining and coordinating it on a large scale based on the experiences of the public and private sectors.

Iran 2021

The Semeiskie communities are formed by a group of so-called “Old Believers”, a confessional community originating from the time of the Instigation of the Russian Orthodox Church in the seventeenth century.Their history is marked by repression and exile. During the reign of Catherine the Great, believers in the “old system” from various regions of Russia had to move to the Transbaikal region in Siberia, where they still live today. In this remote area, they have preserved elements of their respective culture, forming a distinct group identity. The cultural space of the Semeiskie, east of Lake Baikal, represents a remnant of cultural expressions from pre-seventeenth century Russia. The community, totalling around 200,000 persons, speaks a south Russian dialect featuring borrowings from Bielorussian, Ukrainian and Bouryat. The Semeiskie still practised ancient orthodox rituals and perpetuate everyday activities mainly based on the cult of the family - the term Semeskie refers to “those who live as a family” - and strong moral principles. They are also characterized by their traditional dress, handicrafts, dwellings, paintings, ornaments and food as well as their music. Also noteworthy are their polyphonic choirs, which perform traditional songs at family celebrations and popular festivals. These songs are known as “drawl” singing and are rooted in the Russian liturgical music of the Middle Ages.

Russian Federation 2008

In China, the art of seal engraving is recognized as one of the finest examples of traditional arts and crafts and is of immeasurable cultural value with a history of over 3,000 years. In ancient China, seals served as the personal signature of their owners, and, more significantly, also served as a symbol of legitimacy for a ruler or an entire government. Seal engraving represents the harmonious combination of calligraphic aesthetics with the precise skills of engraving and meticulous attention to detail. The seal must use what is often a very limited space in order to convey the unique character traits of its purpose or the personality of its owner. For thousands of years, it has had both a purely functional use as well as attaining the highest levels of artistic and cultural aesthetics. Seal engravers preserve artistic traditions while also reaching out in new directions and revealing fascinatingly different styles: exaggerating the thinness or thickness of a character, elaborately curving or angling a stroke, or even deliberately re-forming traditional ideograms for artistic effect. Indeed, the work of master seal engravers is no less important than the work of well-known painters or calligraphers in Chinese history. The engraving process is unique. The tools used for seal engraving include the knife, seal holder, seal ink, writing brush, and xuan paper. A design is made on paper—when engraved, the characters have to be written on stone surface opposite to what they will look like. After the engraving is completed, press the seal in the seal ink to make an impression on xuan paper. Additional text is often engraved on the side of the seals, from which rubbings can be made. Seal engraving has the following unique characteristics: 1.The artists use engraved characters to show the aesthetics of traditional Chinese culture through the harmony of positive and negative and the balance of abstract and concrete forms. 2.The artists use seals to express their accumulated ideas, artistic sensibilities, and engraving skills in a very small space. 3.The creation of seals is an integration of man and nature through the engraving process. 4.Seals display the quality of the stone and the style of the calligraphy. The art of seal engraving embodies important cultural and social functions. It is the expression of the artists’ own imagination, as well as a way of personal cultivation and the blending of art, literature, aesthetics, and language. Seals also serve as a means of communication and have been used by scholars and art collectors as a means of personal identification, a claim of ownership, or for social interaction. The art of seal engraving also reached other parts of East and Southeast Asia as part of the exchanges of culture and art among different nations. Today the art form enjoys worldwide appeal among historians, art lovers, and collectors.

China 2009

Lazgi is the most popular Khoresm dance, which is energetic and full of passion. It is performed equally by both male and female dancers. "Lazgi" dance was usually accompanied by instrumental and dancy melodies. Although song versions of "lazgi" (which use various poetic texts) became widespread later on, the nature and character of melody remained the same. There are several versions of "lazgi" dance. These are: dance on a tray, dance on a brick, solo as well as group dance. In these, refined dance movements are replaced consequently by passionate and accelerated dance. The dance starts from steady movements of fingers of one hand and then another. Then simultaneously and slowly includes entire torso. The tempo gets accelerated and dancers snap fingers in time with dance with the help of stone castanets. In a group dance each participant dances in his or her own style.

Uzbekistan 2019

Miniature is used in fine art paintings, sculptures and graphic works of small forms, as well as the art of creating them. Miniature is a part of manuscripts.

The art of chakan embroidery is a kind of sewing ornaments, image of flowers and symbolic drawings with colorful threads on cotton or silk fabrics. Chakan embroidery is used to decorate women’s shirts, pillows, bed spreads, head scarves, towels, curtains and coverlets for cradles. In the chakan embroidery art, there are symbolic depictions and mythological images related to the surrounded nature and cosmos, which express people’s wishes and hopes. Each ornament has special name and meaning, for example, pomegranate flower, willow leaves, almond, tulip, cockscomb, nightingale, peacock’s tail, moon, star, sun, cloud and so on. Process of chakan embroidery consists of selection of textile and threads, drawing ornaments, doing the needlepoint images, and sewing clothes. The threads were prepared in the past from cotton and silk fibers, and colored them with natural paints prepared with some kinds of plants and minerals. Now, chakan dress makers use fabric threads for needlework. In the Khatlon region chakan shirt is an important dress of brides. Every bride should have chakan embroidered curtain and pillows as well. Grooms during wedding ceremony will put on tāqi – the national skulp-cap with chakan embroidery. In houses of the Khatlon are hang chakan embroidered needlework curtains. During the traditional festival and holy days Tajik women and girls wear chakan dress. Musical folklore groups and dancing ensembles of Tajikistan widely use chakan embroidered dress in the scene. Annualy in Tajikistan are held festivals and competitions of traditional costumes titled "Jilvai chakan".

Tajikistan 2018