Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combines, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing. Perhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on. Gradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose. Paper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang. Although, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country.

Kumbh Mela (the festival of the sacred Pitcher), is the largest peaceful congregation of pilgrims where people bathe or take a dip in a sacred river. Held at Allahabad, Haridwar, Ujjain and Nasik every four years by rotation, the Kumbh at Prayag/Allahabad is the most significant. Ardha ("Half") Kumbh Mela is held at only two places, Haridwar and Allahabad, every sixth year. It is held on the banks of the rivers - Ganga in Prayag, Saraswati in Haridwar, Godavari in Nashik and Shipra in Ujjain. A great fair is held on these occasions on the banks of the rivers. Devout believe that by bathing in the Ganges one is freed from their sins liberating them from the cycle of birth and death. A unique facet is that millions of people reach the place without any invitation. Mythology says the gods and the demons fought for the pot with the nectar of immortality. Lord Vishnu, disguising himself as an enchantress (Mohini), seized the nectar. While fleeing from the evil ones, Lord Vishnu passed the nectar on to his winged mount, Garuda. In the ensuing struggle, a few drops of the precious nectar fell on Allahabad, Nasik, Haridwar and Ujjain. Since then, the Kumbh Mela has been held in these places. The astrological sequence of the stars are the basis for the Kumbh locations. As Jupiter enters in Aquarius and Sun enters Aries the Kumbh is held at Haridwar, Jupiter enters Aries and Sun and Moon in Capricorn at Prayag and so on.

India 2017

Calligraphy is one of the branches of fine art, it is also often called the art of beautiful writing. Calligraphers of Central Asia actively developed their craft and thus brought it to the level of art. There were even separate schools of calligraphy: Tashkent, Kokand, Khorezm, Samarkand and Bukhara. Each school had its own distinctive features, and experts could easily determine who wrote this or that inscription. Various styles of Arabic writing began to be used in architecture, carving and painting on ganch and wood. She was even present in the design of household utensils, clothing and other types of artistic creation. Among the most common writing styles are naskh, raikhani, rivo, suls, kufic and others.

Death is often considered as a great loss but not more than the fear incurred from the unnatural deaths; such as accidents from falling off a tree or death caused due to an encounter with wild animals as they strongly believe that death has been caused from dishonoring the deities or by evil spirits or by bad spells from somebody. They conduct very elaborate ceremonies to appease the spirit of the deceased and deities, especially the deceased with food and drinks so as to prevent misfortune to the surviving people. Lhops believe in the dual existence; that when death occurs, the soul, Se-hok, leaves the body and dwells in the emptiness for certain period and later joins the world of Sim-pu (death).

Traditional pottery art in Bhutan is known in Dzongkha as Dza-zo and the artisans are Dza-khem; in Kurtoep dialect they’re known as Phreng, art, and Phreng cho-khan, artisans. Dza-zo traditional form of pottery falls within the scope of recognized traditional Bhutanese arts and crafts. Today, traditional artisans in Gangzur village in Gangzur village block, Lhuentse district continue to make Bhutanese pottery. The nearby village of Maenjabi in Maenbi block formerly practiced the art, but over the past twenty years lost its artisans to age and migration for work. Archaeological evidence shows that ceramics have been important from the time of early settlement in Bhutan. Earthen pots were used as household items in the absence of utensils made of copper, bronze, and iron as we know them today. With the visit of Guru Rinpoche to Bhutan in the 8th century, handicrafts were introduced to Bhutan, including Dza-zo pottery, which was then propagated by Drubchen Thangthong Gyalpo (1361-1485) and Rigzin Pema Lingpa (1450-1521) in the 14th and 15th centuries. The tradition of handicrafts reached its peak in the 17th century when Zhabdrung Ngawang Namgyel (1594-1651) took personal interest in arts such as Lhadri painting, patra engraving, tshem-zo embroidery, chag-zo blacksmithing, and troe-zo silversmithing. He reinforced the practice of these artisanal skills including pottery. Traditional pottery was first practiced in the villages of Rinpung in Paro, Wangbarma in Thimphu, Shar Goenkha in Wangdi and Gangzur in Lhuntse district. From these places, the skills and knowledge have been passed down from generation to generation until today.

Kharam is celebrated in all the villages under Tshenkhar gewog, Lhuentse Dzongkhag of Northeast Bhutan. In the local dialect, Tsangla, "Kharam" means "Gossiping negative forces”. Villages host the festive celebration to please the local deities, and to seek protection them from unforseen disasters for their crops, cattle, and fellow local people. They also pay homage to the local deities for protecting the people, yields and the domestic life of the country by natural calamities. The annual festive event is celebrated on 27th and 28th day of the 8th month of the Bhutanese calendar. The event is celebrated by performing ritual in the morning and consequently by performing boen choe “Bonism” by the communal people in respective locality and followed by traditional games like archery and khuru (dart) competition within the village. The main performer of the celebration is the Bonpo “Chant Leader” accompanied by all villagers irrespective of age. In the past, in the evening of the first day of the celebration, people used to ward-off the negative forces by hitting a rooster against a cow. However, now the community has stopped killing roosters and the symbolism was replaced using a feather. With the performance of Kharam, it is believed that the village will prosper and have good yield in that year with less mishaps in the community.

The term Tsan-choed means invoking or appeasing the deity and making various offerings in honor of the deity. Chubja Tsan-choed is an event celebrated by the communities of Bje-shigang, Damchena, Chubja-kha and Hungrel-kha. On this occasion, people from these communities pay their respects to the deity by making offerings to it, thus asking for further protection from the deity for the following year. Tsan is a local patron deity of a particular community who is worshipped by the people for their protection and welfare. These deities are often worshipped as Ke-lha (worshipped from birth as a protective deity) and Yue-lha (deity of a specific community). In addition to the specific dates designated to pacify the deity, people visit and offer prayers during illnesses, deaths, births, long journeys, or times of misfortune. The deity is also invoked by women who are barren and request the deity's blessing for a child. Often, after the woman becomes pregnant, the child relies on the deity for protection during its birth. Chubja Tsan (local deity), known as Tashi Pema/Pema Dendup, is considered deaf but endowed with the power to bestow worldly blessings. According to oral sources, the reason for his deafness was that Chubja Tsan and the Tsan of Zache-kha village had conflicts and quarreled long ago (the cause is not known). The Zache-kha Tsan hit the Chubja Tsan on his ear and made him deaf, while in return the Chubja Tsan hit the Zhache-kha Tsan on his eyes and made him blind. For this reason, even today, the people from Zhache-kha light a fire during the Tsan-choed (ritual to invoke the local deities), while the people from Chubja have to make loud "oooo" sounds in front of the Tsan's home. And the people of the two communities do not visit each other's Lhakhangs (temples). The timing of the Tsan-choed depends on the purpose of its patrons, but for Kay-lha it takes place twice a year; the first time immediately after the Paro Tshechu (Mask Dance Festival, which occurs in the third lunar month) and the second time during the autumn season. In the latter offering, a Phued (first share) of the harvest is usually offered to express gratitude for the blessing of a bountiful harvest while asking for his protection in the future.

Although the origin of yak breeding in Nubri is not known, it can be stated that it has been practiced there for a very long time. The villagers get almost all their needs from the yaks. Milk is the most important product obtained from the yaks. It is consumed either raw or boiled. Raw milk is also used to make tea, and it is also sold or bartered. Milk can also be used to make butter, which fetches a good price. There are two types of butter production: churning and machine processing. In churning, butter is traditionally made in a wooden vessel. In machine production, modern technology, a milk separator, is used to extract butter. Cheese and hard cheeses are also a good source of income for livestock farmers. Then the whey is used. Of all the products obtained from yak, Phe-lu is another unique traditional dish. Phe-lu is a sticky substance that tastes like aged cheese and is specially made from the milk of Bjim (female yaks). There are two types of Phe-lu: one made from milk and the other from curd. Phe-lu made from milk is considered better because cheese made from curd can easily turn into zoedey (fermented cheese). For a kilogram of milk Phe-lu, one gets about 800 to 1000 Ngultrum (Bhutanese currency), and for a kilogram of curd Phe-lu, slightly less, about 600 Ngultrum. It is usually produced in the highland areas where people depend mainly on livestock and dairy products. Phe-lu is a remarkable representation of nomadic life. It shows how nomads subsist only on milk, but in different ways, either by selling it or consuming it directly. In Paro Dzongkhag, Tsento Gewog is located in a highland area where yaks are raised and dairy products are either sold or bartered. Phe-lu, which is made from yak milk, is produced in Tsento Gewog. Phe-lu is mostly made in the 5th, 6th, 7th and 8th months of the Bhutanese calendar.

Sacred texts representing the spirit, philosophy and teachings of the Buddha are chanted by the monks (Lamas) in the monasteries and villages of the Ladakh region. Buddhism in Ladakh has two sects: Mahayana - that follows the Sutra (treatise) tradition, based on the teachings of Budhha delivered in the form of public discourse; and Vajrayana - that follows a highly esoteric tradition based on the principles espoused by the Tantra practices. There are four major sects of Buddhism in Ladakh namely Nyngma, Kagyud, Shakya and Geluk. Each of these sects has several forms of chanting practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general well being, and to attain Buddhahood. Vajrayana Buddhism stresses the visualisation and recitation of Mantra through the practice of chanting. The chanting of Mantras is an integral part of Buddhist life in Ladakh. Buddhist Chanting is primarily practised in a group, by the monks. It is practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for personal growth of the practitioner. The villagers also patronise this tradition; they invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. Monasteries work as the repository of knowledge and tradition, and as a channel for continuation and preservation of chanting. Buddhist chanting is highly evolved and stylised. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generation to generation as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. Bells, hand drums, flutes and the trumpets are usually used as accompaniments during chanting. They lend musicality and rhythm to the chanting. The four sects of Vajrayana Buddhism have their own different styles of chanting. Chanting styles can vary from one monastery to another, even if they belong to the same sect. In some sects, chanting is also accompanied with dance ('cham'), which is practised in the monastic courtyard. The Cham chantings of Hemis and Phyang, though they belong to the same sect of Kargyudpa, have entirely different chanting styles. The seven forms of chanting included in the dossier represent the diversity of the tradition practised in the Ladakh region. 1. Shargangrima - It is one of the most popular chanting of Gelukpa Sect. This is a eulogy recited by the Lamas as well as by the lay people in honour of Je Tzongkhapa who founded the Gelukpa sect in the 14th and 15th century. In Sargangrima, the chanters address Je Tzongkhapa as the second Budhha and celebrate him as the Son of the eastern province. 2. Nashthan Phyagzod -This chant uses musical instruments and 'mudras' (hand gestures) during chanting. It is a prayer for the 16 disciples or Arhats of the Budhha. Nashthan Phyagzod is chanted by the Lamas for all sects. The Arhats are the direct successors of the Buddha, the bearers of His teachings. The chant is a prayer to the Arhats to stay eternally on the earth for the sake of Dharma. At the end of each stanza, the chanters play drums, blow on a long flute and beat cymbals, providing a musical rhythm to the chanting. The monks symbolically offer music, dance, incense, flowers, lamps and food through 'mudras.' 3. Kunrig – This chant stresses on the internal visualisations by monks through repetitive chanting and 'mudras.' 4. Rigmachutuk – This chanting is performed by monks who dance in the courtyard of the monastery, wearing copper masks, silk robes and special shoes. It is based on two tantric texts. Rigmachutuk are the 16 fairy maidens or 'dakinis' who escort the titular Guru Padmasambhava in his Dharma missions. It is also performed during the funeral procession of senior monks. 5. Guru Mantra - This Mantra is recited by all followers of Mahayana tradition in Ladakh. This text is seen engraved on stones and metals and inscribed in flags and clothes all over this region. It is believed that this Mantra purifies the human beings of their sins. 6. Chod - It is a secret practice that is usually performed in the cemeteries. Chod requires great concentration and high meditative qualities. In this, the performer visualises that his consciousness has separated from his body, and has transformed into a deity. 7. Guhyasamaj Tantra – This chanting includes 'mudras' through which the monks emulate different missions of the Buddha. These chanting rites are performed all over Ladakh in various monasteries and villages. The nomination contains audio-visual documentation of performances conducted in strict adherence to scriptural guidelines, and under the guidance by the chief Lamas in the following monasteries. Thiksay Monastery Spituk Monastery Matho Monastery Hemis Monastery Phyang Monastery

India 2012

Acupuncture and moxibustion of TCM(traditional Chinese medicine) is a traditional knowledge and practice for regulating the body’s balance and maintaining health. It is based on the holistic concept of the ‘unity between man and nature’. Under the guidance of the theories of the channels and acupuncture points, its practice involves the insertion of needles into points or the burning of moxa to warm the superficial part of the body. The holistic concept of the ‘unity between man and nature’ views the living individual as a component part of the universe, and explains life activities with the theory of yin and yang. It holds that the occurrence of disease is due to either an imbalance of yin and yang within the body, or an imbalance of yin and yang between the human body and universe. The theories of acupuncture and moxibustion hold that the human body is a small universe, each part of which is connected by channels. Through long-term practice, points on the channels have been discovered, gradually developing into a systematized theory, of which the 12 channels correspond to the 12 months, and 365 acupuncture points to the 365 days of the year. Palpation on the three portions of the body (upper, middle and lower) and three needling depths (superficial, moderate and deep) are associated respectively with heaven, man and earth. The principle of selecting points on the lower body for diseases in the upper, or of selecting points on the right for diseases on the left reflects clearly this TCM holistic view of seeing the human body as an integral whole. The practice of acupuncture and moxibustion includes two treatment modalities: acupuncture and moxibustion. In acupuncture, needles are properly selected according to the individual conditions and used to puncture and stimulate the chosen points to dredge the channels with “lifting”, “thrusting”, “twirling” and “rotating” methods, or with comprehensive needling techniques, for both prevention and treatment of disease. Nine needles of different shapes and dozens of different needling techniques were recorded in Zhen Jing (Classic of Acupuncture, 针经) in the 2nd to 3rd century B.C. Needles were mainly made of special stones, or metals (such as bronze, iron, gold and silver). Modern needles are mostly made of stainless steel. Moxibustion is usually divided into direct and indirect moxibustion, in which either moxa cones are placed directly on points or moxa sticks are held and kept at some distance from the body surface to warm the points so as to adjust the yin and yang of the body and restore balance. Moxa cones and sticks are made of moxa wool processed from moxa leaves which have been dried up and ground into wool. They are inflammable with an even warmth and burn for a long period of time. Artemisiae, the raw material of moxa, is an aromatic plant. It grows widely in China, and has been extensively used in moxibustion because since ancient times the Chinese have believed that it can dispel pathogenic factors. Acupuncture and moxibustion has been re-created in response to its environment and interactions with nature and history. Therefore, characteristics of regional, group or individual schools have been formed. The “three-step needling techniques” improved upon by Cheng Xinnong (1921-) and the “three-free-flow needling techniques” summarized by He Puren (1926-) have brought a far-reaching influence on promotion of the continuing existence of this tradition. A great deal of common sayings, such as “Hegu (LI4) is used for diseases of the face and mouth, Weizhong (BL40) for the back and lumbus” and "without knowledge of the channels, mistakes when needling are inevitable”, objectively explains that acupuncture and moxibustion manifests itself in the culture integrated highly by knowledge coupled with practice. Therefore, to be an identified tradition bearer demands long-term accumulation of knowledge and practical experience. Acupuncture and moxibustion has been transmitted through teaching by personal examples as well as verbal instruction in inherited lineages formed by master-disciple relations or members of a clan. These tradition bearers are identified by their reverence for Huang Di and Fu Xi (two founders of acupuncture and moxibustion). The bronze figure of acupuncture points cast in 1026 (Song Dynasty), Zhen Jiu Jia Yi Jing (Systematic Classic of Acupuncture and Moxibustion, 针灸甲乙经) compiled in 259, Zhen Jiu Da Cheng (The Great Compendium of Acupuncture and Moxibustion, 针灸大成) written in 1601 and other works, are a testimony to the inheritance and development of this tradition, which have served as important reference materials in the study of acupuncture and moxibustion, and have been playing a significant role in their viability and re-creation. Among the Chinese, there are sayings such as “one needle and a bundle of herbs keeps you healthy into your old age” and “hanging moxa leaves in front of your house gate on the 5th day of the 5th lunar month keeps the doctor away all year round”. This shows in all aspects that acupuncture and moxibustion has produced a great impact on people’s lives and reflects its relevant visibility and awareness. Acupuncture and moxibustion, an embodiment of the wisdom of the Chinese nation and a reflection of the uniqueness of Chinese culture, has been playing an important role in promoting people’s healthcare with its steady rate of development and systematized theories inherited in history.

China 2010

Regong Arts mainly refer to Buddhism formative arts such as Thangka, mural, barbola, sculpture on which Tibetan and Tu folk handicraftsmen depend to pass on their making knowledge and manual technical skills. The content of Regong Arts consists of Tibetan Buddhism, mythical stories, epics and traditional knowledge. And the main painting materials include painting cloth, painting brush, dyestuff, prepared Chinese ink, red soil, silk and glue. Thangka, mural, barbola, and sculpture are widely used in Tibetan Buddhism temples and farmers’ or herdsmen’s houses. Every handicraftsman has his own fixed place to make material objects. Regong Arts have originated in 13th century and stemmed mainly from Tibetan Mantang school. After they were introduced into Regong area, Regong Arts have formed an important distinctive school of Tibetan Buddhism arts. Regong Arts have various forms with unique features. 1. Thangka, the pronunciation of its Tibetan counterpart, refers to religious scroll paintings which are used to worship Buddha, myths and figures who invented some useful technology after being mounted with colourful satin. The main technological process of making Thangka is as follows: first, the fine white cloth or coarse linen should be stretched on a wooden embroidery frame; secondly, base powder and thin glue sheet are used at the bottom and polished; thirdly, according to the content, the painter draws an outline with charcoal pencils made by himself about religious figures, birds and beasts and flowers and trees, etc.; fourthly, the painter puts the glue into various natural minerals and animals or plants dyes, and then he uses these painting materials to draw the picture with the special painting brush; finally, the finished picture is mounted carefully. Thangka is famous for its sophisticated workmanship, contents and bright colors in the world. 2. Barbola is a kind of Thangka made from silk fabric. Its main forms are Barbola Thangka, Barbola veiling, Barbola column ornaments etc. It is made from silk and brocade where pictures, figures, animals and plants are accurately cutting and sewn. Its techniques and effects take place in two forms: soft relief which combines folk embroidery and filled relief; and pasted and patched soft fabric which are cut to make different forms. Barbola has the strong stereoscopic image. 3. Regong sculpture comprises clay sculpture in addition to wooden sculpture, stone inscription, brick sculpture etc. Clay sculpture takes place in two forms: multi-colour and single-colour. Its process includes selection and finalization, clay processing, keel structuring, filling in, outline shaping, partial adjustment and inlaying gold lines or colour painting etc. Rafters, vaults, sunk panels, column ornaments, and tubular lections in temples and door curtains, credences, tea tables and lection cabinets in farmers’ or herdsmen’s houses are all sophisticated wooden sculptures. Stone inscription is that lections are imprinted on the slates or figures of Buddha are made in an intaglio plate. In addition, there is relief used in the stack of lection stones. After being created, Regong Arts are passed on generations by generations. Regong Arts are manual skills grasped by some villagers. Based on the special art forms, they combine traditional knowledge with history memory and come the Arts down. The art forms are widely recognized by dwellers in Tibetan communities and traditional craftsmen in China. At present, 520 folk artists engage in the artistic creation of Regong Arts. Passing on the Arts mainly takes place between fathers and children, or between masters and apprentices. Inheritors can be monks or folk artists. When learning Thangka, Barbola or sculpture, the painters must strictly follow the Buddhism painting book Lection of Measurement, starting from line-drawing, figure shaping, colour matching, pattern design and sizing. Regong Arts are featured with the unification of Tibetan Buddhism and traditional culture. Its influence can be found in surrounding provinces such as Tibet, Gansu, Inner Mongolia, Yunnan, Sichuan, and even South-eastern Asian countries.

China 2009

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.