Cradle making, locally known as “beshik yasash”, is a time-honored traditional craft in Uzbekistan that embodies the values of family care, craftsmanship, and cultural continuity. The beshik (Uzbek cradle) is a specially designed wooden cradle used for infants, known for its ergonomic function, practical hygiene system, and symbolic meaning. Beshiks are handcrafted from locally sourced wood and decorated with national ornaments, carvings, and sometimes painted motifs. Cradle making is typically performed by skilled artisans (beshiksoz ustalar), using inherited knowledge and hand tools. The cradle is closely associated with the “beshik-to‘y”, a ceremonial event that celebrates a newborn’s integration into the family and community. It includes rituals, songs, blessings, and gift-giving. This tradition reinforces social bonds and transmits moral and spiritual values to the next generation.

Appeared around the 17th and 18th centuries and went through many stages of development, with periods of prosperity and also decline period. The script includes 4 types: Ancient Tuồng, Royal Tuồng, Folk Tuồng and Comedy Tuồng. The script structure is divided into many acts (normally 3 or 4 acts), and each act has many layers. The topics and ideological of Tuồng Opera are mainly about heroic heroism, human behavior between the common and the private, and between family and Fatherland. Characters include Peach, double, old man, flatterer, general, and goblin; divided into two factions: villains and righteous. Music in Tuồng is a combination of singing and orchestral music. Singing music has basic singing rhythms: talking, male singing, guest singing, rhythmless melodies, and rhythmic melodies. The orchestra includes drums, trumpets, two-stringed harps, and other musical instruments. Tuồng dancing has 10 basic dance movements: oval, corner, wrap, face up, roll; bridge, sign, swing, carry, jump; Dance less, move gently and gracefully. The art of makeup in Tuồng has 3 main colors (white, black, and red) and the "shaping" technique to express the character's image. Rich costumes, suitable for each character. Tuồng stage is conventional and symbolic. Every year, on August 11 - 12, Tuồng troupes organize the death anniversary ceremony, the first day is a vegetarian ceremony, and the next day is a salty ceremony. Craft ancestors are always revered and have many taboos. Previously, Đà Nẵng people also had the custom of Tuồng Fortune Telling. When watching a Tuồng performance, they speculate about their luck and bad luck for the year in any scene. Tuồng Fortune-telling at the beginning of the year is a unique feature of Quảng.

It is a woodblock print with brushstrokes, colored boards on dó paper, created by the community, with the content to reflect the agricultural society and farmers in Vietnam. There are 7 main themes (worship paintings, blessings, history, stories, proverbs, scenes and activities). The production process has 2 main stages: Creating patterns/carving boards and Printing/painting. Composing is a decisive stage, requiring many innate talents and high labor skills in artisans. Engraving board has 2 types, printed board and color printed board. Materials and tools for painting paintings include: do paper, assorted colors, color printing boards, printed boards, paperboards and squeakers (brushes made of pine needles). How to print pictures goes through many stages with different techniques. The art of Dong Ho paintings is symbolic, unique in the use of lines and colors. The content of the paintings reflects the social life from the point of view of folk aesthetics. There are currently only a few families in Dong Ho making prints.

Renowned for its graceful hand gestures and stunning costumes, the Royal Ballet of Cambodia, also known as Khmer Classical Dance, has been closely associated with the Khmer court for over one thousand years. Performances would traditionally accompany royal ceremonies and observances such as coronations, marriages, funerals or Khmer holidays. This art form, which narrowly escaped annihilation in the 1970s, is cherished by many Cambodians. Infused with a sacred and symbolic role, the dance embodies the traditional values of refinement, respect and spirituality. Its repertory perpetuates the legends associated with the origins of the Khmer people. Consequently, Cambodians have long esteemed this tradition as the emblem of Khmer culture. Four distinct character types exist in the classical repertory: Neang the woman, Neayrong the man, Yeak the giant, and Sva the monkey. Each possesses distinctive colours, costumes, makeup and masks. The gestures and poses, mastered by the dancers only after years of intensive training, evoke the gamut of human emotions, from fear and rage to love and joy. An orchestra accompanies the dance, and a female chorus provides a running commentary on the plot, highlighting the emotions mimed by the dancers, who were considered the kings’ messengers to the gods and to the ancestors.

Cambodia 2008

The Traditional Coaxing ritual expresses the peculiar relationship between a man and animal. The ritual comes under the domain of “social practices, rituals and festive events” and in cases where there is participation in the ritual by a singer and musician, or by a few musicians, it might also come under the domain of “performing art”. While elsewhere spring is a pleasant season for peasants, it isn’t convenient for Mongolian herdsmen. The mother animals give birth to their young in a harsh and dusty spring, so there is a big risk of losing a mother or a baby animal. Mongols have a variety of rituals relating to husbandry in traditional Mongolian society. One of them is a chanting ritual for a new-born baby animal and its mother. To chant is to stimulate, through the use of special words and melody, the adopting of a baby animal to a mother. There are different gestures, melodies and chanting techniques for the five types of livestock in Mongolia. Coaxing (khuuslukh) a camel is a ritual for a mother who rejects her baby; or for adopting an orphan baby to another female who has lost her baby, because only a suckling mother will have milk in harsh spring time. For the nomadic Mongols the camel milk has been not only the source of food and drinks in the severe Gobi Desert conditions, but also the basic means of preventing illness or for healing diseases. Therefore, the coaxing rituals originated from the everyday occurrence of the herdsmen and became one of the important elements of Mongolian folk knowledge and ritual. The performance of the ritual continues for a few hours at early morning or at twilight and requires a high skill of handling camels and a singing talent or skill for playing on a musical instrument such as the horse head fiddle or flute. Most herdswomen engage in techniques and methods of coaxing, but these techniques and methods aren’t enough sometimes, for performing the ritual successfully. If there isn’t a singer or musician in the family, the owner of the camels will invite a coaxer or a few masters in coaxing and players of a musical instrument, from another place. In this case, the coaxing ritual will compose of a small performance by several actors: a singer along with a horse head fiddle, flute or mouth-orlgan players. A mother is tied close to the calf, nearby to a yurt. A singer will begin gently their monotone song ""khuus"", ""khuus"" with a horse head fiddle or without any musical instrument. A mother will bite, savage or spit and show her ignorance to a calf at the beginning of the ritual. The coaxer can change their melody, depending on the mother’s behavioural reaction. Most musicians will perform the ritual traditional Mongolian -sad stories about camels- songs such as “Unchin tsagaan botgo”, “Goviin undur” etc. The musician performs his play with different sounds of walking, running and bellowing of a camel and absorbs words into poems, songs and epochs. When a mother camel is being coaxed into accepting a rejected or an orphan calf, it is said to break into tears at the gentle sound of ""khuus"" and the enchanting melody of the horse head fiddle sung and played by someone skilled in the art of casting spells on animals. In some cases, to perform the ritual more effectively herdsmen use additional techniques such as skinning a dead calf and covering the orphan camel calf with the hide, tying a mother together with a baby quite a far distance from the ger camp for the whole night, or soaking the calf in salt, saltpetre or in the mother’s milk. Also it was common to place the ankle bone of a wild sheep (there is a myth that wild ewes never reject their babies) around the neck of a mother or a calf. But nowadays it is very hard to find these anklebones, as wild sheep are enlisted to the endangered-species list. There is also an exotic remedy in the coaxing ritual where the mother is led to a ger at twilight and shown the fire inside. (A camel can’t enter a ger, because of its size.) All participants in the ritual wear good clothes, remain attentive and focused, using their own psychic vision and imagination in the coaxing process, because the participants express their gratitude to gods of the camels, mountains and waters within the ritual. After finishing the ritual a coaxer or small group of masters will be honoured guests of the family. A person, who had performed coaxing rituals prosperously, will be invited again and again by the families in need of the ritual. When, where, how many times they have been invited - is the main criteria for evaluating the talent of a cultural bearer of this ritual. The evaluation is a prerequisite to their popularity in a society. The coaxing ritual has been transmitted from generations to generations and been enriched by the exchange of camel herding knowledge between the herders of Umnugovi, Bayankhongor, Dundgovi provinces, which are the main territories of Mongolia’s Bactrian camel population. “We should not forget this ritual while we are herding camels, because in both the animal and the human - it transcends genre to become a deeply affecting allegory about the importance of patience and acceptance in so many relationships” that is the conception of elders, the cultural bearers’ communities and camel herders. The knowledge and skills relating to the ritual’s transmission occurs from parents and elders to youth, in home tutoring: Elders with long experience of herding, herdswomen with singing talent and the talented musicians, who can influence the camel’s behaviour, are the main actors of the coaxing ritual. The ritual acts as a symbolic medium for creating and maintaining the social ties of individual nomadic families and dependencies to the community, because it is one part of the traditional intangible cultural heritage of the relationship between man and livestock.

Mongolia 2015

Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.

China 2010

Thagzo or the art of weaving is one of the oldest and widely used skills that have been practised for ages. The all-encompassing use of textiles represents prestige, artistic skills, discipline, determination, familial sentiments, tangible form of asset, and expressions of devotion towards the dharma. Bhutanese textiles are the product of knowledge and skills developed and nurtured over centuries of experiences and family traditions. Our textiles are valued and renowned for their richness of colour, sophistication and variation of patterns, including the intricate fibre preparation, dyeing, weaving, and embroidery techniques. This rich and complex art of weaving is an inseparable part of our culture and history. Today, the wide availability of imported fibres and dyes are transforming the palette, textures, and surface qualities of the clothes produced. There are more than eleven types of yarns and dyes including the five main colours (white, yellow, red, green and blue) and six subsidiary colours (orange, dark green, light yellowish green, pink, light white, blue and black). These different colours are woven in accordance with different designs and patterns. Women from central and eastern regions of Bhutan are famous for their weaving skills and each region produces their own specialty. a. Weaving with Designs and Patterns: Every textile product has a name that expresses its particular combination of colour, design, pattern and fibre. Weaving pattern is either stripes - vertical for men, and horizontal for women in cotton, silk or wool. Required extra designs are made by adding warp threads. Patterns like the vajra (thunderbolt), the swastika, the tree or the wheel, each has symbolic meanings. Although the symbols used in Bhutanese textiles are primarily of geometric nature, they also have deep religious meanings. Some common geometric symbols include the dorje (Vajra), the drame (nets), the phenphenma (butterflies), the phub (Kiliya), the yudrung (Swastika), and the shinglo (leaves). The drame or the eternal knot is a classic Buddhist symbol. The phenphenma is a symbol of butterfly and the eight-pointed star, while the dorje or the thunderbolt represents the indestructible powers of Buddhism. The phub or the rainbow is a triangle pattern in successive rainbow colours. When dorje symbol is incorporated within the phub symbol, the pattern becomes dorje\u0002phub. The shinglo symbol is used mostly on the royal and noble family dresses since this symbol is the most difficult to weave. The shinglo symbol represents the “tree of life”. The therpochay ( Jana chagri) or the China Wall pattern is usually seen next to the phub design on kiras. The therpochay symbol is believed to have been derived from the designs on Chinese brocade. The yudrung portrays the crossroads where the four directions meet. A yudrung represents the balancing forces of the universe, when rotating. The yudrung is an ancient pattern and its epicentre is considered a spiritual place. Yudrung is depicted on the royal thrikheb as the centre most design. Bhutanese weavers usually weave two types of textiles; the plain woven meaning kar chang, and the pattern woven textile called metochem. These are described below. a.1. Karchang: The plain woven textiles include pangtse, mathra, sethra, adang mathra, shardang thara, and pe sar. Plain woven clothes are worn at home or work since they are cheaper than the pattern-woven clothes. Mathra (red pattern) is a varicolored plaid woven on a maroon or red field, sometimes woven with stripes (khaja) at the edges. Sethra (gold pattern) is a plaid weave usually with yellow or orange field as the dominant colour. Sethra has two popular colour combinations; red with black or blue plaid on a white field; and yellow, white and black on an orange field. Sethra dokhana consists of black colour in it while buechapgi sethra does not contain black. Thara has horizontal stripes with white as a dominant field. Shardang thara has multicoloured stripes while Samkhongma have narrow red-and-blue stripes, and Mondre which has a similar pattern to Samkhongma is worn mainly by older people in rural areas. Kamtham Jadrima is a striped textile with colours of the rainbow. Kamtham thara consists of simple warp stripes or plaids, which are gifted to a religious person. Pesar (new design) is a modern innovation with small patterns in striped plain cloth. Yu tham or the country cloth which is made of wild silk or cotton is very popular in the rural areas. Kawley is a completely black fabric of wool, which is believed to have healing properties. a.2. Meto Chem: Aikapur and Ku shu thara are the two specific kinds of pattern-woven textiles. Pattern-woven clothes are considered special, and are valued and saved for special occasions like festivals, marriages and for New Year celebrations. Bhutanese weavers weave many different types of clothes with intricate designs such as leaves, birds, trees and other animal patterns. These are briefly explained below. Aikapur: Aikapur is a textile woven of cotton or silk, and appears to be embroidered. Aikapur has double faced pattern bands called hor which alternate with rows of plain weave; with always an odd number of legs ‘kangpa’ or cross hatches. A textile is referred to as a b-sampa (with three legs; b-napa (with five legs); b-zumpa (with seven legs); b-gupa (with nine legs); b-songhthurpa (with eleven legs); and b-songsampa (with thirteen legs). Aikapur is differentiated by the colour of the background thread, and the supplementary thread used. The common colours used in aikapur are: dromchu chema, literally meaning ‘little boxes’, with red, green, yellow, and white pattern bands. Mentse mathra is a material with a yellow base, and with red and green stripes. Montha has a blue or black background with red pattern bands between colourful stripes. Lungserma has green and red pattern bands on a yellow background. Shinglo or ‘tree of life’ patterns made on the fabric are used to assess the quality of an aikapur. The delicate branches and leaves of these trees are inspected when judging the quality of a textile. Kushu Thara: Kushu thara used to be considered aristocratic and the most prestigious dress for women. Ku shu thara is woven from vegetable dyed cotton and raw silk (bura) or entirely from silk. Ku shu thara has spectacular brocade design which take up to a year to weave. Ku shu thara is always embellished on a white base, and a similar kira with a blue or black background is called ngosham .Sapma, the continuous weft patterns, and tingma, the alternative weft patterns are used as base pattern for kushuthara, ngosham or shinglochem. Shinglochem can be either a gho or a kira, woven with alternate rows of warp pattern bands. b. Weaving Materials: Bhutanese produce fibres such as raw cotton, wool, nettle fibre, yak hair and bura (raw silk). The most expensive and the most valued fibre in Bhutan is raw silk. The Bhutanese do not kill the silk worms that remain inside after spinning its cocoon, but are left until they escape, which breaks the thread before it is unrolled. That is why, Bhutanese raw silk feels and looks relatively coarse compared to Indian and Chinese silk. Several types of yarn like seshu (cultivated from mulberry silk moth Bombayx mori), bura (produced by wild non-mulberry silk moth), namdru kuep (parachute silk), and varieties of silk imported from India are notable. b.1. Nettle: Nettle or stinging nettle, though now rarely used, is said to have been the original and chief fibre used by weavers in ancient Bhutan. Nettle fibre is coarse but strong and durable. That is why people in villages used it to weave sacks, bags, kurel, pagi, pakhi, bundi and tabden. Owing to its strength it is also used as bow string. Nettle is herbaceous flowering plant that grows in temperate and sub-tropical zone. The plant grows up to 2 meters in height with spiny stems and leaves and bears white to yellowish flowers. Nettle bark contains baste fibre which is strong, smooth and light. In Bhutan, nettle fibres are harvested in the months of October and November. After peeling the stems, the fibres are dried, and then cooked with ash for about 6 hours. The fibres are then washed with cold water, and beaten in order to remove the outer cover. After removing the outer cover, the fibres are dried and dyed with natural dyes. The nettle plants are shredded, and twisted into thin fibres using a drop spindle. Nettle fibres are used to weave bundi or carry bag. Bundi is usually woven with brocaded yudrung motif at the centre of the middle panel, on a white colour base. The bundi or carry bag consists of three lengths of cloth sewn together to form a square panel. Ropes on the diagonal sides of this piece are tied together to carry possessions and bedding. b.2. Wool: Yarns from yak, sheep and goat wool are spun using phang (drop spindle) and moved to a chaphang (spinning wheel). The herders of the high valleys of Merak and Sakteng weave shingka (tunic-style dresses), women’s jackets and belts. They also make hats, ropes, tents, and bags out of yak hair, and floor mats and blankets from sheep wool. The Layap women’s dress includes a black woollen jacket, a long woollen skirt, adorned with lot of jewels, which often include teaspoons. Women also wear conical bamboo hats with a bamboo spike at the top, held by beaded bands. Shingka, an ancient tunic-style textile that was woven with either a ngoshingkha (blue) or a laushingkha (red) wool base, was worn by a high lama during religious ceremonies. Char khab, woven from wool (of yak or sheep) either on a pedal loom or back strap loom is used for protection from snow, cold, and rain. It is water-resistant and an essential item for the herders in cold the region. Sephu charkhab (rain cloaks from Sephu) is a colourful textile with bands of green, blue, white and orange. Bumthang and Trongsa were known for a woollen fabric called yathra, which was used as a cover from rain and cold. In the late 1990s, farmers in Trongsa had stopped raising sheep which inevitably put an end to the practise of weaving yathra. Yathra is used as bed covers, blankets, rain cloaks, cushion covers, sofa set covers, and as jackets for both men and women. b.3. Cotton: Kershing (cotton) is used to separate the cotton seeds, and then fluff out to make it ready for spinning into yarn with the help of a wooden spindle or spinning wheel. Usually cotton woven with traditional designs on white background, chagsi pangkheb was put on laps to wipe hands before and after meals by persons of higher positions. In the early days, Bhutanese women used to put on an apron-like wear called dongkheb as a sign of respect while approaching the king or a high official. Phechung is a cotton woven carry bag woven but its usage is now limited to ceremonial receptions along with chagsi pangkheb. Thrikheb (throne cover) is a rare textile used as the King’s throne cover. It is also used for the lamas during religious ceremonies. Chephur gyaltshen (banner with frills), gyaltshen (pair of cylindrical hangings with valance), bumgho (bumpa covers), kheb and tenkheb (altar covers),phen (pair of triangular topped hangings) and chephur (a pair of cylindrical hangings) are some of the other cloth products that are used in altars and monasteries. Hingthub is a time-consuming but highly cherished textile woven for loved ones or for use by the weaver or their ‘lord’. The finer product demonstrates the dedication of the weaver. It is also used by the weaver’s family or to stitch outer attire for statues or as wall hangings. Today most of the yarns for weaving like raw silk, cotton and acrylic are imported while some of the yarn is spun and processed locally. The availability of cheap machine spun yarns from India has overtaken the local cotton cultivation. b.4. Types of Loom: There are three types of looms used by weavers in Bhutan. Traditionally pangthag was the most commonly used loom for weaving larger size garments. The smaller version of this loom called kethag is used for weaving narrow items like belts. In the 1970s, another type of loom called thri-thag (khri-thags) was adopted from India. This loom gained popularity in the growing urban centres. This later type is a horizontal loom with pedals. Each region has a speciality in terms of designs and types. Kurtoe is known for Ku shu thara, while marthra and serthra are mostly produced in Bumthang. Trashigang district is well known for weaving aikapur, while pangkheb and montha come from Kheng. b.5. Dyes: Bhutanese weavers consider the coordination of pleasing colours more important than the designs, patterns and techniques. Strong taboos are associated with the dyeing process and the weavers are very particular about colour shades. They believe that malevolent spirits, certain weather conditions, strangers or pregnant women can ruin the dye. Like the weaving techniques, the recipes for dyeing are closely guarded family secrets and the formula is usually passed down from mother to daughter. There are a number of dye-yielding plants. Weavers obtain dyes using simple methods from barks, flowers, fruits, leaves, and roots of plants, and minerals. Today, chemical or synthetic dyes called tsho-sar are easily available while the natural dye is called tsho nying. They are easily recognisable by their hue. Some of the natural dyes obtained from plants are described below. - Indigo: Shades of green, purple, blue and black are obtained from leaves of trees locally called yangshaba (Strobilanthus flaccidifolius) in Tshangla dialect. Indigo (lndigofera spp.) plants are cultivated in household gardens as a source of blue dye. Alum earths, sour fruits, and dug shing (Symplocos) leaves are used as a mordant in dyeing to fix the colouring matter. Indigo plant leaves are fermented for two weeks, and then passed through acidic ash water. - Lac: Jatsho (Lacifer lacca) is an organic dye that produces colours ranging from pink to deep red. Lac is boiled in water until it becomes sticky dough. The pulp is mixed with roasted wheat and allowed to ferment for 10 days. The selected yarn is then put into the boiling mixture until the colour gets absorbed. Churoo (Phyllanthusemblica) is used as a fixating element in dye. - Madder: Dried stems and leaves of madder called tsoe (Rubia cordifolia) are chopped into small pieces. This material is boiled together with the yarn to produce several colours ranging from pink to deep red. It is good for dyeing raw silk, cotton and wool. Madder can be preserved in dry place for years. The ripe berries of berberis, locally called kepatsang (Berberis aristata) are used as a source of red colour, while the barks of nut of the walnut tree can be used to obtain orange colour in woollen yarns. - Pangtse: Leaves from pangtse shing (Symplocos paniculata) are gathered from the forest, which can be used fresh or dried, to make yellow colour .Pangtse leaves are boiled in water along with woollen yarns. The yarn is then allowed to drip. Sometimes, yung ga (Curcuma longa) or turmeric is also used to obtain a bright yellow colour. Lemon, also called churoo (Emblica officinalis), variety of other berries, herbs, plants, and roots are used along with alum mordant to boost colours in the yarn. However, since dyed yarns from India are available at cheaper price, only a few Bhutanese weavers practise the tradition of natural dyeing processes these days.

This type of art was born in the 13th century, under the Trần dynasty, with the great contributions of Mr. Đào Duy Từ and later Mr. Đào Tấn (18th century). Hát Bội Opera is popular in the Central provinces. Bình Định is considered a center for Bội singing in Vietnam. The theme of Hát Bội Opera is the relationship between king and servant, friends, husband and wife, parents and children, which has great significance in educating etiquette, praising good things, and criticizing bad habits. Hát Bội Opera performance spaces are theaters and stages decorated according to the content and themes of the play. Hát Bội is held during festivals and family or community events. Actors singing Bội are called "singing duos", gathered together in an organization with operating regulations as "singing wards" or "singing groups/troupes". The two fundamental elements of Hát Bội Opera are singing and martial arts dancing. The singing style accentuates the beats, the style carries the local intonation. When dancing martial arts, the weapons are brought into Bội singing by generations of artisans skillfully, harmoniously, with great symbolism and convention. Musical instruments include drums, trumpets, lutes, etc, in which drums are the most important instruments. The art of shaping and makeup has regulations on color, facial shaping, costumes, weapons, etc., all of which are painterly and symbolic.

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.

Hát bội (or can go with the name “tuồng”) is a traditional performance art form in Vietnam, it has a rich historical foundation. The oldest manuscript about Hát bội can be found back in the 18th century. However, Hát bội is believed to appear earlier than that and has become a dominating theatre practice, especially in the Inner Lands/Đàng Trong (a part of South Central area and Southern Vietnam). Just like any traditional art form, the stage of Hát bội also consists of aesthetic values of the Viet people, reflecting the life, stories, and aspirations of the common Viet people. Hát bội has charmed the audience not only for its humane storyline, but also for the sophisticated visual of face-painting, costuming, choreography, staging, and symbolic gestures. In recent times, Hát bội has slowly lost its place in public perception and became more of a spiritual performance to serve communal temples instead.

Naqqashlik, or the traditional art of ornament-making, is a highly refined form of decorative craftsmanship in Uzbekistan, rooted in centuries of Islamic and Central Asian artistic traditions. This craft involves the creation of intricate patterns and motifs that adorn architecture, furniture, wooden columns, doors, ceilings, and ceremonial objects. Naqqashlik is not only a visual art but also a spiritual and philosophical expression. It features floral, geometric, and calligraphic motifs, all governed by strict aesthetic principles and symbolic meanings. The craft plays an essential role in architectural preservation, cultural identity, and national aesthetics. Master artisans, known as naqqosh, follow meticulous processes including drawing, carving, painting, and gold leafing. Designs are traditionally developed using natural pigments and hand tools, with every pattern reflecting a balance between beauty and harmony.

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. Usually with chakan embroidery masters sew women shirt, national cap, pillow, bedspread, headscarf, towel, curtain, coverlet for cradle, curtain for wall decoration and etc. In the chakan embroidery are used symbolic depictions and mythological images related to the nature and cosmos, which express people’s wishes and hopes