'Kiyiz' is a valuable felt material used by nomads in everyday life since immemorial time. Felt is manufactured from sheep, camel or goat wool by felting. Felt is made from wool using various methods to compress the wool fibers to form a thick, durable and warm material. Felt processing and products remains as one of the most popular crafts in the decorative art of the Kazakhstan steppes and other Central Asian countries. It was the major craft in Kazakh nomadic life as well as a significant work of women. Felt in Kazakhstan used mainly for flooring as a carpet well as covering a yurt. Nowadays one can get also a Kazakh felt souvenir toy. Warm slippers, vests, scarves and much more. Kazakhs used two basic types of felt, which differ in their method of manufacture and function. Kazakhs used coarse felt to cover the yurt and the dirt floor inside. Felt often decorated ornament. There are different methods of ornamentation: applique, ornamental stitch and many others. Skilled workers typically cover the entire surface of the felt track patterns, using a contrasting color. Kiiz is a simple felt carpet made of white, brown or grey wool, used as a foundation for making other products or to cover various parts of the yurt. Syrmak is a floor carpet, made by designing on a basis (kiiz) ornamental aptterns cut out of think multicolor felt which are then adjusted to the basis and sewed with color lace along the contour of the pattern, Tekemet is the Kazakh felt carpet with inserted color pattern on the top of each other before rolling. Different tribes in Kazakhstan each have their designs. Tuzkiiz ia a wall carpet, made by sewing ornamental compositions on felt or solid color fabric like velvet or silk, and then sewing them to the felt basis.

Tekemet is the Kazakh felt carpet with inserted color pattern on the top of each other before rolling. Different tribes in Kazakhstan each have their designs. Tekemets similar to syrmak (another type of felt carpet), but has a vague and soft forms in connection with the peculiarities of production technology. Tekemets decorated by double horns ("qos muyіz") - horn curls arranged in a cruciform shape, usually within a rhombus and oval. White or grey ornaments were selected, which bursted on the brown main background of felt. In West Kazakhstan can be found "eki tekemets" (“ekі tekemet"), which are decorated on both sides. Patterned felting is one of the oldest types of Kazakh ornamentation. It is handmade from one color of felt (light or dark), combined with the natural color of camel's wool. Masters of Central Kazakhstan felt ornaments in different colors.

Colorful yurt tent bands (baskur, bau, zhel bau) are made using combination-technique (flat and pile weaving). Yurt bands are an integral part of yurt and easy to produce; they are woven in every region of Kazakhstan. Both the bands and flat-woven carpets are woven on a special narrow loom which is also employed to weave a number of narrow strips that would then be sewn together to create alasha rugs. To achieve the dynamic look of a carpet, alasha were either made from strips of different colors or with designs and pile reliefs. The basic production material is sheep’s wool, goat wool and horse hair, natural cotton and silk fibers. It is also common to add camel or goat wool to warp yarn to add durability. Yurt decorations are best understood starting from the dome or uppermost region of the structure, which was traditionally adorned by patterned baskur and bau bands, and colorful shashak tassels. The baskur strips tied up the roof poles (uyk and kerege) of a yurt and its latticework (kerege) around the perimeter and decorated the joints between the kerege and the dome. The bau bands ran diagonally under the wooden poles and were fastened to outer felt covers. In addition to their functionality, they also served as decoration for the dome of the yurt. The bau and baskur bands were made using a variety of techniques and colors. The shashak tassels were also an important decorative and protective item. Like twinkling stars they shimmered, moved by air entering the yurt through the shanyrak - a circular opening at the top that symbolized the limitless eternal sky. Wall rugs are another significant decorative aspect of Kazakh yurts. These include pile items (tukti kilem, or kaly kilem) and flat-woven textiles (takyr kilem, takta kilem, taz kilem, araby kilem, beskeste kilem, badnas kilem, alasha, and many others). There are also rugs made using chain stitch (loop-type stitches in a continuous row )- tus kilem, biz kilem, and ilme kilem. Carpets adorned the walls of a yurt and served as insulation. They covered its floors and were also used as covers for loaded camels during migration. In addition, they were an indispensable part of a bride's dowry, were given as presents to guests at celebrations, and were used to wrap the dead before burial.

Kazakhstan

Syrmakh (syru means “stitch”) is another iconic wall and floor carpet made in traditional nomadic technique. There are around 20 syrmakh making techniques. To name but a few: akh syrmakh (white rug), oyuly syrmakh (colourful inlay pattern rug), oyistyrylghan/tyor syrmakh (solid color fabric appliqué on a white felt), syru (stitched pattern on felt), zhyiek syrmak (stitched felt rug with borders), kestelyi syrmakh (a felt rug embroidered with satin stitch). A pattern can be stitched to the background using bitpes (hand twisted cord), or zhyiek (hand weaved cord). An artisan can make syrmakh using a combination of techniques. The size of syrmakhs can vary from 1 to 6 meters and consist of 5 parts stitched together (1 bas or central part and 4 khol or borders). An artisan will spend from several weeks up to one year to make one syrmak. Traditional felt making is practiced by the artisans of southern and western Kazakhstan. The Union of Artisans of Kazakhstan revitalises the tradition by conducting trainings and master-classes on felting and its popularisation. Tekemets and syrmakhs are widely used in official celebrations, during holidays, for yurt decorations and in rituals. As well, modern interior and fashion designers use traditional techniques and materials in their work.

Kazakh woven carpets fall into three general categories: pile carpets (tuktyi), flat-woven carpets (takhyr), functional and decorative tent bands for yurts (baskur, bau) made in a combination-technique. Other textiles include hand woven tuskyesteh, wall carpets (tuskiyiz) with heavy hand embroidery, saddle bag (khorzhyn), hand woven tassels (shashakh) for decoration of clothes and the yurt, hand woven men’s outerwear (shekpen), mats made off needlegrass (shiy), and many other ceremonial and textile products. Traditional wall felt carpets were decorated with mosaics, velvet applique, woolen cloth (with a U-shaped border) or embroidery made with colored thread made of different materials (woolen cloth, velvet, cotton) which was then sewn on the felt base. Tuz kiiz differ in that they, apart from solar signs, featured unusually rich and colorful flora (winding stems, leaves, trefoils, lotus flowers, buds, trees, pomegranates) that were to magically foster happiness and prosperity of the family.

Keste - traditional Kazakh hand-made embroidery with colored thread and needles or hooks (biz/ilgek/ilme) and hoop (kergish). A Kazakh word keste means 'a scheme or painting'. Direct analogues of colored woolen threads embroidery are found in artifacts of the Berel burial in East Kazakhstan, dating from the IV. BC. The embroidery is often made on velvet, plush, cloth, felt, velveteen, cotton and silk with woolen, cotton, silky, golden, silver threads and spun gold. Gimp, beads, coral, pearl beads, silver details are frequently applied. There are about 40 kinds of complex and simple Kazakh embroidery: biz keste - tambour embroidery created with a thin awl-hook; tizbek tigis, shyrash tigis, tyshkan iz, kұs izi (a “bird” seam) shynzhyr, shym keste (tight cover seam without gaps), koykusak, kigash, albyr keste (distichous seam) are the names and versions of tambour embroidery with needle; oraypek/oraypa is a kind of albyr keste; kebeke is a seam similar to Russian embroidery on canvas; zhorme, zhormeme, orys keste, aykas tigis is a cross-stitch embroidery; kereghe bas tigis is a “goat” seam. Baspa is a couched hemstitch technique and shyralzhyn is a simple one. A satin stitch with bedding bedel keste creates relief forms. A columnar seam zhormeu makes zigzag weave. The techniques can be used in combination. Embroidered products are made for domestic purposes and various ceremonies, which led to the species diversity. In festive men's and women's clothing: shapans, dresses koylek, flared skirts beldemshe, sleeveless jackets beshpet, hats, scarves oramal; in interior items: tablecloths, korzhyn etc.

National Intangible Cultural Heritage, Republic of Korea Geumbakjang, or gold leaf imprinting, refers to a technique of applying decorative patterns on fabric with thin gold sheets. Nowadays, women's traditional wedding costumes feature such patterns; in the Joseon Period (1392~1910), however, gold foil ornament was used only in the royal household. Few relics featuring gold foil patterns remain due to problems of preservation. A ceremonial robe worn by Princess Deokon (1822~1844), the third daughter of King Sunjo of the Joseon Dynasty, is decorated with the gold leaf Chinese characters “壽” and “福,” symbolizing “longevity" and "happiness," respectively. This robe is designated as National Folklore Cultural Heritage. Gold foil designs are produced by stamping the glued surface of a pattern block onto fabric, pressing thin gold sheets against the glued patterns before they dry, and removing the leftover sheet outside the patterns. An artisan of gold leaf imprinting has to master the skills needed at each of these stages, i.e., carving decorative patterns on wooden blocks, choosing and arranging patterns to suit the garment, understanding the properties of gold and glue, and processing them, all of which require extensive experience over a long period. Among these, preparing the gold sheets, or geumbak, requires great skill as well extensive labor. In recognition of its value as an indigenous craft for producing gorgeous and dignified dresses in Korean style, gold leaf imprinting has been designated as an important intangible cultural heritage so that the tradition can be revived.

National Intangible Cultural Heritage, Republic of Korea Seonjajang is the skill of making a traditional fan and a master artisan who holds such skill. In general, Korean fans are divided into two styles: Danseon, i.e. fans with a large, rounded shape, and Jeopseon, or folding fans. Hapjukseon, a type of folding fan exhibiting a high degree of refinement and sophistication, has been one of Korea’s most representative craft products — along with other craft wares made with mother-of-pearl, metal, lacquer and jade — ever since the Goryeo Dynasty. Hapjukseon were made mainly by artisans at the Seonjacheong, the government office responsible for making fans (located in Jeonju, where the Jeolla Provincial Office was situated during the Joseon Dynasty), and were used for diplomatic purposes and foreign trade. Meanwhile, hapjuk were made of double slips of bamboo originating from Damyang in Jeollanam-do Province, the main production site of bamboo in Korea.

Gar-zo (Blacksmith/iron craft) is one of the Bhutan's 13 traditional crafts and is considered as one of the earliest crafts/arts of the Bhutanese people. It is believed that it was introduced by a Tibetan saint known as Dupthob Thangtong Gyalpo in the 14th Century. He is revered by the Bhutanese people as a master engineer for his skill in casting iron chains and erecting them as bridges over gorges. He is supposed to have built eight suspension bridges in Bhutan. One can still see one of the bridges crossing over the Paro Chu, on the road from Paro to Thimphu, and linking the highway to the famous Tachog lhakhang (temple). The remains of another bridge can be viewed at the National Museum in Paro. However, J. LaRocca,D (2006) in his book mentioned that Dupthob Thangthong Gyalpo came to Bhutan for the first time in 1433-44 to gather the iron ore to build bridges in Tibet. The iron he collected was forged into 7000 links by a team of 18 blacksmiths from five villages near Paro, one of the village was Woochu where the art is still practiced today. It was believed that Thangthong Gyalpo distributed 18 anvils as a token of gratitude among the blacksmiths gathered and blessed them to earn their livelihood and flourish the craft. The donation of iron chain links to Dupthob was an evidence that the people of Woochu practiced the iron craft way before Thangthong Gyalpo’s visit. Unfortunately there are no records and even the oldest living master blacksmith had nothing to substantiate on this matter. There were many places in Bhutan that manufactured iron handicrafts before but with passing time the art and skills faded and only few places are still practicing it today, one of it being Woochu. The origin of black smithy in Woochu is lost in antiquity. There are no records or documents to trace the origin of the art. However, oral accounts of some elderly people posits that the art might have started out of necessity. Before Woochu was known for its famous blades, it manufactured agricultural tools that were used by the locals. Moreover, recent findings showed that a large forging took place near the place where the iron formation was found. Gaw (Blacksmith) Phajo also believes that the founding of black smithy will not be possible without the iron ore. So he supports the idea of the foundation of black smithy due to the iron ore that was found in the area. The blacksmiths of Woochu manufactured and repaired agriculture tools for the locals before it became known for the famous Woochu blades. Woochu blades are very popular and are known for their tensile strength and durability. There were only three iron craftsmen with traditional knowledge and skills before, all are officially retired now. Blacksmithing, a traditional craftsmanship handed down for several hundred years, was on the verge of extinction. With not many blacksmiths remaining and even lesser apprentices showing interest in learning the skill. Those who used to practice the trade has died and some were retired. The younger generations seemed disinterested in taking up the art. Initially the blacksmiths in the area took up the art as part of earning daily wage. It was like any other job that fetched money. Moreover, the job of a blacksmith was physically tiring, and the social stigma that the trade carried was perhaps another reason why it has failed to attract the attention of the younger generations in the community. The blacksmiths were looked down in the community. The art of crafting fine Bhutanese swords was on the decline. In 2016, His Majesty the King commanded for a training center to be set up in Woochu to revive the dying art. Reviving the centuries-old trade was challenging but not impossible. Royal Metal Craft Center (RMCC) was an intervention aimed at reviving and promoting dying crafts and reinstating it as a source of livelihood. The center is now established and works are underway to further develop it.

Sayong clay is a material for craft making of the traditional pottery in Malaysia. The pottery work crafted as a water vessel adapting the form of pumpkin/bottle gourd is called Labu Sayong. Further inspired by the nature, the decoration on Labu Sayong body used the flora and fauna as main motif. Such motifs that can be found as ornamentation on the labu sayong are designs based on local flowers (bunga tanjung, bunga pecah empat), spices (clove, star anise) and leaves (bamboo shoots). It is even believed that the drinking water stored in the labu sayong has certain health properties to cure common ailments like cough and fever. The beautiful workmanship present in each labu sayong can be attributed to the fine skill of the craftsmen as well as the high quality of clay used in the process. These days, the traditional pottery is crafted as a decoration and souvenir.