Uzbekistan is the place where the richest heritage of ceramic art is preserved. Nowadays the interest of the representatives of the contemporart traditional and untraditional ceramic art to the history of ceramic is increasing. In terms of execution technique it is divided into two types, i.e. unglazed and glazed ceramics. Though, unglazed moulded ceramics has more ancient origins. Since the end of the VIII – beginning of the IX century glazed ceramic wares emerged and got widely spread in the cities of Mawarannahr. During the IX-XII centuries glazed ceramics resembled a true artistic perfection and were of high quality. In the XIX century major schools and centers of ceramics got formed on the territory of present-day Uzbekistan. In the past, masters (potters), producing ceramic wares were called "kosagar" (a master skillful in creating flat and small wares like "kosa" (a bowl)) and "kozagar" (a master skillful in creating high and big wares like "koza" (a jug)). At present, this kind of classification lost its significance because some masters (potters) produce both small and big ceramic wares (i.e. jugs, vases, etc.).

Stone carving (stone cutting) is an ancient art of Uzbeks as well. Artefacts found during archaeological excavations say, that the very first treated stones in Uzbekistan belong to the Paleolithic, Neolithic and Bronze Age. The masters of those times knew how to process the stone, knew the techniques for transporting heavy solid stones, used lever devices to lift them, knew which stones were lighter and which were more difficult to process, already had tools to give pattern and relief to the stone. Their wide use of granite, marble, limestone and gypsum is indicated by excavations of ancient monuments in southern Uzbekistan - in the towns of Koratepe, Fayaztepe, Ayritash. Here Buddhist temples were decorated with carved stone, sculptures were created from stone. Later, stone cutting became a craft, and the art of stone carving reached its height in Maverannahr, Khorasan, Khorezm and other territories. For example, during the reign of Amir Temur, architectural masterpieces such as Gor-Emir, Shahi-Zinda, the Bibihanum mosque, the Ahmad Yassawi mausoleum and much more were created, where magnificent sculptures and carved stone with letters are presented. The displaced stone is magnificent - the tombstone of the great Temur and the grates carved from marble in Gori Emir. A lot of stone and marble was used in the architecture of ancient Khiva. The entire foundation of the palaces is laid out there by them, and they are all carved from geometric and floral figures. The stone-cutting walls of the Khiva Palace of Tashavli can be considered a magnificent example of beautiful stone carving, it is therefore called the Stone Courtyard. There are several types of stone carving: line threads, chain, lattice, deep, multi-layer, flat threads, etc. It also matters which stone works with - soft, pliable, medium hardness or hard.

'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.

Mongolians do believe that their traditional costumes represent and express the essence of the state existence. According to the symbolic meaning, we do say as the hat represents the rising state, the deel represents the harmonic state, the belt represents succeeded state, the boot represents the support of stay. The traditional costumes, accessories and decorations of various ethnic groups of Mongolia illustrate their origins and historic background, specific features of culture, practices and aesthetic manners. The distinct characteristics of different ethnic groups can be seen through their hats, men’s deel (traditional garment) and their accessories or cuffs, lapel, shoulder of women’s deel, hair dressings, decorations and boots.

Skullcap embroidery was developed among Iranian and Turkic peoples since ancient times. Skullcaps make up part of the national dresses of the peoples of Turkistan, especially of Uzbeks and Tajiks. They differ in terms of form and décor from one place to another. The traditions of their creation are also different. For sewing skullcap a piece of material is cut out from single-colored silk or satin, embroidered by using simple, silk and gold threads. Parts of skullcap, decorated with fancy work, are put on lining and sewed to each other. The edges are decorated with braids. Depending on the style, skullcaps can be quadrangular or cone-shaped. Skullcaps especially are made by women.

Archery is one of the Three Manly Sports and it has its ancient roots. The distance of the contemporary sport of archery is 45 feet or 75-80 meters. The shooting targets made by weaving leather strips into a tub-shape. There are two forms of shooting targets. One is a walled target, another is an individual target. The wall target is the arrangement of targets in a stack. The individual target is the arrangement of targets in row. The archers can use only blunted arrows. Then two shooting teams alternately shoot and test their skills. During the archery, archers say ‘Khurai, khurai, khurai’, the encouragement of archers to shoot. The winners are awarded with title of Mergen or ‘good marksman’ and an epithet.

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

Turkey 2021

The unique water quality and mild climate of Jing County in Anhui Province in eastern China are two of the key ingredients in the craft of making Xuan paper that thrives there. Handmade from the tough bark of the Tara Wing-Celtis or Blue Sandalwood tree and rice straw, Xuan paper is known for its strong, smooth surface, its ability to absorb water and moisten ink, and fold repeatedly without breaking. It has been widely used in calligraphy, painting and book printing.

China 2009

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

Craftsmanship of the Mongol Ger is a traditional enterprise involving the labour of a household or group, with men carving the wood and both women and men engaged in painting, sewing and stitching, and felt-making. Wooden frames comprise the crown, roof poles, wall lattices, door, two pillars and furniture produced by separate carpenters specialized for each. Traditional craftsmanship of Mongol ger is indeed reflects the nomadic culture, national identity which stands for the name card of Mongols to the world. Traditional craftsmanship is taught to the younger generations, principally through mentoring by a senior craftsperson. Dismantling and reassembling the Ger are always family operations, with children learning by watching their elders. Cutting and preparing sheep’s wool, making felt, stitching canvas and preparing woodwork are usually communal endeavours. As a traditional dwelling, the Mongol Ger plays an important social and cultural role for nomadic families and its makers are highly respected.

Mongolia 2013

One of the most labor-intensive artistic crafts in Uzbekistan is carpet-making, the traditions of which go back to the ancient times. Cattle breeder has been rich for wool products and wool of sheep and camel used for carpet-making since olden time. Handmade carpet making is laborious work and it demands from the weaver great effort, taste and skill. In pre-mongolian period carpet items produced by Turkic tribes of Oghuz origin were especially popular. Later, during the epoch of Temurids, it is possible to observe active interaction of Iranian and Turkic carpet-making traditions. However, starting from the XVI century carpet items produced by Uzbeks from Dashti-qipchaq became widespread in Mawarannahr. Carpet items of Uzbekistan, in terms of execution technique, can be divided into long-piled, short-piled and pileless types. Women carpet-makers made various types of carpets. Among them it is possible to mention the following: piled carpets, which were laid under one's feet; panels called "bugdjoma", used for covering beds while moving from one house to another; carpet tapes called "kur" and "baskur", used for fixing framework of a jurt; pileless woolen rugs called "gadjari", "qokhma", "terme", "taqir gilam"; kit bags called "napramach"; saddlebags called "hurdjun", etc. Ornamental design of Uzbek carpet items reflected rich and diverse world of nomadic lifestyle. Their prevailing motifs were of cosmogonic and zoomorphic nature, and were expressed through orderly geometric lines and images.

Embroidery is a type of needlework. Beauty of Uzbek embroidery, ancient origins of its patterns and diversity of techniques applied indicate to the fact that this craft has passed a lengthy process of historical development, and has rich traditions. Large-sized decorative embroidery can be divided into several types: suzani (wall-mounted panels; literally - "needle"), nimsuzani (literally - "half of suzani"), ruyidjo, joypush yakkandoz and choyshab (bedspreads and bedsheets), takyanpush (pillow coverlet), oy-palak and gulkorpa (Tashkent versions of suzani), sandalipush (coverlet for sandal), zardevor, dorpech or kirpech (embroidery used for decorating upper parts of walls), joynamoz (prayer rug), bugdjoma (coverlet for blanket), beshikpush (coverlet for cradle), etc. Embroidered items of small size are represented by oyna-khalta and shona-khalta (sacks for keeping mirror and comb), qiyiqcha, miyonband, chorsu and belbogh (versions of men's waist kerchiefs), doppi (skullcap), sarpokkun, qoziqlungi and tanpokkun (long towels with embroidered ends), bugjoma (linen used for wrapping dress), sarandoz and romoli-peshonaband (types of head shawls and headdresses for women), dast romol (handkerchiefs), jiyak (embroidered edges used for decorating certain elements of a dress), etc. Ornamental pattern and composition of embroidery depended on its practical purpose (i.e. for what purposes it was used). Main embroidery motifs are symbols of cosmogonic origin (i.e. sun, moon, stars in the form of large and small rosettes), vegetative and geometric patterns, stylized images of animals and birds. For embroidery of Uzbekistan peculiar is application of distinct technique of sewing, i.e. complete sewing of large surfaces of the pattern, and leaving (relatively) small area for the background. Also, different types of one-sided satin-stitch and chain-stitch are used, which fill motifs of an ornament completely. Satin-stich can be of two types, i.e. "bosma" and "kanda-hayol". There are different types, patterns and traditions of embroidery, depending on their belonging to their respective regions: Bukhara, Fergana, Shakhrisabz, Nurata, Tashkent, Fergana, etc.