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.

National Intangible Cultural Heritage, Republic of Korea Iron casting is one of the oldest professions of mankind. Iron technology is assumed to have been introduced to Korea around the 5th~6th centuries BCE. According to “Dongyichuan (Biographies of Dongyi) in Weishu (Book of Wei)” from Sanguozhi (Records of the Three Kingdoms), Koreans produced and traded iron ware. Considering the crucial role of iron in the development of civilization, iron technology and smiths were matters of national interest in ancient states. With the introduction of Buddhism to the Korean peninsula, Buddhist temples were built all over the country, and numerous temple bells were cast. Naturally, bell founding became an important profession. Korean temple bells are characterized by their clear sound with deep resonance and exquisite surface decoration. Mostly shaped like upturned crockery jars, Korean bells typically have a dragon-shaped hook and a sound tube at the top. The oldest known temple bell in Korea is the Bronze Bell of Sangwonsa Temple in Odaesan Mountain, made in 725 during the Unified Silla Period. In terms of size and aesthetic value, the Sacred Bell of the Great King Seongdeok, dated 771, is considered peerless. Korean temple bells were traditionally cast using beeswax models. Though they vary according to the size of individual bells, Korean traditional-style temple bells are basically cast with an alloy of copper (80%) and tin (17%). For the model, beeswax is mixed with cow fat at a ratio of 8:2, but the ratio changes according to climate. The authentic bell founding process is as follows: bricks are piled to form a support mount slightly smaller than the intended bell size; a mixture of clay and sand is applied to the brick mount until the intended bell form is obtained, and the surface is smoothed out with a mixture of graphite powder and water; a wax model engraved with all the decorative patterns is made over the mount; the model is covered twice with a thick mixture of clay and coarse sand and allowed to dry; heat is applied to melt the wax inside; molten alloy is poured into the cavity; after the alloy cools and hardens, the mold is removed, the bell is trimmed, and the surface designs are given their final touches.

Phù Khê village has long been famous for its wood carving: "Hanoi embroiders fans and flags; Phù Khê carved a throne to worship the king. The person who is considered the founder of the craft and is credited with teaching the wood carving profession to the people of Phù Khê is Mr. Nguyễn An. Every year on January 7, craftsmen from craft guilds in the village gather to celebrate the death anniversary of the Craft Patriarch. Saws, planers, sharpeners, chisels, and various-sized straight chisels are among the instruments used in wood carving. Wood is a plentiful raw material that is dependent on the needs of the consumer and the product's price. Roughing, or horizontal working (cutting, sawing, and chiseling); rough touch; and fine touch are the three stages of the production process. The unique and trademark technique of the craft village is the dragon carving technique. In Phù Khê, there is a saying that partly shows the difficulty of the carving technique: "One wood, two people, three clouds, four animals" (the most difficult is carving trees, the second is carving human figures, the third is carving touching the cloud, the fourth is touching the beast). Decorative patterns carved according to the motifs of lotus, chrysanthemum, buddha's hand, orchid, and four precious flowers including "pine, chrysanthemum, bamboo, apricot", "dragon, unicorn, turtle, phoenix", "intellectual, farmer, industry and trade", etc. The craft village has two types of products: traditional products (dragons, statues, animals) and fine arts products (tables, cabinets, tables and chairs, incense burners, screens). Famous products of Phù Khê village are statues, horizontal panels, parallel sentences, incense burners, dragon mosaics, dragon pearls, etc.

The word “Batik” means “drawing out with wax”. The coloured and patterned cloth has gained popularity not only in Malaysia but also in international fashion scenes. This fabric normally carries motifs that reflect the flora and fauna, geometry and landscape of nature. Terengganu Batik is renowned for its vibrant colours, bold prints and its versatility. It is soft, light and breezy and very well suited for the summer and tropical climate and its fabric is made into shirts, dresses, crepe de chine, scarves, kaftans, sarongs, pillow cases, bags, table cloths and many more items. There are two types of batik, the hand drawn and the block print. The hand drawn is based on the artist’s imagination and creativity. The artist begins by using a small pen-like container filled with hot-melted wax. It is then hand-drawn onto a white fabric with hot liquid wax creating a design. Brushes are then used to paint dyes within the outlines, thus allowing for the creation of shaded and multihued designs. The gracefulness and speed of their freehand never ceases to amaze one’s attention. It is a beauty of the highest form of traditional batik where each hand-drawn article of clothing is unique. The block print batik uses either a copper or a wooden block that looks like a domestic iron, artistically designed with intricate patterns. The block is dipped in a hot melted wax and press printed on the white cloth, which is then dyed in the colours required, rinsed and dried. Many contemporary designers also incorporate elements of this ancient craft into their colourful creations. Today, batik is not only used for outfits, but innovative commercial uses of this beautiful and artistic textile are made into bags, cushion covers, curtains, slippers etc.

“Pinisi”, literally referring to the rig and sails of the famed ‘Sulawesi schooner’, for both the Indonesian and international public has become the epitome of the Archipelago’s indigenous sailing craft. Construction and deployment of such vessels stand in the millennia-long tradition of Austronesian (‘Malayo-Polynesian’) boatbuilding and navigation that brought forth a broad variety of sophisticated watercraft, ranging from the outriggered boats that enabled man to migrate throughout the vast expanses of the Pacific and Indian Oceans to the massive ships encountered by the first European intruders into the Malay Archipelago. As in any maritime tradition, these practices involve sophisticated cognitive concepts that outline the three-dimensional form of a ship and its countless components as well as the advanced social organisation necessary to successfully build, operate and navigate trading vessels. Following centuries of mutual co-operation, the three communities now represent the pinnacle of the Archipelago’s boatbuilding and navigation traditions. In indigenous perception a ship’s hull is conceptionalised in the form of ‘plank patterns’ (tatta), i.e., comprehensive mental routines that delineate the configuration and assembly sequence of a hull’s planking, her inner strengthenings and the dowels holding planks and framing together. Deeply embedded into a series of rituals that complement the building process, these routines for many a traditional type of vessel define position, form and size of each plank, frame or dowel in a hull; for more contemporary ships the tatta provides an overall draught that can be adapted to changing constructional demands, thus facilitating perpetuation and enhancements.

Indonesia 2017

Yike Theater is a typical folk performance art form of the Khmer people. Yike Theater was born in the Ba Sắc region of Sóc Trăng province with the great contributions of his ancestor Lý Cuôn. The theme is exploited from the treasure of Khmer folk literature. The stage and scenery are of the nature of a "gourd stage", and a landscape backdrop (available, can be pulled up and down). Basic dances such as military training, congratulations, good harvest, water invitation... Dance movements are divided into two character lines: the front line has poise and decisive movements (men) and graceful and soft movements (women); The villain line has exaggerated, fierce movements. The choreography has separate rules for different types of characters: people (13), python (02), and animals (01); individual choreography (04) and combat choreography (06). Music: the main musical instruments are strings and percussion, the most important being "trô u" (dip lute); Pinpet (pentatonic) orchestra. Music has its own characteristics, is methodical, has clear patterns and rules, and is used for each subject and character's personality. Songs and melodies: there are a total of 163 songs (tunes, including Lôm songs and Nô kô rek songs), of which 34 are traditional and official songs; The remaining songs are influenced by other art forms. The songs are divided into male and female voices, with specific characters such as hunters, fairies, male, female, and clown roles. The characteristic of Yike singing is that at the end of all the songs, there is a collective chant inside the stage. The art of makeup according to specific regulations shows the character's personality: bold, clear makeup (human - white, pink red; fox - red, black; fairy - blue). This is a combination of art forms from singing, dancing, music, martial arts, costumes, makeup, painting, and cuisine with unique characteristics of the community. Before performing, they worship the ancestors. The game exploits fairy tales and Khmer folk mythology.

National Intangible Cultural Heritage, Republic of Korea Bulhwajang refers to the art of Buddhist painting or an artist who is skilled in such art. Buddhist paintings are considered objects of worship along with pagodas and Buddhist statues. Based on their forms, Buddhist paintings can be categorized as taenghwa (hanging paintings), gyeonghwa (sutra paintings), and byeokhwa (mural paintings). In particular, taenghwa are hung behind the Buddhist altar after holding a number of religious ceremonies. These hanging paintings, found at traditional temples, are the major form of Buddhist painting in Korea; the monks in charge of producing the paintings go by several names such as geumeo, hwaseung, hwasa, or hwawon. The art of Buddhist painting was formerly handed down by the holders of Dancheongjang (Ornamental Painting). Considering the differences in technique and function, however, it has now been separated from the ornamental painting to form its own category. Therefore, Buddhist painting and ornamental painting are being taught and handed down as two separate categories. The colorful ornamental paintwork at Buddhist temples and palace buildings is clearly different from Buddhist painting in purpose and expression. While it is used to decorate the walls and structural members of wooden buildings with geometric patterns and drawings, Buddhist painting refers mainly to the production of paintings, expressing Buddhist doctrine in an easy-to-understand manner.

Carpet weaving is one of the world's most traditional, conceptual, applied arts. Iranians enjoy a global reputation in carpet weaving and its skills; and carpets of Fars with nomadic and rural characteristics constitute a genuine example. Historically, carpet weaving in Fars province dates back to the seventh century(AH). Carpets of Fars are known as either «Qashqai» or «Khamseh Tribes» carpets. These are the nomads moving between Esfahan and Persian Gulf coasts. Among the tribes of Qashqais, the more prominent are Darre-Shuri, Kashkuli-ye Bozorg, Kashkoli-ye Kuchak, Shesh-Boluki, and Gharache. Due to the immigration requirements, the size of nomadic rugs is usually small; they are, however, beautiful. The stages of Carpet Weaving in Fars Province - Wool cutting The carpets usually utilize wool as the basic material. The men cut the wool of their sheep, skillfully, in spring or autumn. The quality of the wool on each of the eleven sections of the sheep body, and the related colors are different. - Frame(loom) Making The portable frame of nomadic carpets is rectangle in shape, with a metal or wood support; it is placed on the ground. The act of knitting is performed on it. The men construct the frame, too. - Weaving The women convert the wool into strings on spinning wheels or weaving machines. They, masterfully, take care to obtain the best qualities. The spinning wheel is a wooden tool that resembles a big spin; the wool is turned around it from the hand of the knitter, then weaved. The spindle wheel is a wooden structure with the wool being placed in its middle to turn into strings when the wheel turns. - Painting Colors are mainly natural; the main colors are laquer, painted blue, dark blue, brown and white. The plants from whichthe colors are extracted include Madder, Indigo, lettuce leaf, walnut skin, Jashyr, cherry stem and skin of pomegranate. The pigments, so called, Dandane, are elements which allow color stabilization and imprint on the fibers; the most important modants include Alum (Double Aluminum Sulfate), Green Vitriol (Cut Blue), Double Copper Sulfate, Black Vitriol (Double Iron Sulfate). - Knitting While knitting, the women tie the colored strings on the wool web to cover the frame and give shape to the carpet. Two types of ties are common: The ""Persian tie"", an assymetric tie, usually used in places where Persian Language is spoken, where it is referred to as, so called, Farsi-Baf (done in the Persian style), and the Turkish tie, a symmetric tie, in that the two webs are of the same size and the tie is made in the middle; this second tie is more popular in places where Turkish is in use, so the name Torki-Baf (done in the Turkish style). - Completion Completion refers to the activities done for final furnishing. These include sewing the sides (so called, Dowrduzi: Some products will be sewn on the sides to be used as bags, called ""khorjin's"" or ""chante's"" on the region); burning the extra wool to make the designs vivid and enhance the quality of the product (so called, Porzsuzi); double tied roots, and final cleaning. Nomadic Gilims Wraps of Fars are not painted with painted woofs; both sides of the product can be used. Limited materials have led these products to be more geometric in both texture and margin, mirroring the local culture of the community. The most important characteristic of Fars carpet weaving is the unique method of weaving without any maps. One weaver will not be able to weave two carpets of the same design, especially, if she does not enough time to consider the details. Fars carpets include the following types: Simple Gilim(one sided or two sided): A carpet made through passing the colored wool strings, called ""Pud's"" between the vertical strings, called ""Taar's"", without maps. Rug: A carpet with thinner ""Pud's"" and thicker ""Taar's"". The product is thicker in diameter, compared to Gilim's, and is one-sided. Ghaaliche: A rug of smaller dimensions (measuring to less than three square meters). Jaajim: A product of woolen ""Taar's"" and ""Pud's"", with simple and attractive designs, and a variety of usages, including those of carpets, beds, pillows, etc. Gilim-e Naghsh-barjaste(Goljajimi Gilim): A one sided gilom with its main motifs embossed. Somak (Rendy): A one-sided Gilim, out of which ""Ghali's"" (rugs) are believed to have been evolved. Shishe Derme: A Gilim with a simple pattern; it has no knots and naps, is two sided in a way that the mirror patterns of its face are weaved on its back side. Gabbe: A gross nomadic carpet, vastly verified, and done without any map. There are both colored Gabbe's, and Gabbe's of natural colors. So called, ""Shiri"" Gabbe's of Fars mark nomadic courage for the owner.

Iran 2010

According to tradition, every year the Mother Goddess Festival is held on the 23rd, 24th, 25th, 26th, and 27th days of the 4th lunar month, the main day is the 25th. On the night of the 23rd, the ritual of bathing Mother Goddess is performed (llitting two large candles in front of Mother Goddess statue; the elders chant incense, offer wine and tea; women clean the statue's bones, applied perfume, change her clothes and put on her hat behind a curtain with letters and patterns. colorful). On the afternoon of the 24th, the ceremony invited Thoại Ngọc Hầu from Sơn Mausoleum to Bà Temple. On the night of the 25th and the morning of the 26th, Túc Yết ceremony, offers a live white pig (cleaned of hair, gutted), a tray of raspberries, a tray of thick cakes, a plate of rice, salt, a plate of blood, a bowl of water, a tray of fruit. After the offering ceremony, there is the adoration ceremony (theater troupes perform traditional operas and shadow dances). At 4:00 a.m. on the 26th, the chief worshiping ceremony takes place, with rituals and offerings similar to the Túc Yết ceremony. On the afternoon of the 27th is the ceremony to return Thoại Ngọc Hầu to the mausoleum. The festival part takes place interwoven with the ceremony part, with many folk performances such as lion and dragon dance, tray dance, and plate and cup dance.

Viet Nam 2024

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Uzbekistan 2008

National Intangible Cultural Heritage, Republic of Korea Somokjang refers to the skill of making wooden doors/windows, wooden vessels or wooden furniture like wardrobes, chests, dressing tables or desks, or to an artisan with such a skill. The name Somokjang was first used during the Goryeo Period (877 – 1394). Until the early Joseon Period (1392 – 1910), wooden furniture was chiefly made for the people of the royal court and the noble class, but toward the late Joseon Period, it came to be used widely even by commoners. Wood furniture-making artisans use traditional woodworking techniques, striving to preserve the natural beauty of the wood with its patterns.

Oud is the name of a short-necked lute-type musical instrument that is a plucked chordophone instrument with a historical background dating back to ancient times, in both countries. It is placed on the player's leg, and the performer stops the frets with the fingers of one hand and plucks with the other hand. The oud in both Syria and Iran consists of a sound box, which looks pear-shaped and is made of ribs of either walnut, rose, poplar, ebony or apricot wood. Walnut wood is usually the wood of choice because of its flexibility and beautiful color gradients. The ribs were shaped by moulds. The neck is attached to a soundbox which bears a pegbox. Three soundholes are made on the soundboard for technical and decorative reasons. Crafting a complete Oud takes 20-25 days. The natural wood is left to dry and harden, then it is treated with water and steam for a period of 15 days to build its durability. Ouds are crafted in different sizes for different sized-bodies, and beautifully decorated with wodden carvings and mosaic patterns. The soundboard is sometimes decorated in Eslimi patterns. The instrument slightly varies in size in different regions. The number of oud strings in both countries are 5 twin strings, and a sixth string can be added to the oud according to the wish of each craftsman by making additional tunes. The compass of this instrument is in bass and baritone ranges. It can produce both melodic and harmonic tones. It is performed solo as well as in ensembles. As this Human-Rights-friendly element is historically deep-rooted in the region, it is played in a very wide range of events including weddings, cultural events, festivals, family gatherings, and funerals accompanied by traditional songs and dance. Therefore, it serves as an identity-marker. The element is transmitted through master-apprentice training and it is also taught through musical centres and institutes, colleges and universities in urban areas. Players of both genders usually undergo years of training, and a skilled practitioner is able to improvise tunes. Grafters are mostly men although in recent years young women have developed an interest in crafting.

Iran,Syria 2022