For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.

Mongolia 2013

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

The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan. Thereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now. Some of the remarkable calligraphers that are enlisted in the Bhutanese history were; 1.\tDenma Tsemang 9th century 2.\tNgawang Penjor as Dzongpon and Ngedup Penjor (1964) 3.\tDrungyig Zimchenpa Tandin Wanggyel 17th century 4.\tLopen Wangdue 17th century 5.\tLopen Phuentso 17th century 6.\tTshewang Dorji 17th century 7.\tLopen Gangchen, also called Kuenga Pelden, 19th century during the reign of Desi Jigma Namgyal (1825-1881) 8.\tDrungyig Tshewang Ngodrup, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck (1862–1926) 9.\tGonpo Tenzin from Lingzhi, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck 10.\tZhongar Dzongpon Kuenzang Wangdue, 20th century during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 11.\tDrungyig Tsowo Dasho Kezang Dawa, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 12.\tTangbi Kezang, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 13.\tUra Yeshey Wangdi, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 14.\tSonam Peljor, 15.\tDasho Gaydon Thinley Dorji (?) 20th century during the reign of His Majesty the 2nd and 3rd King Jigme Dorji Wangchuck (1929–1972) 16.\tDasho Shingkhar Lam Kuenzang Wangchuk (?) 17.\tSey Dopola Aka Dasho Phuntsho Wangdi (1892-1953) 18.\tLam Norbu Wangchuk (?), 21st century during the reign of His Majesty the 4th King Jigme Singye Wangchuck (1955–) 19.\tYarab Aja Lama Drodul Zhenphen Dorji Tenzin (1921-2005) 20.\tLam Pema Tshewang, (1926-2009), 21.\tLopen Gonpo Tenzin from Chumey, Bumthang 22.\tLam Nado from Namgyal Dratshang (?) 23.\tDasho Tenzin Dorji (1928-2012) 24.\tLam Tenzin from Ramjar, Tashi Yangtse 25.\tChabje Geshey Gedhun Rinchen (1926-1997) 26.\tChabje Khenchen Ngawang Tenzin Doendup, 68th Je Khenpo (1925-2020) 27.\tLopen Daupo from Bartsham 28.\tLam Kuenzang Wangdi (aka Lam Nyingkhula) 29.\tLopen Yonten Gyaltshen, Central Monastic Body 30.\tDasho Sangay Wangchuk Generally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write. However, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.

Traditional Turkish Archery is an intangible cultural heritage element, consisting of its principles, rituals and social practices, craftsmanship of traditional equipment, archery disciplines and shooting techniques evolved over centuries, which has been shaped around a sportive activity. In traditional Turkish archery, there are different types of disciplines practiced on foot and on horseback. The archery on foot discipline includes “Menzil” (Long-Distance), “Darp” (Pounding) and “Puta” (Target) shootings. Horseback archery discipline includes “Kıgaç”, “Kabak” and “Tabla” shootings. Bearers and practitioners of the element train individually or collectively to improve their archery skills, carry out individual shootings, and take part in competitions and festive events. Archers learn from masters the traditional shooting techniques and skills which allow them to perform either foot or horseback shootings. In all stages of practice, archers strictly act in accordance with the certain principles, rules and rituals related to the element. Craftsmanship of traditional archery equipment is also important component of the element. These equipments are made by craftspeople who have the skills and knowledge of materials as well as patience and mastery. Making the equipment requires raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather, and so craftspeople should have an advanced knowledge of nature, including plants, animals and climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry.

Turkey 2019

The Watertight-Bulkhead Technology of Chinese Junks is an age-old craft for the construction of ocean-going vessels with watertight compartments in South China’s Fujian Province. The vessels are made mainly of camphor, pine and fir timber, and assembled through use of traditional carpenters’ tools. They are built by applying the key technologies of rabbet-jointing planks together and caulking the seams between the planks with ramie, lime and tung oil. A master craftsman designs and directs the whole process. A large number of craftsmen work in close coordination to build solidly rabbeted ocean-going vessels consisting of multiple independently watertight cabins. The core technology for building such vessels is called The Watertight-Bulkhead Technology of Chinese Junks. Watertight bulkheads are the most important step in building Chinese junks. To start with, the craftsmen build an integral hull by joining the vessel’s bilge and sides. The hull is then divided into cabins according to the function and size of the ship. The whole process is manual. Planks are rabbet-jointed together. And then interlocked to the bilge and on to frames or held with crampons. Ramie fibber, lime and tung oil are mixed in the proper proportion to wedge into any gaps between planks and make the cabins waterproof. The tools are largely those used by traditional Chinese carpenters, such as axes, carpenter’s ink markers, hand drills, rulers, maces, pit saws, chisels and planers. Chinese junks are subdivided into multiple watertight cabins. If in the course of navigation one or two cabins are accidentally damaged, seawater will not flood other cabins. The vessel will not sink, but remain afloat. This greatly improves navigation safety. This technology has been widely used over the centuries in fishing vessels, cargo ships, warships, and diplomatic vessels. In particular, Fujian’s ocean-going cargo ships sailing along the Maritime Silk Road during the Song and Yuan dynasties, and the fleets commanded by Ming Dynasty navigator Zheng He in his seven voyages to the West, fully adopted this technology. The technology has served as a bridge and unifier in the exchange between Eastern and Western civilizations. In the late 18th century this technology was finally adopted in the West. Since then Watertight bulkheads have become an important structural element in modern ship design, remain so today and have greatly enhanced navigation safety.

China 2010

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

The extraction and production of Pangtse Makhu were effectively practiced from the 1970s until 1990s, and have remained to be a part of an income source and source of oil until now to the people of Toed-Wang Gewog (block) under Punakha Dzongkhag (district). “As the plant is highly adaptable and grows naturally on barren, degraded land and dry areas but for better yield, the plant is also grown on the terraces,” said the villagers. But today it is said and observed by the grandparents in the community that because of the country’s speed of development and with advancements in technology and intellectual, the tradition of extracting Pangtse Makhu in the community has significantly declined over time due to the availability of cheaper imported refined oils in the markets. It is also said that during the olden days with abundant Pangtse Shing and with more extractors, people did not have to buy oil rather oil extracted from Toed-wang gewog was sent throughout the region. However, with an increased number of youths going to school and colleges during the harvesting and production time, and also with less market value over more hardships, it has been a challenge for the few people maintaining this practice in the locality to share the value to the younger generation. Today, the community is on verge of losing the tradition of extracting Pangtse oil because of its labor-intensive nature with a tedious and time-consuming procedure. And also, it’s because of people’s choice for the cheaper imported oil over the one that has been naturally extracted and produced which has a slightly higher price in the market. Despite the challenge, the local producers are looking forward to a government intervention in the conservation of the losing tradition.

National Intangible Cultural Heritage, Republic of Korea Duseokjang refers to the skill of making metal accessories, including hinges, used in wood furniture or buildings, or to an artisan with such a skill. Nickel silver is used to make more luxurious metal accessories. Brass accessories are used for drawer chests, chests, wardrobes, windows, etc. Patterns used are: “亞” shaped letters and the shapes of butterfly, bat, fish, and crane. Brass accessories were specially made to the order of a chief carpenter.

Archery is a game that people in Bhutan have been playing since time immemorial. It is played as a tournament, friendly game and recreationally. Archery has become so popular that it was declared the national game of Bhutan in 1971. With few exceptions, the materials used to make bows and arrows are common and standardized, and differ mainly because of their availability. Here in Paro, one of the western dzongkhags (districts), Mr. Rinchen Gyeltshen from the village of Shari in the Tsen-to Gewog (block) explains that archery was practiced in the days of his ancestors and that bow and arrow making never required formal, certified training or a course, but was learned naturally over time. More than 35 years ago, in the interest of the game itself, he began making bows and arrows. Even today, teenage boys can be seen enthusiastically playing archery in dry rice fields in the villages.

Needle grass (called chiy in Kyrgyz) is used for traditional handicrafts. Needle grass grows in all regions of Kyrgyzstan. Needle grass is harvested when it is ripe between 15 of August and 15 of September. If harvested too early, needle grass become fragile, if harvested too late, it becomes too stiff at the bottom. Needle grass is harvested with roots because the bottom part is the most durable and looks like a knot that prevents chiy from falling apart. Making such mats requires mastery and patience because a craftswoman needs to wrap every stem of thatch with different woolen thread. The threads must make a pattern at the end. This makes needle grass mat making especially challenging. •\tWhen harvested, needle grass is cleared of leafs and outer layer and then dried on a sun. Depending on a size of a future mat, needle grass is cut accordingly. •\tMats can be prepared manually or by using a special machine. Self-made weaving machine consist of two vertical poles with a hanger at the top. One perpendicular pole is put on top of those hangers. •\tThe perpendicular pole has notches to hang threads. Then, weaving threads are wrapped around two equally heavy stones. •\tStones are hang in such a way that they are located on a different side in relation to a perpendicular pole. •\tNeedle grass stems are a placed in such a way that top of one stem lies next to the bottom of another stem. A craftswomen takes stones and moves them back and forth in such a way that threads wrap each stem creating a pattern. •\tWhen weaving is done, the fluffy edges of needle grass are cut even. The bottom part of the mat is not cut. The edges of mats are strengthened by a zigzag weaving. There are needle grass mats both with and without ornament.

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

The 600-year-old Serlung Pelkar Chhoeling Monastery in Dawakha, Paro was founded by Drupthop Thangthong Gyalpo (1361-1485) when he built iron bridges for the people in this area. In the meantime, the people living in a place high up on the mountain had to deal with strong winds and storms that caused harm to the people and destroyed crops. The people blamed the infamous lakes in the area. There were two lakes, Yum and Syem (Mother and Daughter), which were believed to be the cause of all the destruction inflicted on the people. In Bhutan, the Bhutanese believe that all living things, including nature, have spirits and are alive within them. For example, the mountains in Bhutan are believed to be the abode of mountain gods, or at least to house spirits. Therefore, people decided to drive away the destructive spirits of the lakes by throwing the dead bodies of people and animals into the lake. The mother lake left its present location for the Dagala region and became known as Dagala Yumtsho, while the daughter lake did not make it further than present-day Selung Goemba. She had problems with her leg. You can still see the remains of the lakes where they rested. The mother advised the daughter to stay in this place and serve as the protector of the Dharma of Drupthop Thangtong Gyalpo in Selung Goemba, and left her her revered Sergi Alung (hook), making the place known as Serlung Goemba. The people of this place considered it auspicious that a lake had formed near a monastery founded by the famous Drupthop Thangtong Gyalpo. The villagers believed that the lake would eliminate famine and bring prosperity to the village, and held a festive sacrifice to ask the spirit of the lake to bless them with protection. The ritual takes place in Selung Goemba once every three years. There is no specific day or month set for its performance, but depends mainly on the availability of the Pawo. The Goemba is a common religious place of worship for the people of Khamdi and Sali and some other neighboring villages.