Mongolian craftmanship have ancient crafts of ribbon-making such as zoos shiree (circled stitching), khosh (parallel bands), and gyarag bus (weaved sash). All are, however, rarely practiced nowadays. A field research group, studying Mongolian folklore, first discovered ribbon-making in 1982, along with khosh nekhekh-making in Omnogovi province in 1986 and gyarag bus-making in Dundgovi aimag in 1987, and brought them to the attention of the public. Consequently, several artisans have since taken up work on zoos shiree knitting, including D.Batbuyan and S.Khandmaa. Wood engraving artists have also come to specialize in zoos shiree making, such as B.Bayarsaikhan. Zoos shiree knitting is done in a number of different ways, using threads (from 3 to 12,24, and 32 threads at a time) and pieces of ribbon and rope (in groups of 1, 2, and 3). Nomadic artisans create such traditional patterns as khavtgai khee, 61- ziishtiu khee, khanan khee, and tagnai khee.

One of the major forms of Mongolian fine arts that originated in the hoary antiquity is an independent form of folk painting. Starting from the folk ornaments and patterns, the folk paintings reflect the most complex illustrations with living and natural contents. Nomadic Mongols’ universal view, their everyday duties, dreams and concern for happiness are commonly depicted in the folk paintings. Tsagaan Jamba, B.Sharav, Jügder and U.Yadamsüren are the main representatives of the renowned folk painters.

The ornament adorns all the objects surrounding the Kyrgyz from the moment of birth to the end of life. Nowadays, ornaments are very popular and used not only for decorating yurts and utensils but also for festive attires, jewelry, and souvenirs. Kyrgyz gave the patterns their own names identifying them with elements of their own and surroundings in the world around them. The shape of the symbols has reached us through the ages, almost unchanged. Kyrgyz ornaments include simple geometrical symbols, floral patterns, images of animals (both living and fantastic), nature, and stylized images of people. One of the most popular patterns are: ram’s horns, which repeats the image of this animal and represents prosperity or Umai ene, winged woman with a child, a spirit that represents fertility and protects mothers and babies. There are several types of Kyrgyz ornamental patterns: 1.\tPatterns symbolizing landscapes and other natural objects and processes such as Earth, a spring, eternal movement, Sun, Venus, star constellations, day and night, equinox; 2.\tPatterns symbolizing elements of animal kingdom such as raven claw, goose foot, ram horns, goat horns, a bird wing, a dog tail; 3.\tPatterns symbolizing elements of flora such as almond, clover, pomegranate, tulip; 4.\tPatterns symbolizing household objects as a comb, a lock, tip of a knife, köökör, a vessel for fermented milk; 5.\tPatterns with anthropomorphic elements.

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.