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[National Intangible Cultural Heritage, Republic of Korea] Myeongju (silk), which is woven from thread made from cocoons, is plain fabric without woven patterns. There are a wide range of silk fabrics, depending on the types of threads, weaving methods, and patterns used. Records about the country’s sericulture appear as early as the Gojoseon Period (2333 BC? – 108 BC). Fabrics made with exquisite skills in Silla (57 BC – AD 935) were traded with goods made in Tang Dynasty China. During the Goryeo Period (877 – 1394), good-quality silk fabrics were produced. In the Joseon Period (1392 –1910), so many types of fabrics were made that names were attached to them according to their colors and quality. Silks were produced in large quantities and they latercame to be used as materials for making ordinary cloth. In olden days, silk was woven by housewives on a loom to meet their household needs. Toward the late Joseon Period, looms were replaced by modern weaving machines.

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[National Intangible Cultural Heritage, Republic of Korea] Badi is part of a loom that weaves hemp cloth. Badijang refers to a skill of making badi, or to an artisan with such a skill. A threaded spindle found at a site dating from the Neolithic Period tells us that fabric weaving started as early as that period. Badi is made of bamboo bark. Three to four-year old bamboo is appropriate for making badi due to its solidness and thickness. The types of badi vary, depending on whether the cloth to be woven is hemp cloth, silk fabric, ramie cloth or cotton fabric. Badi made in Andong and Hansan are known for their good quality. Hansan ramie cloth is known all over the world. Badi production has been in decline amid the development of synthetic fibers, but the tradition is stil maintained in Hansan.

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Sho-na or in other words Thing-sho is an especial product of De-zo with blue or indigo colour and shining black writing surface. This paper is particularly manufactured for gold, silver, copper and bone ink. Though the making process is quite identical, the unique is it uses indigo colour while making paper pulp. For making Sho-na, it requires different tools, ingredients and processes that most of the paper makers don’t know therefore, it is expensive compared to ordinary daphne paper. Unlike ordinary paper, Sho-na usually comes in manuscript form with three different sizes mainly in length base; 1) Datshedma (length of an arrow) 2) Tershedma (a foot) 3) Domang and Bum (nearly a metre) Examining the records of golden scriptures (Ser-dri-ma) that were held in Dzongs, monasteries, temples and even in some wealthy individuals across the country, the oldest of all according to its oral sources is the 9th century golden scripture was brought from Tibet. However, in Bhutan, the writing golden scriptures thrived in the late 17th century after numerous Spiritual Masters had initiated writing their master’s biography or autobiography in gold using Sho-na paper. It is not that one cannot write golden scriptures in an ordinary Daphne paper but, the visibility will be poor as gold and paper’s colour does not match very well. Therefore, to make clear visibility Sho-na are used for writing gold, silver and copper inks. The papers are normally prepared on demand by the Sho-na makers. Sho-na making seems to be disappearing and there are only countable manufacturers in the country. The cause of declining no of the practitioner is due to the rarity of the Gold Script writing project.

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[National Intangible Cultural Heritage, Republic of Korea] Soban refers to a tray-table used for an individual or for a sacrificial rite for ancestors. Sobanjang means the skill of making a tray-table, or an artisan with such a skill. Murals in tombs of Goguryeo display many types of soban. According to records such as Samguk sagi (History of the Three Kingdoms) or Gyeongguk daejeon (National Code), there were state agencies responsible for production of dining tables. Soban production developed due to the preference for individual dining tables over those for two or more people under the influence of Confucianism, and due to the needs associated with large and small events, including wedding and sacrificial rites. There are 60-plus types of soban, depending on the place of origin, shape, and usage. Soban were chiefly made in Haeju (featuring engraved carvings), Naju (featuring wood strips with mid-level of legs), Tongyeong (featuring cloud-shaped legs), and Gangwon-do. The shapes of the soban legs differ from region to region; those made in Gyeongsang-do have bamboo-shaped legs, the ones made in Jeolla-do tiger foot-shaped legs, and the ones made in Gangwon-do and Gyeonggi-do dog foot-shaped legs.

Bamboo weaving is a traditional business and an extra earn income besides farming for farmers. Everyday use tools are woven from bamboo (local bamboo and Pingpong bamboo) including varieties of baskets like Chang-er, La ey, Tao, Kanhjer, Kanhche, Kanh Jreng, Jeal, Kantrok, Kongtrong Brohotk...etc. There are also bamboo fishing gear such as Chhneang, Angrut, Lop, Tru, Proul and so on. Some tools’ names are found in ancient inscriptions, for example, Residents in Banteay Meanchey Province. The word "Chhneang" is found in the K.56 inscriptions, 10th century, "Kanh" (basket) is found in the K. 353 and K. 158 inscriptions, 11th century, "Kcheang" (basket) in the K. 353 inscription, 11th century, and so on. It takes a lot of effort and time to make each tool. They first have to cut bamboo trees and cut them into pieces before thinning them into strips. Strips’ sizes or shapes are made according to the materials which needed to be made. The strips are then soaked in water for 2 to 3 days protecting them from worms called (Proy) before starting to weave as a tool. Today, although some appliances are made of plastic from the factory, all those traditional tools are still popular with Cambodians.

Ratten or Phdao is a vine with a strong trunk, and thorns on the bark, stems, and leaves. There are many types of rattan, water rattan, Krek rattan, Chveang rattan, Arex rattan, Dambong rattan, Preah rattan…etc. Whereas Liana is also a type of vine like rattan, but the stem is smaller. Both types of plants grow in the wild and can be used for many purposes such as to make a string or Knouch, or they can also be used as a weaving material. In addition, rattan can be made into various furniture such as tables, cabinets, chairs, sofas, and so on. Liana can be used to weave tables, chairs, sofas, chairs, rugs, baskets, and other home decor items. Although some rattan and liana production time is done over a long period of time like bamboo weaving, the method of using rattan and liana as materials are not as difficult as bamboo, as there is no need to split and paste them into small pieces, just cut from the forest and you can use it as you wish. Rattan and liana accessories are still popular among Cambodians because they are lighter, more durable, and cheaper compared to wooden objects. Making traditional rattan and liana products is a lucrative job in addition to farming. But some take it as the main business as well.

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Yathra weaving is found in six gewogs (Chungphel, Zhurey, Kertsho, Bhim, Terzoe and Yeerangbi) in Chummey village. The raw material or fabric for Bumthap Yathra is traditionally sheep wool and yak hair. However, the importation of raw material from India is a result of the decline in sheep population. In addition, wool from Bhutan was considered to be of higher quality, but the prices are unusually high. For this reason, Indian wool is now in demand because of its cheaper price. The cheapest made-up and bleached wool costs Nu 300 per kg in India, while the highest quality wool costs Nu 1,200 per kg. To keep production costs low, Yathra manufacturers rely on imported wool. Yathra factory owners receive between Nu 10,000 and Nu 15,000 for weaving 15 pieces of yathra. People in Bumthang are forced to use yathra as bedding, raincoats, and jackets due to the long, bitter winters in the region. Likewise, yathra is one of the most sought-after commodities in the local handicraft industry, as yathra can be hand-woven as jackets and floor coverings because it is warm. Recently, Yathra products are becoming popular worldwide through Bhutan's digital fashion site such as Bhutan Street Fashion. In addition, Yathra coats and other pieces of fabric made from Yathra are used as costumes in fashion events because of their intricate patterns. The global and local levels of the economy are interdependent, with the lives of locals of Chummey village, known for Bumthap Yathra, being improved by international tourists buying Yathra as souvenirs and fashion items despite its high price. The economic activity of Bhutanese goods like Yathra locally and globally leads to a financial landscape where money flows across borders and generates revenue for the country.

Gong is one of the instruments in the Pin Peat ensemble. Nowadays, there are only a few people who know how to do it. It is uncommon to see leftovers gong for sale, as each unit requires a considerable amount of capital. So, if a costumer wants to get a gong, he/she has to make a deposit first. The method of making gong described here is the way of the villagers of Trapeang Arak, Ov Lek commune, Ang Snoul district, Kandal province. Nowadays, some modern tools are used to make Gong to save time and labor. For example, in the past people use “Snob Dai, a manual pump” to pump in air to make fire, but now they use an electric fan instead. In addition, for a polishing process, people also use a machine. To produce Gong requires at least three people because during Gong pounding, three people are needed. Gong smith used to buy old metals containing copper and tin from the market. The percentage of copper was 70 to 73 percent, and tin 27 to 30 percent. If the mixture is not mixed properly, the metal will crack. After metals are properly weighed, it will be burned in Kulapheach vessel called "Baw" and then poured into a molded plate. Then the metal is burned again until it soft enough to pound. Gong is made in different sizes and it needed to be arranged in number chronological order. After that, Gong makers re-burn some other metal plates to make Gong’s stand. When that is the case, burn it and pound it on a flat board called “Kda Dos”, so that the middle part of the gong is fatten, called (Dos Gong). Not only that, they immediately burn it again to make it soft enough and make the legs a little smaller than the upper surface (called an umbrella). When all this is done, they burn the fruit and put it in a jar with vinegar. So far, we have seen that the work of each step is to burn the gong several times to get the right shape. But it is still not finished, because you have to take the fruit that comes out in the right shape and polish it. In the past, traditional techniques were required that required the use of a variety of materials, but today it is easier to use a polishing machine. Gong making process is “a real workmanship” that requires special skills and talents. That is why at least on the first day of the lunar month, Vishnu is offered at the head of the pump and the stove. The art of making gongs is an important intangible heritage that can last for a long time as long as those who have the skills can live in this profession properly. Otherwise, it may be lost in the future.

Silk weaving is a traditional business and an important intangible cultural heritage of the Cambodian people. Pure silk with natural dyed is very expensive and famous abroad. Therefore, in ancient times, only royal or aristocratic families could afford it. Nowadays, the affluent can also buy silk skirts, but they are made of imported silk and dyed with chemical colors. Silk can be woven into skirts, scarves, or temple ceilings. Normally, people don’t wear it at home, they only wear it on special occasions or festivals. If worn at home, it is usually only sarong (for men only). Making a silk skirt is a time-consuming process because it has many steps to make one. First, raising silkworms and planting mulberry trees to get the leaves to feed the worms. When the silkworms are mature, the silk cocoon will be put on a spinning tool (manually) to harvest silk threads. Next, the threads would be steamed with “Kboung” water (a kind of water) to wash away pupae and whitening the silk. That process is called “Promok”. After that, the silks will be sundried before dyeing. In the old day, people used natural colors made from animals and plants to color the silks, for example, the red color was from a red insect hive; the yellow color was from Prohot tree shell; blue color or grey was from Trom leave; black color was from Mak Khler fruit, or Kjounh; brown color was from Sangke tree bark; light green was from banana leave or Bromat Monus leave, Sdov leaves, or bamboo leaves. Nowadays, silkworm farming and silk dyeing from a natural resource are rare. People prefer imported silks that are dyed in chemical colors because those are cheaper and time-saving. Among all silk fabrics, Hol has the finest texture called “Korm”. Therefore, to weave silk thread into Korm, a technique called "Jorng Keat" is used, which means that a banana string is used to tie the silk threads, leaving the area that needs to be dyed open. The string is then dyed in various colors until the desired color is obtained. But before tying and dyeing the new color, the silk is washed and dried. When it is done, the silk is taken into Kna for weaving. The final step is the weaving process into a skirt. To get 3 or 4 meters of silk, it takes 2 to 4 months to weave, including the dyeing time. This requires a lot of patience.

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[National Intangible Cultural Heritage, Republic of Korea] Ipsajang refers to the skill of inlaying ornamental silver or gold string into a groove made on a metal surface, or to an artisan with such a skill. Objects made with this skill were among the relics unearthed from the sites of Lerang dating from the 1st or 2nd Century BC and from Silla (circa 57 BC – 935) tombs. There are two ways of making this ornamentation. One was a method which started during the Goryeo Period (877 – 1394) of inlaying ornamental silver or gold string into a groove made with a chisel on a metal surface. The other, which started toward the mid-Joseon Period (1392 – 1910), was to make a figure on a metal surface using a chisel, and fit thin silver/gold pieces into the space by striking with a hammer. The patterns thus made were chiefly apricot, orchid, chrysanthemum, bamboo, crane, deer, bat, tiger, and pine.

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[National Intangible Cultural Heritage, Republic of Korea] Okjang refers to the skill of jade carving or an artisan with such a skill. Jade, set in gold and silver, was a favorite gemstone for Asians. Jade was used as an accessory symbolizing the five virtues, courage, benevolence, wisdom, rectitude and honesty. It was also used to make ceremonial utensils, hanging accessories indicating the wearer’s social status, okgyeong (jade chimes), medicinal materials, and medical tools. The use of jade as an important accessory for upper class people is testified to by the jade artifacts found at the sites dating from the Bronze Age, the curved jade, jade beads, and tubular jade unearthed from tombs of Three Kingdoms Period, and the jade waist belt of King Jinpyeong, which is said to be one of the top three treasures of Silla. Up to the Joseon Period, jade artifacts could be used only by members of the Royal Family and upper class people. It was difficult to acquire jade and the government limited the number of jade artisans. The work of jade processing, from quarrying to design, cutting, formation, detailed carving, and lustering requires careful handling and exquisite artistic skills.

Nowadays, as the metallurgical industry grows, most of the daily necessities of the metal are imported cheaply, which causes the number of local blacksmiths, a traditional man-made and time-consuming craft, to dwindle. However, blacksmithing in Cambodia still operates in some parts of the country, as some people still cling to traditional products because of their good quality and durability. On the other hand, it is well known that daily necessities such as rakes, buckets, sickles, knives, etc. are still essential for farmers. Therefore, in some rural areas, between two and three villages, there is at least one blacksmith house that produces utilities to supply the villagers. But if the blacksmith is near the town, the tools they make can be in large quantities and sold to other areas. Shortly after the end of World War II, the Kuay, a kind of indigenous group who lived in small communities in the northern part of Cambodia, in the Phnom Dek area of Preah Vihear province, continued to smelt iron ore. The steel produced by Kuy is very good in quality and is distributed throughout Cambodia and as far as the central region of Laos. Nowadays, this traditional smelting is no longer available, because the iron used for daily necessities is imported, or else they often use scrap metal or other broken objects, such as car chainsaws…etc. because it is cheaper. To make a tool, one has to cut a piece of metal as similar size as the tool he/she wants to make and burn it until it turns red like a fire. Then hammer it. This is done a few times until the metal appears in the desired shape and then put it in water. The procedure must be done carefully, otherwise, it will make the tool fragile and not sharp (if it is a knife or an ax). Finally, sharpen the tool so that it is smooth and sharp. According to the observation, the blacksmith business can be divided into three levels such as the family blacksmith in the village, where the villagers often rent a cage or make a hoe, knife, ax, and so on. The second level is the group of blacksmiths in the market who do business together. Hundreds of identical items are produced for sale at the market. The third level is the blacksmith community, which involves smelting iron as an important business for the community. There are not many blacksmiths in this community, however, there are two places still available, one at Oleung, Kampong Cham province, and the other at School No. 5 in Kampong Chhnang province. The ax and knife made in O Leung are still famous today, despite some changes. Nowadays, the traditional steel industry has completely disappeared and the local steel industry tradition is gradually declining due to the influx of modern industry from abroad.