Naqqoshlik is drawing an ornament - a pattern built on rhythmic alternation and a combination of geometric or graphic elements, performed by means of painting, drawing, sculpture or embroidery. Uzbek national patterns have their own names, going back in history. Traditional Uzbek ornament is found in decorative art embroideries, in wood carvings, in paintings on clay and ceramics, on Uzbek fabrics, on buildings. At the heart of the ornament is a picture of simple things. For example, knives are designed to protect, a flowering garden is a symbol of fertility and agriculture. Each flower carries information: a scarlet poppy - the image of an innocent girl, a tulip - a symbol of purity, a rose - peace and beauty, wildflowers - a young man. Often, a different meaning was embedded in the image of flowers. For example, they believed that they carried healing power and health. The ornament creates a vector image in which a magical meaning is laid, reflecting the course of human life. This is an oriental vector style with geometric patterns. Geometric patterns have abstract forms: - zigzag lines - circles - polyhedra - stars - ornamental motifs - meander - human figures - stylized inscriptions. Ethnic patterns are folklore images, folk motifs in which a creative union of religion and culture is concluded. They carry a semantic and ritual load.

Kharam is celebrated in all the villages under Tshenkhar gewog, Lhuentse Dzongkhag of Northeast Bhutan. In the local dialect, Tsangla, "Kharam" means "Gossiping negative forces”. Villages host the festive celebration to please the local deities, and to seek protection them from unforseen disasters for their crops, cattle, and fellow local people. They also pay homage to the local deities for protecting the people, yields and the domestic life of the country by natural calamities. The annual festive event is celebrated on 27th and 28th day of the 8th month of the Bhutanese calendar. The event is celebrated by performing ritual in the morning and consequently by performing boen choe “Bonism” by the communal people in respective locality and followed by traditional games like archery and khuru (dart) competition within the village. The main performer of the celebration is the Bonpo “Chant Leader” accompanied by all villagers irrespective of age. In the past, in the evening of the first day of the celebration, people used to ward-off the negative forces by hitting a rooster against a cow. However, now the community has stopped killing roosters and the symbolism was replaced using a feather. With the performance of Kharam, it is believed that the village will prosper and have good yield in that year with less mishaps in the community.

a) Traditional handicraft techniques The old art of manufacturing the traditional Iranian floating vessel, called Lenj, has remained relatively unchanged. Lenjes are, mostly, made for their large cargo capacity. The Lenj-Bum was, once, the best ship for the Iranian sailors and navigators. Even now, it is still competing with rivals. But the gradual decrease in the number of the long voyages is limiting the popularity of the vessel. Lenj-Bum is capable of tolerating the storms. Originally, Lenjes were used in commercial travels to distant destinations, including India and Africa. Lenjes are composed of various parts, each made of special types of wood, depending on their function. Contemporarily, Lenjes are used, solely, for short journeys, fishing and pearl hunting. Older Lenjes were capable of travelling for, even, one year. The Persian sailors used to launch their commercial ships from the three ports of Loft, Kong and Lian, in Bushehr. The marine routes were, however, more varified, and would include travels to Basra in Iraq, or to the southern coasts of the Persian Gulf. Their main trades included dates, wood of Chandal, pottery, coconut and fruits. b) Knowledge and practices concerning the nature and the universe Before the introduction into the tradition of modern positioning systems, Iranian navigators could locate the ship according to the positions of the sun, the moon and the stars. An individual, called Moallem (“teacher; guide”), was responsible for the positioning jobs on the Lenj. Looking at the sun and the stars with his means, including the Persian astrolabe and sextant, at 6 AM and 6 PM, he could locate the Lenj on the sea. Navigation at night was the captain’s duty. He would order a Sokkāni (“helmsman”) to lead the ship into the direction of a specified star till the moment of sunrise. Compasses brougth more convenience for the navigators. They could define the routes more delicately, by utilizing a combination of astronomy and the newly introduced compass technology. The sailors started to record the stars’ specifications on the compasses. Using this combined method, they would define the route at night. The number of stars used as reference points was 17; they would be repeated in both northern abd southen directions round the compasses. The navigational knowledge and legacy is still passed on from fathers to sons. The Iranian navigators also had special formulae to measure the latitudes and longitudes, as well as the water depth. Sailors needed the wind in favour in their travels to the south; they would arrange for their voyages according to the seasonal winds that would blow every 6 months from north to south. They also attended to the particular winds of Persian Gulf to find a forecast for weather. Each wind had a native regional name. Knowing the wind route was not enough to trace the time of a pending storm; they also attended to the color of waters, the wave heights, or the nature of the blowing wind. c and d) Performing arts, Social practices and festivity events The majority of the Iranian inhabitants of the region earn their livelihood from the sea; consequently, the Persian Gulf continues to receive their respect. A number of traditional ceremonies and customs about Lenjes and the sea show their rooted symbiosis with nature. Nowruz-e-Sāyyad (Fisherman’s New Year) is one example. The celebration occurs late in the month of Tir (June 22nd), as a surviving traditional ceremony from the distant years. No fishing, no trades, and no sea journeys are allowed on this day. In the morning, the children colour animal foreheads, with red clay; and by sunset, all villagers gather on the seashore to play music or perform the proceedings of Shushî, an old traditional performing art, showing the sailors’ respect for the nature. Some people wear special clothes and masks, and try to represent sea-gulls. When the native music band plays Rezif (the sailors’ traditional music), suddenly, a number of men with fearful appearances come out of the sea, and pretend to attack the people. They are Shushi’s, the old demons who were asleep, and now the new years’ eve has awakend them. Interestingly, the people enter dialogues with these demons, and encourage them to join in the feast. Bādebān-Keshi (“setting the sail”) is another surviving ceremony. Long ago, when the ships were about to leave for long voyages, by the time the sailors were setting the sails, the music would accompany from the shore. The sailor’s families would bid farewell. Specific music and rhythms constitute inseparable parts of sailing on the Persian Gulf. In the past, the sailors sang special songs while they were working. In Hormozgan province, three such musical traditions are, still, attended by the locals: Livā, Rezif and Azvā. The singers describe a marine travel in their songs. Traditional bagpipes, named Neyanbān, accompany. The ritualistic performances are reminiscent of the jobs on the Lenjes. The movements resemble hoisting the ropes, rowing, holding in the fishing nets, and also separating and classifying the fish. e) Oral traditions and expressions, including languages as a vehicle of the intangible cultural heritage There are traditional sailing terminologies, stories and poems (Sharve) related to the nominated element in modern Iranian languages and dialects of the region. These linguistic varieties are representable as: 1.Lārestanî :(Aradi,Evazi,Bastaki,Banāruye-yi,Bikhe-yi,Khonji,Fedāghi,Fishvari,Gerāshi and Lāri) 2.Bashākerdî/Bashkardî :(Bandar-Abbāsi,Rudāni,Minābi and Hormozi) 3.Kumzārî :(Lāraki, …)

Iran 2011

Craft of making baskets and other containers with branches of trees and bushes.

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

Chali kha is a language spoken only by Chali Gewog (block) people and few older citizen of Tsakaling gewog under Mongar Dzongkhag (district). It is believed to be originated from sino-tibetan language as per the research published in Dzongkha grammar book on language. Gewog Mangmi (Community Representative) coined that till date Chali language haven’t transformed or influenced by other languages. They still speak in the same tone which was there during their grandparents time just new words were borrowed for new things and equipment’s which were not in their language. As per the recollecting of Memey (Grandpa) Tenzin Norbu who is 81 years of age, Chalipa (People of Chali) language hasn’t change in its tune and meaning of words till date. Chalipa language is a widely spoken language among the community for any type of functions, gathering or to communicate amongst themselves. Chali kha got the name from a place chali and the people from the Chali gewog are known as Chalipas. Though language is spoken only by 2,385 people in the world its status is still good and has preserved all the values in it.

National Intangible Cultural Heritage, Republic of Korea Gungsijang refers to the skill of making bows and arrows, or to such an artisan. A bow-making artisan is called gungjang and an arrow-making artisan is sijang in Korean. It is said that Koreans have displayed particularly excellent skills in the production of bows and arrows. In ancient times, the Chinese called Koreans Dongi, meaning people in the east skillful in archery and the production of bows. The shape of bows used in Goguryeo (37 BC – 660 AD) can be seen in murals dating from the period. They look similar to those used nowadays and so it is thought that the traditional bows have been handed down with no noticeable changes. Even during the Goryeo (877 – 1394) and Joseon (1392 – 1910) Periods, archery was regarded as an important skill. In the early Joseon Period, archery was one of the subjects that applicants for a state-administered exam for recruitment of military officers had to pass. With the introduction of matchlock rifles during the Japanese Invasion of Korea (1592 – 1598), bows ceased to function as a weapon. Bamboo or mulberry wood, water buffalo horn and ox sinew were used in the production of bows. Korean bows were made with ox horn and sinews. They could send arrows a long distance. The body of the bow was mainly made of oak and mulberry wood, and bamboo is also used to increase the tensile strength. To make the bowstring and the parts for connecting it to the body, ox sinew, ox horn and yellow croaker glue were used. Bows were not made in summer, as the stickiness of yellow croaker glue is reduced in hot and humid weather. Tools used to make the bows were saw, plane, wood hammer, file, knife, awl, wood pincer, wood comb, and metal comb. Types of arrows included mokjeon (wood arrows), cheoljeon (metal arrows), yejeon (long arrows used in special events), sejeon (thin arrows), and yuyeopjeon (willow leave-shaped arrows). Bush clover wood, bamboo, metal pieces, bird feathers, pear skin and glue were used in the production of arrows, which were made throughout the year.

“Hıdrellez” is a compound name derived from “Hıdır” and “İlyas”. They are believed to be sacred figures who meet each other once in a year on May 6th and are considered to be the protectors of earth and water as well as helpers of individuals, families and communities in need of them. May 6th is accepted and celebrated as Spring Day, awakening of nature. According to the beliefs of some communities a year is divided into two seasons in accordance with the visibility and invisibility of the star Pleiades that cannot be observed from May 6th until November. The element is maintained today, various ceremonies and rituals connected to the nature are performed providing well-being, fertility and prosperity of family and community, protecting livestock and crops for the upcoming year. On the evening of May 5th, young people gather in a house and prepare one storage pot made of clay in which there are some herbs and water, where each participant put different small personal object called “nishan” inside with some wish for the following year. Covered with red cloth the pot is left under a rose bush, and left during the night. Before sunrise on May 6th, the courtyard of a house is cleaned and in the middle a bonfire is lit. It is believed that as higher the fire goes, the more productive the upcoming year will be. Young people jump over the fire and go in the nearest green field or forest where they collect different herbs and green plants. They put swings up on a fertile tree and while swinging sing Hıdrellez songs. After that the young people go to the garden, where they have put the pot and proceed to the ritual called “Martufal”: A young girl, whose parents are alive, mixes the nishans inside the pot and picks them out one by one. The picked nishan is shown to the people around, while giving it to its owner they sing a quatrain called “Mani”. Each nishan is considered to be magical and each mani should bring luck and good health to its owner. After the Martufal the participants have family lunch, the celebration continues all day with wrestling games called “Pelivan” and dancing festivities organized by the local communities.

Macedonia,Turkey 2017

National Intangible Cultural Heritage, Republic of Korea Wido Ttibaennori is held in early January every year in Daeri Village, Wido-myeon, Buan-gun, Jeollabuk-do to pray for the peace of the village and for a bountiful catch. The name Ttibaennori stems from the practice of letting a boat made of tti (Imperata cylindrica) sail out to sea as part of the ritual. The event is also called Wondangje, as it is performed at Wondang, a shrine set up for the ritual. The boat is made of tti, straw, and bush clover spliced together. It is usually sized 3m (L) by 2m (W). People put sacrificial offerings and seven puppets into the boat. The event is a local festival in which people sing, dance, and drink together, praying for a bountiful catch and for the safety of fishermen.

National Intangible Cultural Heritage, Republic of Korea Yeomsaekjang refers to a craftsman who dyes cloth with natural pigments. Specifically, the art of dyeing, which has been designated as Important Intangible Cultural Heritage, involves dyeing with indigo. In the Joseon Dynasty, dyeing was a highly specialized skill such that a dyeing specialist was attached to the royal court. Natural dyes used for coloring cloth are plant, mineral, or animal matter, used as is or slightly processed. There are all kinds of dyes, but the indigo bush (Persicaria tinctoria) was the most difficult to use; the complicated dyeing process also required a high level of skill. With modernization as well as the introduction of chemical dyes, traditional dyeing has all but vanished. Thanks to a handful of dedicated craftsmen who have worked to revive the art since the 1970s, however, the art has been kept alive.