Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan. Later, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. The art was later codified and included as one of the thirteen traditional arts and crafts of Bhutan by the 4th Druk Desi (temporary ruler) Gyalse Tenzin Rabgye in the late 17th century. Since then the art of sculpting has been maintained and passed from teacher to students over many generations until today. Bhutanese jim zop (sculptors) are known for the quality and intricacy of creating delicate clay sculptures. They practice sculpting as a pious act since it is based on the iconographic principles of Buddhist art. It is very important to adhere to the rules that prescribe the precise measurement of the body structure in relation to the limbs, postures, eyes, ears, fingers and nose and the body tints, garments and ornaments. a. Religious Statues and Ritual Objects: Sculptors make clay statues, ritual objects and tsha tsha (miniature clay stupa) and clay masks worn during festivals. Numbers of exceedingly fine and intricate religious sculptures and ritual objects made of clay can be seen in every temple, monastery, and the dzongs of Bhutan. These clay sculptures vary in sizes, varying from tiny statues to over twenty feet. There are clay sculptures of the Buddhas and Bodhisattvas, various deities, gods, goddesses and prominent religious figures which depict the foundation of faith, worship and reverence for the Buddhists. b. Types of Clay used in Sculpting: Clay is the basic material for making sculptures. A special kind of clay can be found deposited in small quantities between mud and gravels usually in marshy areas. Sculptors use the best quality clay as the images and objects they make must stand against the change of weather for generations. Clay is processed into three different forms; tsa dam, kong dam, and jim dam. Each one is used for a specific purpose. Tsa dam is made by mixing clay powder with daesho (paper made from daphne plants) in the ratio of 7:3. If paper is not available, pulps made from the raw bark of daphne plant are used as substitute. This mixture prevents the mud from disintegrating when dried. Tsa dam is used for moulding the basic structure of the statue. Kong dam is prepared in the same way as tsa dam, but by adding more water to make the clay relatively thinner and softer. Kong dam is applied over the basic structure moulded from tsa dam to give proper shape to the statue. Generally the proprietor adds any or all of the seven precious substances (gold, silver, and turquoise, and coral, pearl, bronze and any other precious stones) to tsa dam and kong dam in order to increase the aura of the statue. Jim dam is applied as the final and finishing touch to the statue. To prepare jin dam; the clay powder is mixed with water and then stirred thoroughly until it turns into a thin paste. It is then filtered with the help of a thin cloth. The thin filtered paste is collected in a utensil and then placed on fire until the water component is evaporated. What is left in the pot is a very fine powder. This powder is then mixed with daphne papier mache to give it the binding strength which prevents the clay from cracking. This mixture is again mixed with water and stirred and applied to give the final touches to the statue. c. Process of Clay Sculpting: Clay sculpting process starts with the measurement of the space available where the statue will be kept later, or the size required by the owner/sponsor. Accordingly, the basic structural frame is made by using copper wires for smaller statues, iron or steel rods for bigger statues as support. Steel rods are wrapped with copper wire to add the value of the object. Gold and silver wires are considered the best to make the basic frame. The frame is added with tsa dam while the internal part is left hollow for zung to be inserted later. When the tsa dam on the structure dries perfectly, kong dam is applied over it to give all the external physical features, forms and the attires. The parts such as hands and head are made separately and attached later to the body for smaller statues, though the head of bigger statues are made directly with the statue. The sculptor must ensure that the parts made separately are proportionate to the whole structure. Any part of the statue that is not proportionate to the whole body is considered an impious act of the sculptor and therefore must be avoided at all cost. Sculpting is a tedious job, requiring the sculptor to apply the wooden chisel again and again to fill any gaps or remove the lumps over and over again. The statues are left for a long time to allow the clay to dry naturally, and to develop minor cracks which are also left unrepaired to allow air to pass for rapid drying. When no more cracks appear, it means the clay has dried up completely. The cracks are then repaired with tsa dam by mixing with glue. Once this is done, the sculptures are ready for final layers of finishing using jin dam. At this stage the sculpture is finally ready for zung (the inner relic). Learners have to undergo rigorous training for several years under a master sculptor known as Jimzo lopoen. As sculpting for religious purpose is considered a spiritual act, sculptors have to choose the most auspicious day and time to start a project. Once completed, an expert (usually a monk) will insert a zung shing or sog shing (a strut inside the statue as its backbone) and zung consisting of written mantras and other precious substances. Then the statue is painted using appropriate colours. Upon completion of all these steps, a drub or rabney ceremony is conducted by an accomplished lama. The painters and sculptors are highly regarded for their profession.

Making different kinds of furniture from wood, glass, thin iron, veneer with glue and nails. Now in the process of mking furnitures are used electronic tools.

Regong Arts mainly refer to Buddhism formative arts such as Thangka, mural, barbola, sculpture on which Tibetan and Tu folk handicraftsmen depend to pass on their making knowledge and manual technical skills. The content of Regong Arts consists of Tibetan Buddhism, mythical stories, epics and traditional knowledge. And the main painting materials include painting cloth, painting brush, dyestuff, prepared Chinese ink, red soil, silk and glue. Thangka, mural, barbola, and sculpture are widely used in Tibetan Buddhism temples and farmers’ or herdsmen’s houses. Every handicraftsman has his own fixed place to make material objects. Regong Arts have originated in 13th century and stemmed mainly from Tibetan Mantang school. After they were introduced into Regong area, Regong Arts have formed an important distinctive school of Tibetan Buddhism arts. Regong Arts have various forms with unique features. 1. Thangka, the pronunciation of its Tibetan counterpart, refers to religious scroll paintings which are used to worship Buddha, myths and figures who invented some useful technology after being mounted with colourful satin. The main technological process of making Thangka is as follows: first, the fine white cloth or coarse linen should be stretched on a wooden embroidery frame; secondly, base powder and thin glue sheet are used at the bottom and polished; thirdly, according to the content, the painter draws an outline with charcoal pencils made by himself about religious figures, birds and beasts and flowers and trees, etc.; fourthly, the painter puts the glue into various natural minerals and animals or plants dyes, and then he uses these painting materials to draw the picture with the special painting brush; finally, the finished picture is mounted carefully. Thangka is famous for its sophisticated workmanship, contents and bright colors in the world. 2. Barbola is a kind of Thangka made from silk fabric. Its main forms are Barbola Thangka, Barbola veiling, Barbola column ornaments etc. It is made from silk and brocade where pictures, figures, animals and plants are accurately cutting and sewn. Its techniques and effects take place in two forms: soft relief which combines folk embroidery and filled relief; and pasted and patched soft fabric which are cut to make different forms. Barbola has the strong stereoscopic image. 3. Regong sculpture comprises clay sculpture in addition to wooden sculpture, stone inscription, brick sculpture etc. Clay sculpture takes place in two forms: multi-colour and single-colour. Its process includes selection and finalization, clay processing, keel structuring, filling in, outline shaping, partial adjustment and inlaying gold lines or colour painting etc. Rafters, vaults, sunk panels, column ornaments, and tubular lections in temples and door curtains, credences, tea tables and lection cabinets in farmers’ or herdsmen’s houses are all sophisticated wooden sculptures. Stone inscription is that lections are imprinted on the slates or figures of Buddha are made in an intaglio plate. In addition, there is relief used in the stack of lection stones. After being created, Regong Arts are passed on generations by generations. Regong Arts are manual skills grasped by some villagers. Based on the special art forms, they combine traditional knowledge with history memory and come the Arts down. The art forms are widely recognized by dwellers in Tibetan communities and traditional craftsmen in China. At present, 520 folk artists engage in the artistic creation of Regong Arts. Passing on the Arts mainly takes place between fathers and children, or between masters and apprentices. Inheritors can be monks or folk artists. When learning Thangka, Barbola or sculpture, the painters must strictly follow the Buddhism painting book Lection of Measurement, starting from line-drawing, figure shaping, colour matching, pattern design and sizing. Regong Arts are featured with the unification of Tibetan Buddhism and traditional culture. Its influence can be found in surrounding provinces such as Tibet, Gansu, Inner Mongolia, Yunnan, Sichuan, and even South-eastern Asian countries.

China 2009

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.

"Lacquer" is a material composed of resin from (Kreol Tree), the last resin, water resin, and ash palm leave. That is why we sometimes hear the composition called "Mareak lacquer". Lacquer has been used since ancient times, as there are sculptures and inscriptions describing the use of this lacquer. For example, temple inscriptions. Kork Poti (K, 814), the inscription in Kampong Thom (K. 444), and the inscription of Prasat Chi Kreng (K. 168). Apart from being used for painting luxury and auspicious objects such as “Tork” wooden or golden plate used for holding valuable objects, “Tang Rong” wedding boxes, betel nut and leave boxes, and other everyday items, lacquers are also used to decorate crowns and masks for royal ballet and Lakhon Khol. That is why to this day, although the decoration on the mask of the dance is not made of lacquer, it is still called "mask lacquer". In general, the lacquer masks that are produced often have a giant mask, monkey masks, Ey sei masks, Ream masks, Preah Leak masks, or other animal masks, all of which are used in classical and Khol dance. According to the traditional method, in order to get the mask for the dancer, the clay is first kneaded into the desired shape, then applied glue on paper one layer at a time until another layer is thick enough. Next, left it to dry before removing the sample. However, this type of lacquer can only be used once or twice because the clay mold is easily damaged. After 1960, Mr. On Sok, a professor of "Khmok-Smach" at the School of Fine Arts, came up with the idea of making a mold from cement that can be used for a longer period than the one made of clay. When the mask sample is dried, you need to start gluing paper on it, but before gluing you need to soak the mask with water first to make it easier to peel off. Then use a piece of parchment paper to cover the mask and crumble another paper to glue on it with 10 layers but if the mask is small, it will be glued only 6 layers. The glue known as (Bay Marn is made by cooking rice flour with water). Let the mask dry before peeling, gluing, and sewing. When the mask is completely dried, start drawing ornament details of the mask such as Kbang, crown, ears or called (Jhon Trojeak) all of which are made by the lacquer. To make it you will need to boil Mareak resin, last resin, water resin and ash palm leave together then pour it into Kbach mold and let it cool before using it to glue on the mask. Then apply a layer of tan paint before applying gold foil on the lacquer. In the past, the molds were carved on marble, but later wax was added and cemented instead. The next step is to paint the mask according to the characters and then use a small brush to cut the strands into eyebrows, mustache, ears, and neck. Lastly, holes are pierced in the eyes and nostrils for the performer to see and breathe. Nowadays, traditional mask lacquer making is very rare as raw materials are becoming more and more difficult to find, and lacquer masks are sold at high prices, making it difficult for artists to buy and use them. Therefore, most of the dances that artists wear today are paper ornaments instead of lacquer.

Wau or ‘kite’ is believed to be invented by somebody with the name Sang Jaya or who had a title such as Dewa Muda, Dewa Hindu and Masai Kelana Seri Panji. Wau was produced between 711 and 839 AD. Originally the wau was invented as a symbol of a country’s greatness, as a guide for determining direction and also as a symbol of success for every attack by a country towards another country. This game is famous in Johor, Negeri Sembilan, Selangor, Kelantan and Terengganu. Among the types of wau produced are ‘wau bulan’ (‘moon kite’), ‘wau burung’ (‘bird kite’), ‘wau merak’ (‘peacock kite’), ‘wau kucing’ (‘cat kite’) and ‘wau ikan’ (fish kite). Tools for making wau are bamboo, knife, paper, pencil, scissors, glue and rope. The making of wau is very unique compared to other games because it requires a high-level of skill. Before flown wau needs to be ascertained to be balanced so that it is not heavy on one side. Wind factor plays an important role when flying a wau.

The bow and arrow are the weapons that used from the ancient time to the present. It has been developed within these centuries, and every ethnic group made its own specific bow and arrow and used that for hundreds of years. Same with this, Buryat-Mongols have made their own bow and arrow and used it to the naadam besides with the hunting. Same with other Mongol ethnics, the body of the Buryat bow and arrow is made from birch, and upper and bottom part of bow body or curved ends are made from horn, and the string is made from sinew. As mentioned in the report, it mostly made from the horn of a cow, but later it made from the horn of ibex, deer, and moose. The hide from the cow head was used in the making of glue, besides these glues were made from the fish and hoof of the cow.

National Intangible Cultural Heritage, Republic of Korea Sagyeongjang can refer to either the art of copying Buddhist texts or to the masters of this art. Sutra copying enjoyed its heyday during the Goryeo Dynasty when Buddhism gained widespread popularity. During the reign of King Chungnyeol, the Goryeo court dispatched to China hundreds of Buddhist monks trained in sutra copying. Although sutra copying declined during the Joseon era with the adoption of Confucianism as the governing philosophy, the Buddhist practice lived on with the support of certain royal family members and Buddhist temples. The ink transcription of the Avatamsaka Sutra (Flower Garland Sutra) from the Unified Silla era, designated National Treasure, is the oldest surviving artifact in Korea testifying to the sutra copying practice. The art of sutra copying is generally comprised of three parts: transcribing text, reproducing byeonsangdo paintings, and decorating the cover with a design of Buddhist figures or plants. It is further divided into 10 different steps: color formation with gold powder, glue making, surface treatment of the paper, paper cutting, connecting paper sheets, line drawing, writing text by hand, drawing byeonsangdo paintings, decorating the cover with a drawing, and treating the cover with gold powder. It demands expert knowledge of calligraphy, Chinese characters, Buddhist theory, and painting. Furthermore, intense concentration over long periods is essential. * Sagyeong (寫經): The practice of transcribing Buddhist scriptures or the resulting transcripts. Sutra copying is intended to disseminate Buddhist texts or cultivate merit. * Byeonsangdo (變相圖): Paintings illustrating the teachings of the Buddha

Craft of making glue from plants, minerals, animal products and parts like egg, bone, skin and etc.