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 firing of Longquan celadon is a traditional skill based on raw materials that exist in Longquan City (located in Zhejiang Province, China): burnt petuntse, violet-golden clay, limestone, quartz and others. For many centuries, at first these raw materials were compounded in proportion, and then moulded by hand, finally high fired at temperatures around 1310ºC. The process results in the celadon that Longquan became known for. The methods were handed down by families.

China 2009

Tea culture is an essential part of social and cultural life and is an important social practice aiming to show hospitality, celebrate important moments in lives of communities and helping them to build and maintain social relationships and enjoy moments by drinking tea for social exchange and interaction. It also represents knowledge, traditions and skills linked to cultivating, preparing and drinking tea by communities in Turkey and Azerbaijan. Tea is an agricultural plant the leaves and buds of which are used to make beverage. Tea plant transforms into dried leaves after steps such as plucking, withering, disruption, oxidation and drying. Although there are different types and brewing techniques in both countries, communities harvest and consume mostly the black tea. Traditional techniques used in preparing and harvesting tea led to development of special tools and vessels such as teapots, samovars, silver tray, woven tea baskets and tea plucking shear. Communities brew tea by using a great variety of kettles, produced in traditional craftsmanship, called “çaydan” or “çaynik” in Azerbaijan, a double container called "çaydanlık" (tea pot) in Turkey and samovar in both countries. Water is boiled in the larger pot and tea leaves are added to the smallest pot. Samovar is a traditional copper, clay, metal or brass container used to heat and boil water for brewing tea in smaller teapot, which is put on samovar. This method allows people to drink tea as they desire: strong or light. In rural areas especially, communities use metal samovars or “çaydanlık” heated with wood. Tea is traditionally served in special pear-shaped cups called “armudu” (literally, “pear-like”), made from glass, porcelain, faience, and silver in Azerbaijan and similarly small tulip-shaped glass, which is called “ince belli bardak” (thin waist glass) in Turkey. Communities traditionally serve tea freshly, brewed and hot, accompanied with various sweets, pastry, sugar, slices of lemon, jams and dried fruits. In different regions of Azerbaijan, communities also add local spices and herbs to tea, such as cinnamon, ginger and thyme. There is a special style of drinking tea with sugar called “kıtlama” or “dishleme” in both countries. In this style, tea is drunk by placing a piece of sugar between tongue and chin instead of pouring sugar directly into glass.

Azerbaijan,Turkey 2022

Type of traditional embroidery which was widely spread in applied design art of Uzbekistan, Gold embroidery was revived at the middle of XXth Century. It's formation goes back to ancient history. At the end of the XIX – beginning of the ХХ century especially Bukhara was the center of crafts associated with gold embroidery. Notably, at that time gold embroidery was mostly dealt by men. But in some cases, when there were more orders than expected, women (who were close relatives of gold embroiderers) could act in the role of assistants. Bukhara gold embroiderers applied several methods of embroidering. These were: 1) "zardozi-zamindozi" – solid embroidering of the background with gold threads 2) "zardozi-guldozi" – embroidering based on design (image), which is cut out from paper 3) "zardozi-guldozi-zamindozi" – a combined method of embroidering, which unites the above-mentioned two methods 4) "zardozi-berishimdozi" –combined embroidering 5) "zardozi-pulakchadozi" –gold embroidering with spangles. Ornamentation in gold embroidery was predominantly of vegetative nature. Geometric patterns were used less often. Main motifs were rosettes, palmettes, bushes, trees, branches, flowerpots with flowers, almonds, pomegranates, cherries and grapes. Usage of certain vegetative motifs, for example, of "guli-chinni" (chrysanthemum), "guli-qashqari" (Kashgar flower), testify to the fact that pictures of Chinese porcelain (since ancient times it was imported to Central Asia and was popular among elites of Bukhara in the XIX – beginning of the XX century), were borrowed and adapted by Bukhara gold embroiderers.

National Intangible Cultural Heritage, Republic of Korea Onggijang refers to the skill of making earthenware pots and jars, or to an artisan with such a skill. Koreans have used earthenware pots and jars for thousands of years. The place where an earthenware artisan worked was called Onggijeom, which was divided into a workshop and a kiln. Traditional pots and jars, along with porcelain items, were the main items produced in private kilns. Pots and jars were made after the application of caustic soda to the surface of clay-made objects and putting them through a pre-firing stage. Just 40 or 50 years ago, there were many places selling traditional pots and jars across the country. Their number stood at about 500 when surveys were made in 1968 and 1969. However, they have been pushed aside by their machine-made western cousins. Traditionally, caustic soda was used as glazing in the production of pots and jars. Recently, it was replaced by a lead oxide named Gwangmyeongdan. With the use of lead glazing, the quality of pots and jars declined and the number of Onggijeom decreased to about 250 by 1984 and to less than 199 by 1989. Stainless steel and plastic goods have pushed traditional pots and jars out of the market.

Skills and knowledges of making dolls. Tajiks traditionally make faceless doolls. Doll in the forms a human or an animal, is made of cloth, paper, wood, porcelain, plastic and other materials.

Repairment of the wooden plates, spoons, ceramic and porcelain teapots, bowls, cups with glue, panel, and nails.

National Intangible Cultural Heritage, Republic of Korea Earthenware is divided into ceramics and porcelain, depending on how clay-made objects are baked. An object mixed with white clay and baked at a high temperature is called china or porcelain. Sagijang refers to this skill or to an officially recognized artisan with such a skill. Ceramics and porcelain, particularly blue porcelain made during the Goryeo Period (877 – 1394) and thereafter are recognized as the best in the world. During the Joseon Period (1392 – 1910), Saongwon (Palace Kitchen Management) was in charge of porcelain production. Its branch in Gyeonggi-do made special objects to be used by the royal family. The government-run porcelain kilns were closed toward the late Joseon Period, following which porcelain artisans started private businesses in Mungyeong, Goisan, and Danyang. As for the process of china production, first of all, sandy soil is put into water to remove foreign materials. A desired form of is made with the soil, using a foot-operated spinning wheel. The object is then put into a kiln for pre-firing. Glaze is applied to the pre-fired object, and it is again put into a kiln for second firing. Experts say that grayish-blue-powdered celadon of Joseon evokes a folksy and lively feeling, while white porcelain evokes the character of a gracious scholar.