The element consists of knowledge, skills, and practices concerning management of tea plantations, picking of tea leaves, manual processing, drinking and sharing of tea. Based on natural conditions and local customs, tea producers have developed six categories of green, yellow, dark, white, oolong and black teas, as well as reprocessed teas like flower-scented teas, which results in over 2,000 tea products. Processing tools are woks, bamboo trays and drying frames, etc. Core skills employed include shaqing (enzyme inactivation), menhuang (yellowing), wodui (piling), weidiao (withering), zuoqing (leaves shaking and cooling), fajiao (oxidation or fermentation) and yinzhi (scenting). All these teas, with their diverse colors, aromas, flavors and shapes, meet different needs of people. Tea is ubiquitous in Chinese people’s daily life. Steeped or boiled tea is served in families, workplaces, tea houses, restaurants, temples, etc. and applied as an important media for communication in socializing and ceremonies such as wedding, apprentice-taking and sacrificing. Practices of greeting guests with tea and building good relationships within family and among neighborhood through tea-related activities are shared among multiple ethnic groups, and provide a sense of identity and continuity for communities, groups and individuals concerned. During the transmission, the element has nurtured systematic knowledge, extensive social practices, proven traditional skills and abundant handiwork. It reflects Chinese people’s values of modesty, harmony, comity and respect, and has profound influence on moral cultivation and personality shaping. It also facilitates exchanges and mutual learning among civilizations through the Silk Roads, hence playing a significant role in sustainable social development.

China 2022

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

Traditional leather processing and dyeing techniques are widely used in Shubarkuduk (Western Kazakhstan), which also hosts a school for teaching these techniques to young people. Leather utensils, serve as a 'refrigerator', which can withstand any changes in temperature. The freshness of kymyz (mare's milk) and shubat (camel milk) kept in such way. The tradition of leather craft, method of treatment passed down from generation to generation. Currently, the synthesis of professional creative activities and traditional motifs of the past is seen as the source of the revival of the classical tradition. These days, leather utensils fail to fulfill its utilitarian function, people mostly use it as a souvenir. Traditional technique of leather processing is used along with modern methods. The leather is used to produce men’s belts (kumys beldyk); hunting belt with accessories (kyseh beldyk with powder flask, pouch, fire striker, and sheath for a knife); women’s belt (belbeu); traditional footwear (yetyk, kebys, myasy); leather braided whip (khamshy), four, six and eight strand whip (used for horse riding); twelve and fourteen strand whip (used for protection from wolf attack); a quiver for arrows; a sheath for knives, swords, and sabers; leather shields. There are also leather vessels for mare’s milk: kauhar (flat vessel with narrow neck), torsykh (a vessel with rounded handles), mess (water skin), sabah (a large vessel tailored from goatskin). Traditional fur hats are widespread in Kazakhstan, namely tymakh and boryk with a lining made from fox, wolf, muskrat or mink fur and pushpakh tymakh made from fox paws; as well traditional men’s clothes (shapan and zharghakh) light coat made from light and soft suede and decorated with fine silk embroidery. Kazakh suede was one of the most valuable goods of the Silk Road and was traded as expensively as Chinese silk. One of the most common techniques used by Kazakh artisans is hot stamping on leather with metal plates called khalyp. Nowadays the national artistic traditions and new creative trends reflected in the works of modern masters and artists, where the ancient stamping technology has been preserved almost intact. . Embossing is made on soaked leather on the underside using special wooden plates with a desired carved design. Leather is clamped between two wooden plates and left to air-dry naturally. The design used for decorating leather is similar to the one used for making carpets. The central field filled with khoshkhar muyiz (sheep horn pattern) and khos myuiz (a cross-piece made of paired sheep horns). For the border, usually a plant design is used. The leather can be decorated with shaped metal plates with silver inlay. Embossed leather can be used for decorating wooden chests (zhaghlan). Along with embossing, incrustation with colored leather (kok saur), velvet and gold embroidery on leather is used.

Art metal processing works made by masters found in museum funds of Kyrgyzstan and those that are passed from generation to generation shows that the Kyrgyz possessed metal processing techniques from the ancient times. The Kyrgyz metalwork masters are named as ‘usta’ or ‘zergher’. Distinct features of different techniques of metalworking can be observed in the works of the Kyrgyz masters, such as forging, molding, appliqueing, notching metal with silver, engraving, minting, pattern plating, pelleting, fretwork and black finishing. Silver is the most common metal used by the Kyrgyz. Masterpieces distinct to the Kyrgyz jewelry making have been created with a help of simple tools used in metalworking. The kit of jeweler’s main instruments included an anvil, hammers for different purposes, dies, stamps, chisels, puncheons, mandrels, cutters, poin-tools, etc. Motives of the ornaments used in jewelry and metal works are very diverse. Of a particular interest are the Kyrgyz traditions of metalworking expressed in details of the horse equipment. They are richly decorated with metal braces covering joints of belts made by embossing technique and notching. Kyrgyz jewelers broadly used the technique of denting, that is coating notched iron plates with silver. Such coated plates of different size and forms were then used to embellish harness elements, man’s belts, knives, fire stones, trunks, cases for dishes, etc. Quite often jewelry articles were framed with granules. This technique was primarily used in woman’s adornments, such as ear-rings, rings, seal-rings, bracelets, and etc. Like formerly, granulation was combined with filigreeing and incrustation. Community of craftspeople metalworking was a purely masculine craft, but women zergers are also known.