The element is recognized as one of the main elements of cultural and social identity for the regions in which it is crafted and played. The bearers and practitioners are mostly farmers including men as crafters and players and women as players, and recently a number of them are young researchers of both genders. Its traditional knowledge of crafting and playing is informally transmitted through generations by the master-student method. This element is seen in local, oral and written literature (including local poems, proverbs, chants and lullabies) which constitute a part of nature, history, and background of the bearers. As this element is shared by a number of communities, groups and individuals, it brings mutual respect and understanding amongst the communities concerned. Dotār is a folkloric plucked-string musical instrument that has been played in social and cultural events/spaces such as weddings, parties, celebrations, ritual ceremonies etc. Dotār has a bowl which is pear-shaped and made of dried wood of dead mulberry tree and its neck is made of apricot or walnut wood. It has two strings traditionally made of silk which been replaced with metal wires nowadays. Some believe that one string is male and functions as accord and the other is female which plays the main melody. The crafters also repect nature as they use dead and dried wood for making Dotār. It is not in opposition toward the national and international instruments like Universal Human Rights Declaration, sustainable development , etc.

Iran 2019

Bay Batabor is one of the most important offerings among other offerings, as the old people in the fields often do when preparing offerings for various festivals, large or small, for example, birthday celebrations, funerals, Tes moha cheadok festival, and rainmaking ritual. How to make Bay Batabor may be slightly different from one to the next, it depends on the festival, community, or area. What we are sharing here is how to make rice cakes for cremation in Daun Ov village, Leang Dai commune, Angkor Thom district, Siem Reap province. First, they place ripe bananas and palm sugar which are wrapped in conical banana leaves in a bowl. Then take another bowl and place it on top of the bowl. On top of that bowl, there are 12 pieces of sticky rice and some spread sticky rice. Then, fold 12 banana leaves into a conical shape and put them around the 12 pieces of sticky rice. The top of the sticky rice bowl is called the middle part of Bay Batabor. It is where they place a banana corm right in the middle and they cover it with banana leaves in a conical shape. With that, they also put 12 areca palm nuts on it. On the top of the cone, there are 12 folded betel leave, 12 candles, champa flowers, yellow flowers, a paper bag of the dried areca palm, red and white paper flags, and riel banknotes. According to the elders who make Bay Batabor, they made the rice offering to put on the ceremony’s donation table. However, during the rain-making ritual at Neak Porn temple, the rice offerings are placed on the altar in front of other offerings. Before it can be placed on the table of the ceremony, those female elders, sit around the circle, make three rounds of Batabor bowls to dedicate to the Preah Shak muni stupa, and chanting for 3 times, “Tong Teng Kroleng Bopha Tok Moung Vey Bay Moung Va we are offering candle, incense, betel leaf and areca palm nut to Preah Shak muni stupa. The elders also mentioned that The Batabor rice bowl represents the mother’s body, and the 12 betel leave and the 12 candles represent the mother's breast, which has six holes in each side.

Generally Bhutanese Buddhists have several terms for building wealth such as yang, yang-gug or phya-gug. This is a ritual dedicated to the goddesses of wealth- Tshering ma chey-nga, the five sisters of longevity, and Nam-sey (Skt. Kubera), and it also makes tribute to the symbolic precious cow yang-nor who represents the best of the cattle who served one’s ancestors by feeding and providing for them. The ritual is performed alongside an annual ritual locally called Lha-sey which gives thanks to tutelary deities. The people of the Nurbugang community conduct yang rituals mostly dedicated to the Yang-nor. Practices such as displaying the horns of a prosperous cow or ox; and tools from cattle like Wong-ka a blowing tool made of wild buffalo horn, Thang-nang Nam--bu rung large flute, and Sen-za Nam-bu rung common musical instruments including rope and other associated tools and materials. In practice, after the ritual the villages include several unique mundane activities that are not prescribed in the Buddhist texts. These traditional practices fall within religious practice, and it is said there are only few households who organize such ritual in the community. According to the Buddhist terminology, yang-gug is the ritual of wealth enrichment, also known as phya-gug but, depending on the usage and understanding the meaning of the ritual different local terms are given such as; yang and Yang-nor. However, both yang and Yang-nor is the ritual dedicated to deities Tshering ma and Namsey and giving thanks to the Yang-nor or the most prosperous cattle of the family. When witnessing the ritual performance, the prayers are mostly dedicated for the enrichment and prospering cattle and making tribute to the cattle who had served their forefathers to receive the blessing of enrichment. In accordance to Namkhai Norbu (1984) The Necklace of gZhi: A Cultural History of Tibet. The ritual performance of yang was one of the thirteen rituals performed by Bon-po (Bon tradition practitioner) ever since the enthronement of Tibetan King Nya-tri Tsanpo, well before the arrival of Tibetan Buddhism in Tibet. The twelve Bon rituals are as follows; 1.\tGon-shey Lha-bon:\tBon-po who can liberate sentient beings. 2.\tYang-shey Cha-bon:\tBon-po who can accumulate wealth through yang ritual performance. 3.\tdro-shey lud-tong:\tBon-po who can clear the obstacles by performing exorcism . 4.\tdur-shey sid-gshen:\tBon-po who can overcome barriers. 5.\tTsang-shey sel-dep:\tBon-po who conducts purification ritual and overcome obscuration. 6.\tdrol-shey ta-bon:\t Bon-po who can treat horse. 7.\tFen-shey men-che:\tBon-po healer. 8.\tKoe-shey tse-khen:\tBon-po astrologer. 9.\tmra-shey to-gu:\t\tBon-po who can perform nine types of rituals by preparing sacrificial cakes. 10.\tdeng-shey sha-wa:\tBon-po who can make a stag effigy fly. 11.\tful-shey ju-thig:\t\tBon-po who has the capability to make effigies fly in the sky. 12.\tdro-shey thrul-bon:\tBon-po who can triumph over the obstacles by miracle. The tradition of Yang-shey Cha-bon was later reformed and incorporated in the Buddhist tradition of Guru Padmasambhava in late 8th century. The deities Namsey (god of wealth) and Tsheringma (god of longevity), widely revered in Bhutan, were appointed to bring prosperity through the performance of Yang rituals. Many Bhutanese practitioners include these two deities among their tutelary deities Lha-sey (lha-soel). The Yang or Yang-nor ritual is conducted at the final part of other rituals as afterwards the house has to be confined at least for three days to keep the accumulated blessings. Every single thing that belongs to the house owner has to be impounded. It is believed that the blessing of the enrichment rest upon the things of the host thus, anything that is sent away from the house after the Yang ritual is a certain sign the blessing will be broken or lost. Yang-nor displaying things Yang-zey: -\tThe sacrificial cakes that represent the gods of the wealth, Namsay and Tshering ma, are prepared along with the Tormas (ritual cakes) of the family tutelary deities in the alter. -\tAt a corner near the shrine, the most beautiful and expensive clothes are displayed. On the spread clothes, three stacked bowls are filled with different cereals and adorned with precious gems are displayed in accordance to the Lama Nor-jam text of the Terton Pema Lingpa tradition. -\tOther related ritual items are grandly presented in front of the stacked Yang-zey. -\tCattle effigies made of dough and decorated with butter and flower are prepared and displayed on the plate. -\tNear the Yang-zey, various yang things; Yang-do, Yang-bum and the horns of prosperous cattle and associated herding tools like; Wong-ka, Thang-nang Nam-bu rung, Sen-za Nam-bu rung and Yai (churning container) Ta-khur (Churner) and other old things handed over by the forefathers are neatly exhibited in a bowl filled with grains.

National Intangible Cultural Heritage, Republic of Korea Yugijang refers to a brassware making skill, or to an artisan with such a skill. On the Korean Peninsula, brassware was first made during the Bronze Age. During the Silla Period (57 BC – AD 935), there was a government agency in charge of production of brassware. The skill continued to develop, and thin brassware with beautiful luster came to be made during the Goryeo Period (877 – 1394). Then, there was a lull in development, but brassware enjoyed popularity again by the 18th Century. Anseong, Gyeonggi-do was known for the production of good-quality brassware items, and noble class people placed orders for custom-made brassware goods with producers there. Brass may be any one of a broad range of copper alloys, usually with zinc as the main additive. Brassware displays a yellowish color with subdued luster. Cupronickel ware displays a white color. There are three types of yugi (brassware), depending on the production technique used. To make bangjja yugi, ingots are first made with melted brass and then people strike them with hammers. Examples of articles made with this method are jing (large gong), kkwaenggwari (small gong), food bowls and wash basins. Jumul yugi (forged brassware) is made by using molds. The term Anseong Machum was coined to refer to an object or item that was custom-made for a particular situation, as brassware made in Anseong satisfied specific needs of customers. Semi bangjja yugi refers to brassware made using both bangjja and forging methods. Yugijang is the country’s leading traditional metal artifact-making skill with wide practical applications.