ကချင်ထည် (Kachin Hte)
Kachin textile weaving is the weaving tradition of the Kachin people (ကချင် Kachin) — specifically the Jinghpaw (Jingpho) sub-group, the largest of the six Kachin groups — producing the distinctive Kachin women's skirt (htamai) and shoulder bag (nambang) in deep crimson red and black with geometric silver and white supplementary weft patterns. The Kachin tradition uses a frame loom (distinct from back-strap) and a complex supplementary weft system where pattern rows are separated by plain weave rows in a specific numerical ratio — 'three plain rows between each pattern row' for htamai; 'five plain rows between pattern rows' for nambang — this ratio is the defining structural difference between the two object types and is the critical oral knowledge. The crimson red ground is achieved through lac dye with an alum mordant producing a specific warm red distinct from the orange-red of Pa-O tradition.
Risk level: Critically Endangered · Myanmar national ICH list
Shan silver ornament making (ငွေကောင် ngwe gaung) is the silversmithing tradition of the Shan people of eastern Shan State — centered in Kengtung (Kyaingtong) and strongly influenced by adjacent Tai Lue, Thai, and southern Chinese silver…
Pa-O textile weaving is the identity textile tradition of the Pa-O people (ပအိုဝ်း) — the second-largest ethnic group in Shan State — producing the immediately recognizable black-ground cloth with orange and red supplementary weft stripes…
Shan silk weaving is the broad textile tradition of the Shan State plateau — practiced by multiple ethnic communities centered on Inle Lake including Shan, Pa-O, Intha, and Danu weavers.
Shan lacquerware (ရှမ်းယွန်း shan yun) is the regional lacquer tradition of Shan State — distinct from Bagan yun (CRAFT-0422) in its use of a thicker bamboo coil base (less flexible than Bagan), a different engraving vocabulary (Shan…
Burmese marionette making (ရမတ်ဇတ်ပွဲ yama zatpwe — 'Ramayana performance') is the craft tradition producing the articulated string puppets of Myanmar's classical marionette theater — a tradition that predates Burmese contact with Thai and…
Pathein hti (ထီး — 'umbrella/parasol') is the traditional paper umbrella making tradition of Pathein (Bassein) in Ayeyarwady Region — Myanmar's primary umbrella-making center for over 200 years.
The weaving of linen damask in the Oberlausitz (Upper Lusatia) region of Saxony, centered on the town of Großschönau — the only town in Germany where linen damask weaving has been practiced continuously since the 17th century, and the site…
Nepalese Dhaka is a fine cotton supplementary weft weave from Terhathum District, eastern Nepal — distinct from Bangladeshi Dhaka muslin.
The Samoan siapo (tapa cloth) tradition — the production of the distinctive Samoan bark cloth from the paper mulberry (u'a) whose characteristic geometric printed or painted patterns (using the 'ie toga — Samoan fine mat exchange…
Tibetan carpet weaving in Nepal is maintained by Tibetan refugee communities in Boudhanath and Jawalakhel using the Tibetan loop-pile technique: a temporary rod laid across the warp, wool looped around both warp threads and rod, cut along…
Mongolian esgii (эсгий) is the primary structural and insulating material of nomadic life — used for ger wall panels, floor coverings, sleeping mats, saddlery, and winter clothing.
The Tongan ngatu (tapa cloth) tradition — the production of the distinctive Tongan tapa cloth in cooperative women's groups (kautaha) using the kupesi (carved relief tablet) rubbing technique to produce the characteristic ngatu patterns,…