Not specifically documented in available sources
Cambodian lacquerware made with resin tapped from a local tree (Melanorrhea / Gluta species). Coats of black lacquer are laid on a prepared, smoothed base; each coat needs at least a day to dry before the next. Pieces are colored, gilded (contemporary workshops often use copper leaf), wet-sanded smooth and polished by hand. The craft was revived after severe disruption, notably through training workshops in Siem Reap.
Risk level: Critically Endangered · Cambodia national ICH list
The engraving of flattened copper sheet — often subsequently silver-plated — into decorative and ceremonial objects at Koh Chen and neighboring Prek Kdam villages in Kandal province, a craft distinct from the archive's existing Khmer…
The carving of wood into architectural ornament, devotional statuary, and household ritual objects — one of the Khmer 'principal crafts' alongside weaving, silver- and goldsmithing, and stone sculpture, according to standard art-historical…
Robam Preah Reach Trop (the Khmer Royal Court Dance — UNESCO inscribed as Khmer Classical Dance in 2008 and 2016) requires the most elaborate costume-making tradition in mainland Southeast Asia: a single full Apsara dancer's costume…
The Mekong River communities of Stung Treng and Kratie maintain a traditional wooden boat building tradition producing the narrow, high-prow vessels used for Mekong River fishing and transportation.
The Jarai people of Ratanakiri Province maintain a bronze gong casting and tuning tradition closely related to the Vietnamese Central Highlands gong traditions (shared cultural heritage across the Cambodia-Vietnam border).
The Cham people of Cambodia — Muslim descendants of the ancient Champa Kingdom — maintain a distinct textile tradition separate from both lowland Khmer hol (CRAFT-0506) and highland minority textiles.
A traditional Maldivian decorative technique in which turned wooden vessels boxes and architectural elements are coated with successive layers of natural resin lacquer (liyelaa) colored with mineral and organic pigments and incised with a…
Wajima-nuri, the lacquerware of Wajima on the Noto Peninsula, Ishikawa Prefecture, Japan.
Kyō-Nuri (京塗 — Kyoto lacquer) is the court lacquerware tradition of Kyoto — producing tea ceremony utensils (tea caddy, lacquered bowl stand, lacquered trays), Buddhist altar objects, and decorative boxes in urushi (Japanese lacquer —…
Lao gold-on-black lacquerware (ເຄື່ອງລັກ kheung lak) is the Buddhist ritual and decorative lacquer tradition of the Lao Loum people — producing manuscript cabinets, alms bowls, trays, and temple objects in black lacquer with gold leaf…
Mon lacquerware (မွန်ယွန်း mon yun) is the lacquer tradition of the Mon people of Mon State and the Bago Region — a tradition older than Bagan yun (CRAFT-0422) since the Mon civilization preceded the Bamar in the lower Irrawaddy.
Ryukyu Shikki (琉球漆器) is the lacquerware tradition of Okinawa — distinct from mainland Japanese lacquer traditions in its use of a brilliant vermillion (朱 shu) as the primary color rather than black, and in a decorative repertoire of three…