In 2001, Kunqu Opera was inscribed on UNESCO's first list of Masterpieces of the Oral and Intangible Heritage of Humanity. Also known as Kunju or Kunqiang, Kunqu originated in the early Ming Dynasty in the Suzhou and Kunshan regions of Jiangsu Province. Its founder, Gu Jian, developed the early form of Kunqu — known as the "Kunshan Qiang" — by refining and enhancing the existing melodies of the local Southern tunes. Historically, it was recognized as one of the four major operatic styles and has a history spanning over 600 years.

The Biluochun tea processing technique is mainly found in the Dongting East and West Mountains of Wu Zhong District in Suzhou. Biluochun is a renowned green tea, one of China's top ten teas, made from the original tea variety of the Taihu region. The tea plants are intercropped with fruit trees, resulting in a tea that, when roasted, is a bright, fresh green with a coiled, snail-like shape. It possesses a unique color, aroma, and taste. By the Tang and Song dynasties, it had become an imperial tribute tea, and the tea sage Lu Yu mentioned it in his "Classic of Tea."

The gold and silver inlay technique of Suzhou traces its origins back to the "Cuo Jin Yin" (inlaying with gold and silver) craft of the Spring and Autumn period, renowned for its precision, intricacy, uniqueness, and skillful execution. The process involves rigorous steps such as design selection, slotting, inlaying, and fine carving. The finished products exhibit artistic features of precision, elegance, uniformity, smoothness, and daring style. This technique is widely applied to rosewood furniture and cultural artifacts, highlighting its unique artistic and cultural value through both preservation and innovation.

This traditional handcraft developed from the needs of theatrical arts, integrating various techniques such as modeling, printing, painting, sewing, and leatherworking. Essential for theatrical performances, these costumes and props not only reflect the identity and personality of the characters but also enhance the stage's aesthetics, highlight the storyline, and improve the overall stage effect.

In 2009, it was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity as a traditional Chinese silk weaving technique. Kesi is a specialized category of traditional handmade weaving, known for its intricate openwork effect at the contours and color transitions in patterns. This effect produces a relief-like appearance, as if carved with a small knife, hence the name "kesi," also known as "carved silk." Suzhou's reputation for kesi began in the Ming dynasty, noted for the imperial use of kesi dragon robes and kesi art pieces such as paintings and calligraphy.

This craft is listed as a traditional technique in the second batch of National Intangible Cultural Heritage representative projects. During the Ming dynasty, the formation, development, and flourishing of Kunqu opera spurred the significant growth of Suzhou's musical instrument industry, making its techniques renowned. In the Qing dynasty, the prosperity of Jiangnan storytelling and folk arts led Suzhou's ethnic musical instrument production to reach its peak.

In 2009, it was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity as part of traditional Chinese silk weaving techniques. Song brocade, developed during the Song dynasty, showcases a weaving technique with patterns that emerge from both the warp and colorful weft threads. It inherits the techniques of Qin and Han dynasty warp brocade and the style of Tang dynasty weft brocade. Mainly produced in Suzhou, Jiangsu Province, it is also known as "Suzhou Song Brocade."

The art of making bronze censers dates back to the Xuande period of the Ming dynasty. Suzhou, as a representative of the "Su Foundry," has always been a key center for the preservation and reproduction of this craft. The entire process is done by hand, involving dozens of meticulously detailed steps. This includes the highly demanding tasks of copper purification and the restoration of over a hundred types of ancient patinas, which test the artisan's deep experience and skill. The final result, achieved through precise polishing and patina application, is a product characterized by its elegant shape and rich, lustrous color.

Weitang, located in the Xiangcheng District to the east of Suzhou city, is known as the "hometown of freshwater pearls" in China. The Weitang freshwater pearls are a typical representation of the ancient Taihu pearl processing technique. Pearls from the Taihu region, historically referred to as "Wu pearls," have a history of over 4,000 years.

It originated in the Ming dynasty and flourished during the Ming and Qing periods. The earliest literary work documenting nuclear carving is "Essay on Boating on the Lake" by Wei Xueyi from the late Ming period. The primary material used is the "Wuhang" olive pit. The process involves several steps such as material selection, design, shaping, carving, refining, polishing, and buffing. This art form is known for its imaginative designs, lively forms, strong three-dimensional effects, clear and smooth lines, and a delicate, exquisite style, showcasing extraordinary craftsmanship.

Suzhou paper-cutting is an art of creating intricate hollowed designs, using materials such as colored rice paper, gold foil paper, aluminum-gold paper, and even silk. The craft is made with handmade carving knives and a wax plate. Traditionally, this technique has been widely used in the creation of Suzhou lanterns and decorative patterns.

It is one of China's four major styles of clay sculptures. They are mainly divided into two categories. The first category is statues of deities and Buddhas, typically found in large temples and halls. The second category is "Su Nian," which refers to small clay figurines. This includes "Niè Xiàng" (portrait sculptures) and "Shuā Huò" (playful items). The clay used, known as "Zi Clay," is sourced from around Tiger Hill. During the Qing dynasty, the production and sale of Suzhou clay figurines were predominantly in the Shantang area of Tiger Hill, which led to the collective name "Tiger Hill Clay Figurines."

Su Embroidery refers to the embroidery techniques centered in Suzhou and the surrounding Jiangsu region. With a long history, it is noted in Liu Xiang's "Shuo Yuan" that as early as the Western Han period, the Wu region had “clothes made with embroidery and brocades.” By the Ming dynasty, Su Embroidery had developed an artistic style described as "exquisite, refined, and elegant." In the Qing dynasty, Suzhou became known as the "embroidery market."

Over the years, Su Embroidery has evolved into a distinct artistic language and a complete system of embroidery techniques. It is primarily divided into six types: plain embroidery, random stitch embroidery, realistic random stitch embroidery, double-sided embroidery, double-sided three-variety embroidery, and hair embroidery. The craft includes nine major categories of stitches and over forty different techniques.

It is one of China's "Three Great Woodblock New Year Prints." These prints originated in the Ming dynasty and reached their peak during the Yongzheng and Qianlong periods of the Qing dynasty, boasting a history of over 400 years. The creation of Taohuawu Woodblock New Year Prints is rooted in the block printing techniques of the Song dynasty and carries forward the Ming dynasty's method of multi-colored printing, where each color is applied using a separate block. This tradition has preserved the complete set of skills, from woodblock carving to color block printing.

It is primarily popular in the areas around Changshu, including various counties and districts of Suzhou. Since the late Ming and early Qing dynasty, when Yan Tianchi established the "Yushan School of Guqin Playing," it has thrived for over four centuries, exerting a profound influence. It is praised by later generations as "the orthodox sound of antiquity."

The silk culture of Suzhou, particularly in areas like Zhenze and Shengze in Wujiang, is a deep-rooted folk tradition in the Taihu Basin. Local silkworm farmers have developed unique customs over time, such as wearing silkworm flowers, worshipping the silkworm deity, and gazing at mountaintops, all accompanied by rich sayings and taboos reflecting their hopes for a bountiful harvest. This custom spans the entire process from mulberry cultivation and silkworm breeding to silk reeling and trade, and serves as a living heritage of the sericulture culture in Jiangnan.