The weaving process is a brilliant and colorful flower in the folk arts and crafts of the Tibetan region. It is famous for its variety, unique forms, colorful colors, strong national style, and regional characteristics. It is a product of the wisdom of the Tibetan people and the spirit of the snow-covered people and nature fighting against the spirit of struggle. It is also hard-working and pristine. The Tibetan people loved the beauty and created an American mindset.

Weaving craft supplies are essential daily necessities for Tibetans to survive in the snow-covered alpine zone. Their materials are mainly based on locally produced cattle wool. As a result, weaving techniques are widely used. Almost every family has a weaving machine and everyone has a spinning handle. . Even in the alpine pastoral areas that live in aquatic plants, weaving cattle and wool supplies are still the most enthusiastic handicrafts of the herdsmen, and they are also the areas in which to display their artistic endowments. So in the unified national traditional craft style, gave birth to a variety of colorful and simple style of woven crafts.

First, a long history of development

(I) Ancient cultural origins

The Tibetan weaving process has a long history of development. In addition to farming and nomadic past, the history of Tibet has been concentrated on the handicraft industry. Ethnic handicrafts and agriculture and animal husbandry are listed as the three traditional industries in the history of Tibet. In fact, from the moment humans began to engage in primitive production activities, handicrafts became one of the most important production activities of people. According to archeological excavations, the source of Tibetan weaving techniques can be traced back to the Neolithic period of the Karorian Culture in Changdu, Tibet, 4-5 thousand years ago. There are a large number of bone cones and bone needles unearthed from the Karu cultural site, of which 208 are horn cones. There are 31 bone needles, which are finely ground and sharp at the tip of the needle, providing tools for sewing clothes. It shows that the ancestors already had clothes sewn with animal hides or wool knits; unearthed ceramic spinning wheels, wire pendants, etc. It proves that as early as four or five thousand years ago, the ancestors of the Tibetan Plateau had already started their early wool textile production activities.

Three thousand years ago in Xinjiang, Hami’s dry-corpse dresses belonging to the early Tibetan ancestors had woolly felt hats. The men and women all wore woolen robes and woolen fabrics with legs. There were colorful colored wool fabrics, and red, Green, brown, black and other color yarn knitting composed of square grid and strip ribbon decoration. During the excavation of the Nomuhong Culture in the Bronze Age in the Qaidam Basin, Qinghai Province, more wool, wool, wool and wool yarns were woven out, and they were dyed with different colors such as red, yellow and blue, and woolen fabrics. In addition to the weaving of warp and weft, the ornamentation also uses herringbone weaving. A large number of animal skeletons and horses, cattle, sheep, and camel excreta deposits have also been unearthed from the site, reflecting the development of textile technology at the time and the development of animal husbandry related to textiles.

The textile debris unearthed from the stone tombs of the Neolithic period in Arigou Alonggou include the socks knitted with a red linen cloth on the female's body and the ropes woven from black, red and white wool. Residual paragraph. There is still a piece of eye-catching fabric - "eyes" on both faces of the woman's body. It can be seen that the woolen woven fabrics at that time have been widely used in production and after death. The appearance of a variety of colored wool fabrics reflected the beginning of a large-scale dyeing technique and the ability to pursue aesthetic and beauty-making in various colors and changes. The combination of different colors in the block surface, the smooth sense of the strip-shaped ribbons, and the richness and variety of textile shading techniques have already made outstanding arts and crafts attributes. The diversification of textile pattern colors, the increase in the number of finished textile products, and the popularity of use indicate that more than 2,000 years ago, Tibetans of ancient humanity had already possessed more advanced weaving handicraft techniques and applied warmth and practical functions to clothing, clothing and other daily necessities. The ability to pursue aesthetic pursuits. From one side, it shows the prototype of the ancient weaving process and the simple and regional folk style characteristics.

The bamboo weaving process is also an activity integrating practical and aesthetic art in the ancient human life of the Tibetan region. Its long history can be traced back to the primitive times. According to the legend of the Lugu nationality, the bamboo ware is firstly the road that lives in the jungle. Used by the Pakistanis. According to legend, there was a man named Shi Jinjian who once saw two “Jiqiong” birds picking up on petal and grass and plucking some holes. It was very beautiful. Since then, there has been bamboo weaving on the Tibetan plateau. Archaeologists discovered the bamboo arrows dating back to 28,000 years ago in the Lubá area, showing the long history of the use of bamboo utensils in the Tibetan Plateau. In the era of Abadava, the number of types of bamboo weave increased. With the appearance of iron tools, bamboo weaving techniques have also been greatly improved. Bamboo is widely used in construction, repairing roofs, partition walls, sleeping mats, and also used as a receptacle for daily life and labor production, such as bamboo boxes, bamboo baskets, bamboo baskets, and lunch boxes. The bamboo box is finely detailed, and the woven ornamentation is beautiful and varied. The pattern is decorated with checkered pattern, herringbone pattern, hole pattern, etc. Some weaving utensils are placed on the banana leaf and can also hold water. Its variety, style, ornamentation and weaving process Skills show extraordinary accomplishments. It can be seen that in the primitive communal clan communes stage, Tibetan crafts have reached a fairly high level of technical skills.

(b) Long history of development

About the 4th century BC, the rise of the Yaron-Suzinobu district in the Yalong district of the Yalong district reached the beginning of the 7th, the 33rd generation of the Tubo Zong king Songtsen Gampo, unified the Qinghai-Tibet Plateau, and established the capital city (now Lhasa). ) Established a powerful slavery regime - the Tubo Kingdom. Songtsan Gambo made great efforts to show his talents and magnanimous talents. He also opened up his country and spoke highly of the world of culture, science, technology and other countries such as Scorpio, Nepali, Tang and Bosi. Communication. Tubo’s social production is based on agriculture and animal husbandry. Animal husbandry developed earlier. There are many types of livestock, including cattle, partial cattle, horses, sheep, donkeys, storks, and camels. The rapid development of animal husbandry production has greatly promoted the popularization and improvement of wool textile technology and knitting technology. During the Tubo period, a large number of wool fabrics and silk fabrics have been widely used in people's lives, foreign exchanges, commodity exchanges, and military equipment. Princess Wencheng’s “Liao Song” is a description of “Fu Sang Weaving Silk Township, Compiling Bamboo as a Seam, and Limestone as a Pottery”. During the Tubo period, the types of wool textiles increased, and a variety of colorful wool and cotton fabrics such as blankets, quilts, and cotton robes had appeared. In particular, black and white woollen fabrics woven from bovine wool are of fine texture, exquisite craftsmanship, and are warm and durable. They are indispensable in Tibetan production and life, and are used in the production of clothing, quilts, sleeping mats, etc. Shoes, caps, etc., or used in the production of cows and horses, bedding, utensils, bags, and sewing in the nomadic areas, armaments and equipment in various sizes accounts. Colorful cotton wool fabrics have also become a favorite of women. They have high aesthetic and ornamental values. In this period, the Xigaze area in Xigaze has become a source of richly-buried Tibetan quilts, and its collection is smooth, soft, thick and beautiful, and has a variety of specifications and color varieties. Bamboo woven craftsmanship is more exquisite, the aesthetic pursuit of patterns and styling is more prominent, and the types of forms have increased. During the Tubo period, it also attached great importance to learning and introducing advanced technology from other countries and regions. Wool spinning, cotton spinning, silk weaving and other textile technology draws on many weaving techniques from Scorpio, Nepal, Persia and Central Plains, which greatly promotes the development of local weaving techniques.

In the Sakya period of the early Yuan Dynasty, the weaving process in the Tibetan area had a very high reputation. According to the Tibetan literature "Yong Quqiong" (religious origins of the Chu River Basin), at the beginning of the Yuan Dynasty, Pak Saba, the Sagati king of the Sakya, served as the Grand National Teacher and the Imperial Division, and ended the chaotic situation of Tibet's feudal separatism. The Tibetan economy was acquired. Recovery and development. At that time, Jiang Xi, the most famous card pad, had looms at home, and weaving sounds were heard everywhere, shops flourished, and card mats flourished. Sakya’s King Babbaba went to see the Emperor Kublai Khan in Kyoto, where his tribute consisted of the Gaya card mat. Jiang Yu’s card pad was popular in Kyoto and won the reputation of “Fan Man Fine”.

After the 15th century, the Gelug Sect created by Master Tsongkhapa emerged as the mainstream school of Tibetan Buddhism in Tibet. Social peace, people's lives and production are relatively stable. The Tibetan folk textile industry has also entered an unprecedented stage of flourishing development. The production of padding, rituals, gongs, and quilts is very rich in cattle and wool knits, with exquisite craftsmanship, brilliant colors, and unsophisticated folk. The charm shows the Tibetan people’s aesthetic and creative talent. According to legend, during the reign of V. ** Awang Rosang Gyatso, a “Full Tibetan Handicraft Exhibition” was held in Lhasa and it was assessed that there were Jiang Dujun’s mats and Gongga’s sisters. Show aprons, Lang Jiexiu's embarrassment, ink bamboo workers Khatba's pottery, Lhasa's sewing products, Changdu's Thangka, Uighur Tibetan areas of gold and silver copper and iron and other folk arts and crafts. Weaving handicrafts were particularly favored and once served as the best gifts for the Tibetan government to pay tribute to the Qing court each year.

(III) Good prospects for development

After the peaceful liberation of Tibet, the Tibetan weaving handicraft industry received strong support from the party and the country. In 1953, the then deputy commander of the Tibetan military region Ngapoi Ngawang Jinmei established the Lhasa carpet factory, the first national handicraft enterprise in Tibetan history. Since then, the prelude to the scale, enterprise, and marketization of the Tibetan national weaving handicraft industry has been opened. In particular, since the reform and opening up, along with the rapid development of politics, economy, and culture in the ethnic areas and the initiation of strategic decision-making for the development of the central western region, as well as the development of tourism and tourism products in the western region, the weaving process with Tibetan unique features and regional features has been welcomed. A new period has come. With only one card pad, there are dozens of large-scale enterprises in Tibet. They adopt advanced production methods, boldly innovate and reform, and integrate product use value and ornamental value. The carpets produced are flexible, soft, strong, and color. Bright, rich patterns. Russell carpet factory, Jiangyan carpet factory, Shigatse carpet factory and other carpet products also entered the European and American international markets. Westerners praised Tibet's card mats as "genuine ethnic handicrafts." They are also known as the "Three Famous Blankets" of the world with Persian carpets and Turkish carpets. In the old days, only a few cardholders enjoyed the card mats. Now almost every family has several or even more than a dozen beds, which are necessities for beautifying and decorating families. The contemporary weaving techniques of Tibetans also reflect the aesthetics of the atmosphere of the era of reform and opening up, and the popularization and nationalization.

Second, weaving crafts

(a) Variety of "card mats"

Card mat, that is, Tibetan wool carpet, referred to as Tibetan carpet. Card mats can be roughly divided into three types according to wool quality: one is woven from wool and wool yarns made of yak wool. This type of carpet is of the best quality and light weight and is suitable for use in climate-friendly places such as southern Tibet. The second is the use of sheep's fine wool woven into the wool, there are two kinds of plain and color patterns, color pattern carpets weaved with colored wool, very popular with urban residents; the third is mixed with yak hair and wool textile Made of this kind of carpet, black and white, clear, thick and wear-resistant, deeply welcomed by farmers and herdsmen. The pad has a history of more than 600 years, and can be produced in Jiangyan, Lhasa, Langkazi, Longxian, Dingqing, Chaya, etc. The card of the Shigatse River Gyantse, known as the hometown of card pad, is the most famous. Jiangyan Card Mat is an excellent folk art variety with long history, rich ethnic characteristics and exquisite craftsmanship in Tibetan weaving art.

In the middle of the 15th century, during the era of Genten Juba, the textile artists in Jiangbei and Gangba produced new varieties that were better than the previous products on the basis of a kind of blanket called tangba. From then on, the pad became the life of the Tibetan people. Important craft supplies. During this period, the production of Jiangyan card mats has already reached a considerable scale. Thousands of people in the town of Jiangyan alone specialize in card mat production. In the early days, there was no pattern on the Jiangyan card pad, and the color was monotonous. After drawing on the patterns of the Thangka, murals, and gorgeous satin that were introduced from the Mainland, many designs with Tibetan ethnic characteristics were designed. The weaving techniques are also becoming more mature, and weaves are unique, structured, fine and beautiful, and durable. Durable, bright color, soft and delicate carpet surface and strong style is called full possession. Jiangyan became the center of the Tibetan production pad. In history, Jiangyan had Chuxi nobles and Duosi nobles hired pad producers to produce the pad “Duoxibisha” and “Chuxi Bisha” named after their own family. , and for the exchange of cases. Lhasa's great aristocrats, Xiasha and Charong, had hired excellent folk artisans to produce their own so-called “Xiasha Gangdian” and “Cashmere Gangdian”. The original Tibetan local government set up a workshop to produce card mats in Jiangyan, and established the “Kaisha Club”, a card mat industry guild, and sent a five-person product manager to manage the production of the Jiangyan card mat industry. In addition to its local products, its products are also exported to India, Nepal, Bhutan, Sikkim and other surrounding areas. There are many kinds of Tibetan card mats and they are widely used. It can be divided into seat cushions, mattresses, cushions for temple passages, pan columns, pot covers, tapestries for back cushions, chair cushions, pillow cushions, and saddle pads, heads and necks for yak, calves, horses, and donkeys. , waist, back, tail ridge trim, etc.

The decorative pattern of the card pad is also colorful. The individual patterns include dragon, phoenix, crane, deer, bmw, bat, butterfly, moire, seawater pattern, Baoxianghua, peony, orchid, plum blossom, bamboo, landscape water, etc. Combination patterns are auspicious "10" 雍 图 图 图 、 、, "鼎" pattern, 字 字 word decoration, sun and moon baby, auspicious treasure, Erlongxizhu, Phoenix peony, Longfeng Cheng Xiang, 10,000 words knot and so on. In particular, the pattern design of the Jiangyan card pad not only retains the traditional features of the nation. And in the process of continuous innovation, the craft becomes more and more exquisite, the variety of colors is increasing, and the patterns are colorful. Many new patterns and new styles with the spirit of the times have also been created. The number of varieties produced has increased from 8 in the past to over 50. "Transfer" card pad, dyeing thick and beautiful, pattern weaving clean and beautiful, "Bianba group Ma" eight flower pattern overall layout is reasonable, with the right color, with a natural sense of simplicity. The folk craftsmen also weaved the implements of the Eight Immortals to the edge of the “Double Dragons Beads” pad, and used plants and natural minerals as dyes to weave the pad in the blue, yellow, and green colors, ending the “ The history of Jiang Rong's card mats, which did not smell color, opened the way for colorful color-changing soil dyeing. The newly designed pad patterns that are designed to express regional scenery, historical sites, historical culture, folklore stories, auspicious Nafu, etc., such as "Mount Qomolangma", "Potala Palace", "Jiang Rong's Anti-British Invasion Map", " The large-scale tapestry of Heyi Si Ruitu, etc. shows superb artistic skill and craftsmanship. Its color is gorgeous, intense, loud, or harmonious, warm, soft, or elegant, noble, sacred, or light and simple. Strong ethnic characteristics and regional style.

The Tibetan card pad process has been more developed in recent years and has been developed from a private workshop to a factory with a certain scale. Weaving is mainly based on traditional craftsmanship, and the colors are more abundant on the traditional basis. The color matching has grown from more than a dozen species to more than one hundred. The basic color still maintains a dignified, clear and deep style. After rough cutting and fine cutting, the patterns and lines are clear, and the thick sense of plush is enhanced. The new card pad is based on traditional patterns. The combination of eight different Chinese lotuses, Gesang flowers and grass and grass patterns in different styles and different colors can be used to cover the entire surface. There are no lace patterns around and it is fresh and bright. The high level of weaving techniques such as small tapestries, horse insoles, and seated gongs has strong aesthetics and symbolism, and has the distinctive features of contemporary Tibetan woven printing and dyeing. The unique style and rich content of horses, small-walled decorations, etc., have become decorative artworks created by card padding in the contemporary era.

(b) Rainbow-like "help code"

Gangdian, colored apron, is a rainbow-colored, highly decorative wool fabric that is used to make women's waistcoats, aprons, shoulder bags, or inlays on the gowns. The earliest imitation of India's "German Gangdian" apron. After weaving a better quality and color of the "Shema code." . Help code knitting precision, colorful. The pattern is decorated with wide lines and fine lines, and the wide lines are arranged in a strong contrasting color, with a bold and crisp style; the fine lines are formed with elegant and gentle, coordinated styles in the same related colors. Help codes can also be used to make decorations on clothing and shoes and hats, and aprons made with the help code. The texture is excellent, the variety is also numerous, and the style, pattern, and pattern are obviously different due to geographical differences. Products are long, short and trapezoidal. The northern part of the common "Apron" in northern Tibet is decorated with long spikes. On both sides of the "Apron" is a cross-cut "Galuo" pattern. It is very gorgeous. It is a white, mainly used for girls' festivals. Gangdian, decorated for elderly women at festive times; descending to help the code, but also for the elderly women decorated; colored velvet help code, decorated for the nun; Russian poor helper, decorated for the young girl; Xiaza Baisa help Code, especially loved by young women. Every holiday, women wore an apron around the waist, and it was like a rainbow huddled. Several people and dozens of people hugged together. It was colorful and colorful.

The Tibetan gangs are mainly produced in areas such as Shannan, Shigatse, and Lhasa, and are most famous for the exhibition by Dexiu, a tribute group. They have a history of nearly 600 years. Among them, we have the best weaving at Jiafu Kamba. The Gongxijie Group Dexiu Local households use the weaving code as the industry, and many women are lined up, men are on the machine, the weaving code is strong, uniform, detailed, beautiful, and highly crafted. Therefore, it was hailed as "the hometown of gangs."

(c) elegant and rustic

Alas, it is the most common kind of hand-woven woollen in the Tibetan area and is the main material for making clothing, shoes and hats. There are many types of oysters, and the texture of their craft is best known as Zalang, Langkazi, Gyangze, Mangkang and Gongga. In the 15th century, Tibetan society has generally regarded it as a tribute and gift for relatives and friends. The Lang Jiexue town in Gongga County was from the Pazhu dynasty, where the Eastern king was in power, to the Gandanpozhang regime, which was in power. For centuries, it had been producing gongs for the emperor in Beijing. Mo and Canada, their hair quality are "Yuanyang", "Duobi" and other fine wool. "History of Ming Dynasty," also clearly recorded that at the time of the exposition of the king's tribute in Tibet, there were flaws.

"A Dream of Red Mansions," 105 copies, written Ningguofu was copied, there are 30 volumes in the object. According to Lange Snow's algorithm, about 600 meters. It can be seen that in the early years of the Qing dynasty, 氆氇 was not only hidden in the emperor's internal library, but also owned by the royal family in the Mainland. Shema borrowed the imperial superiors and chose the wool woven under the sheep's neck. The weaving technique was superb. It was a special costume for the nobles. It was famous for the Gongxijie group Dexiu and the Langjie Xuezhen woven Xiemaan. Once used as a tribute for **, Tibetan kings, and senior eunuchs, the woven fabrics were made of wool and woven into the shoulders of the goats. They can be dyed in the desired color and are bright and bright, second only to “Shema.” , commonly used to make Tibetan robes and trousers; Xia Xia, also known as "beads" or "color felt," is the raw material for robes and "help code", commonly used to make bags or clothing trims; Thai The horse, also known as the "ladder bead," is a medium-sized pelicans. This breed is mostly brown and black and is commonly used for the production of Tibetan robes and robes. The mat felt is a coarse wool woven from goat's wool. It is characterized by strong, impervious, commonly used to sew pockets, bedding, peasants and herdsmen are also used to sew clothing; Zhu Zhu 氆氇, divided into two kinds of long and short ,, thick texture, warm, the production process requirements Because of its high level, only a few nobles and monasteries can enjoy it. They are often used to make bedding or “Dangangmu” (ie, a large cloak). Zi paint Pulu. Is the most common kind of wool, generally used to make clothing and herdsmen winter clothes.

The colorful flower varieties have strong ethnic characteristics, and the most typical is the color pattern. It is a variety of color lines woven into the wide range of color stripe Nepalese. Bars show a pure and vivid color of the era features, ribbons arranged in a free and live show a harmonious and lively, five-color, seven-color to do the approximate rainbow-like color distribution, more orderly and reasonable, the ribbon is about slightly wider, so that " Around Xie, the lines tend to be peaceful. Some color scales have grown to more than ten species, and the tone arrangement is even more beautiful. Another type of cool tone is used to arrange ribbons in varying depths. Each ribbon is only 1 to 2 centimeters wide, showing a simple, harmonious, rigorous and delicate visual appearance. The small aprons made by the sculpting of the flowers were put together in a horizontal pattern of 3 to 4 felts, and the horizontal ribbons were misaligned with each other, resulting in a wonderful rhythmic effect. The edging, edging and sleeve edges of the robes are very decorative and almost become representative of Tibetan costume style.

Another type of color blanket is printed on the woven white wool colored stripes and cross patterns, this pattern is called "Galo" in Tibetan, meaning "return from the Han area in the Mainland." With regard to the origin of Gallo, there is an interesting legend in the Shannan region of Tibet: When Tibetan merchants went to Han district to exchange goods for a long time, they discovered that there were “Ten” characters on many utensils in the Mainland. They printed the "Ten" pattern on the stamp and brought it to the Han District for sale. The sale was unexpectedly good. Since then, the pipa with the “10” word “Galuo” has become popular in Tibetan areas. This kind of tie-dyed cross flower bud is thick and deep in color, and its texture is thick and dense. The pattern is single, and the white flowers are mainly purple. Some of them also make patterns, for example, “Ohhhwahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh”. . The recently developed styles of white flowers, colored flowers, dark flowers and strips are commonly used to decorate Tibetan collars and gowns. They are also excellent fabrics for sewing outer robes, uppers, and travel bags. Typical works.

(d) Concise and beautiful quilts

The Tibetan quilt and Tibetan language called "Zu ugly" is an indispensable cold item for Tibetans who lived in the alpine area of ​​the ridge for generations. It is also known as the "Mao quilt," and it is a family property of Tibetan families. According to legend, Tibet was produced in Tubo, and it has been at least 1,400 years old. Originated from the Nangkazi County west of the Yamdrok Lake, the main producing areas are Shannan, Shigatse, and Lhasa. The Tibetan quilt is made of wool as a raw material and has the characteristics of softness, flatness, tight density, thick texture, warmth, strong passage, and durability. Unique in Tibetan weaving techniques is the use of planting techniques to plant a cluster of wool that is woven into wool and grown to a length of more than 2 meters and a width of 15 meters. This is like a natural sheepskin. There are four main types of specifications: single-stranded, double-stranded, triple-stranded, and four-stranded. There are two kinds of plain and color patterns in the possession. The plain color is the white wool color. The color pattern is a cluster of wool and white wool dyed into red, yellow, blue, and green. A rainbow-like, smooth and beautiful horizontal stripe lace is formed. Some of them are arbitrarily played with their own personalities. Various symbolic patterns such as the lucky eight treasures are decorated on the quilt.

There are many kinds of Tibetan folk knit fabrics and they are eclectic. For example, the woven woolen pockets are decorated in a variety of shapes, colors are simple, styles are heavy and ancient; cows, donkeys, and horses are decorated in rich colors and patterns are simple; grazing “Russian” can be used as a whip and a stone thrower. The combination of colors is full of rhythm; women's lace belts have bright colors and smooth lines. The richness of the national characteristics is simple and exaggerated. The packs vary from person to person. At the same time, the traditional folk weaving techniques, such as strip knitting, rubber band weaving, rattan weaving, bamboo weaving, wool knitting, etc., also maintain the Tibetan folk aesthetic style under the premise of a corresponding improvement in the process. The silk tangka, embroidery Thangka, Tibetan silk belt shading, and multicolored Hada pattern weaving made from the mainland's craft materials are still based on Tibetan traditional aesthetics, and objectively formed an integral part of the Tibetan woven arts and crafts. There is also a weaving flower brocade of ethnic minorities in the southwest, which is woven by Tibetan craftsmen and is also distinctively Tibetan. This reinforces the consistency of silk weaving techniques and Tibetan aesthetic pursuits. The exquisite and simple Tibetan folk weaving process is an outstanding and ancient cultural and traditional art created by the Tibetans in nomadic and farming life. The Tibetan contemporary weaving process is based on the traditional craftsmanship in the new era and is innovative in form and content. New and updated materials have produced traditional Tibetan art styles with unchanged traditional styles, distinctive craftsmanship, era flavor, cultural taste, and social significance. It is as colorful as the daily life of the Tibetan people in the 21st century. It is saturated with national character, ideal pursuit, and aesthetic interest. It is full of Tibetan people's infinite passion for life. It is a perfect reflection of Tibetan material life pursuit and spiritual culture construction. , and therefore very attractive.