Research On The Design Art Of Tibetan Buddhism Ritual Implements In Post-propagation Period

Result of the religious artifacts as art and religious culture, has longbeen considered an important starting point to study religion belief andminority culture. Tibetan Buddhist artifacts have excellent artistic tradition,in various forms, rich in content, technique, however objects of art designperspective, and from the type, material selection, traditional crafts, artfeatures, design thought, culture and other aspects of the systemcomprehensive discussion of Tibetan Buddhism crafts, in the current studyis still lack of researching.According to the division in the course of the development ofBuddhism in Tibet, Tibetan Buddhist can be roughly divided into“Early-Propagation Period” and “Post-Propagation Period”, whichPost-Propagation Period is more important in the development of TibetanBuddhism. The source of relics for Tibetan Buddhism ritual implementscan be divided into three types: Temple and hall, Buddhist and believers,collection agencies. The paper intends to classify the Post-PropagationPeriod Tibetan Buddhism ritual implements into eight categories based onpractical function: respect, praise, holding test, solemn, oblation, talisman,persuasion, containers; in addition, also can be classified in accordancewith material. Post-Propagation Period Buddhism ritual implements have the bright artistic characteristics, in other laws,“avoid square and advocateround, seeking powerful from curve”,“invariable and standard, thick andheavy”; on the aspect of decoration, including “auspicious patterns” and“hideous patterns”. Hideous patterns are typical form of the TibetanBuddhism implements decoration, which can be divided into four typesdepend on its themes: poisonous insects and beasts, demons and guardians,organs and limbs, five elements combination. The Tibetan traditional craftmakes the ritual implements to be excellent design works, especially themetal crafts are the most characteristic, in the whole production accountedfor a larger proportion.Design philosophy of Tibetan Buddhism ritual implements can beanalyzed from the four aspects: firstly, regional and inclusive are from theperspective of cultural fusion; secondly, religions and dedication are fromthe perspective of implement quality; thirdly, nationality and inheritanceare from the perspective of crafts; finally, artistry and appreciation are fromthe perspective of design aesthetic.The accumulation of evolution after more than one thousand years, inthe highland civilization and "theocracy" geographical and culturalbackground, Tibetan Buddhism ritual implements interpret the art fusion ofthe religious art and national design。Its rich and colorful form of art anddesign also has a long history of culture system for the religious art in the garden of bright flower.