自然赋予了西藏人以想象丰富的审美感受,甚至在远古时代就是如此,这点通过我们所获得的为数不多的作品就可作出判断,并在其详细的装饰中发现其主要的表现形式。装饰感主宰着西藏艺术的发展;其作品无论是宗教的还是世俗的,都可以被看成是施展天生的装饰才能的有效借口。不过,她首先最重要的还是一种宗教艺术,其目的在于复制宗教的偶像、主题和信条。她不是那种毫无制约的神启的结果,而是一种精心创制的表现神圣幻想和辅助冥想的方法。 Naturally, the Tibetans were given the impression of a rich aesthetic feeling, even in ancient times, judging by the few pieces of works we have obtained and discovering their main manifestations in their detailed decorations. The sense of decoration dominates the development of Tibetan art; its work, whether religious or secular, can be seen as an excuse for exerting innate decorative abilities. However, above all, she is, above all, a religious art whose purpose is to replicate religious idols, themes and creeds. She is not the result of the unbridled divine revelation, but an elaborate method of expressing divine fantasy and assisting in meditation.