Tibetan Folk Art wood carving, style healthy, simple, its performance简炼practices, focusing on God-shaped mass, both strong decorative fun, but also quite artistic charm. For example, hollow sculpture of "Bodhi翠叶", composition is simple and a piece of green oval leaves Bodhi together, cut branches, Wang stem erect even have a bird habitat in the Bodhi leaf, the singing is about to resurrect its wings straining; lush drops Chui's Bodhi leaf, the Chaoyang his half smiling face; Bodhi leaf formation雕镂circular crown, gives the feeling of the sacred; Bodhi leaf between the sun Yunxia sleek, well-structured, the line is smooth, rigid-flexible properly, not only Bodhi leaves the natural beauty, but also make people feel like painting outside. Another example "Mid Golden Block" in a split-Lei Jin Lin of横空born, lianpan Block that there is only one Buddhist, but the mystery of a knife to show the full surround-Jin Lin and throne without that space. "Volume舒云luck" in two volumes flying clouds dance with prance in the fixed side Malachium empty wooden cloud yes. The rest have no one thing, but it was a blue cloud had plenty of ups and downs, the first around the vast cloud of space, no King妙境into office, but also played a possession of the Tibetan cabinet table decoration light ventilation functions, can be described as multiple purposes.
Tibetan Folk carvings carved furniture and doors and windows of coloring, the majority of people are like to use color contrast and color to play up. Because of the resplendent, rich shades of red fire the most appropriate expression of the Tibetan people's life. Of course, there are minor differences Datong, such as "red lotus in full bloom", but for the tone of green, filled with a fresh, peaceful atmosphere, showing the lotus emerge unstained from filth noble quality; "Longfeng Ching Cheung", then with golden yellow as the keynote screen warm, bright, showing that upward mood Xinxin. Here, the "color that is, thinking" the views of the full verification.
Tibet's architectural woodcarving the Meaning of harmony and unity with the strong combination of very close. In spite of many excellent wind rain and snow for thousands of years of erosion, still majestic appearance unabated. Mold in the instruments used in wood carving (pandan Sodom), the subject of a uniform, but the form of carved works of different practices in the area will be less than盈尺practical, imagination, taste the perfect combination of the three, it is now serving. As for the Tibetan people by the book sealed wooden plate is absolutely beautiful.
当你步入藏家粉白色的楼房里，就会被一件件雕花镂卉、富丽堂皇的藏式家具深深地吸引住。那些式样布局合理，图案千姿百态，色彩鲜艳明快的藏桌藏柜，以及雕花的门楼窗梁，都洋溢着幸福、吉祥、热烈的气氛。藏式木雕家具是藏族特有的民间传统工艺之一。藏式木雕家具和楼窗梁柱雕刻的内容丰富，题材广泛，人物、花卉、虫鱼、鸟兽图案、花纹等等，无所不包。其中《红莲怒放》、《龙凤呈祥》、《白鹤寒松》、《菩提翠叶》、《莲台金座》、《舒云卷彩》、《吉祥图案》等等，则是西藏民间木雕艺人表现的传统主题。
西藏民间木雕艺术，风格健康、朴实，它的表现手法简炼，重在以神传形，既有浓厚的装饰趣味，又颇具艺术魅力。比如镂空雕刻的《菩提翠叶》，构图简洁，一片片青翠的椭圆形菩提叶连在一起，枝叶镂空，横茎竖连，有鸟栖在菩提叶间，正欲亮翅引颈高歌；繁茂滴翠的菩提叶间，朝阳露出半个笑脸；菩提叶雕镂形成圆形的树冠，给人以神圣的感觉；菩提叶间的旭日云霞造型优美，结构严谨，线条流畅，刚柔得当，不仅体现了菩提叶的自然美，还让人感受到画外之象。再比如《莲台金座》中绽蕾的一朵劲莲横空出世，莲瓣上只有一佛座，但用刀的神秘充分表现出环绕劲莲和宝座的无即空间。《舒云卷彩》中两朵卷飞的云朵舞蹈着腾跃着定格在一方缕空的云木是。其余别无一物，却让人感到一碧蓝空有云起伏，云头环绕无垠空间，无景处都成妙境，又发挥了藏桌藏柜装饰透光通气的功能，可谓一举多得。
西藏民间木雕家具及门窗雕花的着色，多数人家都喜欢用对比色和原色来渲染。因为金碧辉煌、红火富丽的色调最适宜表达藏族人民的生活情趣。当然，大同也有小异，比如《红莲怒放》，却以绿色为基调，弥漫着一种清新、宁静的氛围，表现了莲花出污泥而不染的高贵品质；《龙凤呈祥》，则用金黄色为基调，画面热烈、明快，显示出欣欣向上的情调。在这里，“色彩即思想”的观点得到充分的验证。
西藏建筑装饰木雕把喻意与坚固的和谐统一结合得相当紧密。许多佳作虽经千百年风沙雨雪的浸蚀，仍雄姿不减。在法器模具木雕（多玛班丹）上，主题划一，但形式手法各异刻工们在不足盈尺的面积中将实用、想象、趣味三者完美结合，令人吧服。至于西藏民间经书封板的木雕更是精美绝伦。