In the Monastery, "Deng Zhimei more", "Tang learn," "天女散花", "天仙配," "Legend of White Snake" are common themes, but because Jie Gong cases were binding and had bar-Mang (that is, spend spend House and the Lower House) every year to carry out酥油花exhibition game, therefore, the annual display of the content of these changes and confidentiality in order to achieve blockbuster debut effect.
Because after the end of yellow grass, yak milk butter is the refined white. Therefore, use this butter mold, such as the Buddha met皎月, skin complexion. Art Monk in the production prior to their first shower hair is willing to hold a religious ceremony required. And then agreed with the contents of the selected works, and to allocate it to a variety of subjects in at a special master to lead the disciples of the work separately. Production, the first selection of a good soak in cold water in the butter for a long period of rubbing until搓成paste to remove impurities ghee to make it more smooth and delicate. This is the preparatory stage of the materials used.
The specific creative arts酥油花divided into four steps:
"Bar skeleton"
Art Monk were in accordance with the performance of the work to be content with processed beam soft grass, hemp, bamboo, sticks and other objects created in different shape and size of the basic model.
"Do embryonic"
Removed last year to use the old plant ash mixed doped酥油花repeatedly thump, toughness made good flexibility and strong black sludge shape. After complete skeleton wrapped in a general model, the plastic method similar面塑or clay.
3. "Shikishima plastic"
In processed white gruel ghee in mineral pigments of different colors, to reconcile the oil into plastic raw materials, and coating in the early completion of the model, it is sometimes necessary to use gold, silver outline complete colored image.
In shaping the colorful leaves of safflower, Linglong剔透jade Bao play, they generally need to use one-color oil. Plastic process, in order to prevent the temperature of the hands of melted butter embryo material deformation, Art Monk have to below freezing in the workshop, and in her place a basin filled with ice, from time to time to hand submerged ice water cooling. Therefore, many arts monk hands give birth to the frostbite, which makes the production process has become very difficult. It is precisely these monks loyal to the Buddhist faith and piety of the arts of interpretation,酥油花can come from the cold and tenacious spirit in full bloom that it is perfect petals.
4. "装盘"
To every piece of work completed by the design of a good overall plan in place with wire, and fixed in a few large wooden planks or a special basin, three-dimensional vacant, lifelike. A large flower shelf, often have to create dozens, or even composition一二百personal story of the screen. The audience from different angles can be spoiled for choice. In the exhibition, the monks will be erected high酥油花aircraft, and the installation of various Photo whole story into a screen up to 10 meters. Finally, the opening ceremony, immediately法号sound, highland barley like rain, Sang Madadayo smoke, sandalwood overflowing, a glowing golden light of butter lamps around a huge flower of the freezing point. Then the crowd, such as water, Chung in the flower under the auspicious hada be a pious tribute with dancing in traditional costumes and glorious statues of Xu-xu.
酥油花originated in Tibet, but divergent views a specific time. Some say that those brought by Princess Wencheng of the Sakyamuni Buddha statue was not the winner, later Tsongkhapa Masters for the Buddha presented a lotus-shaped "protect the brand" and shawls, and dedicated to a bunch of "酥油花." From then on酥油花spread to the birthplace of Guru Tsongkhapa - Temple tower abuse. And to promote and develop here, Ming万历年间of imported oil plastic arts and arts development of long-term care so that the Tar酥油花fine arts reached a very high artistic attainments. Some also said that the Tibetans in order to bring Princess Wencheng discharged statue to pay tribute to the former statues presented in all the offerings. However, according to Indian tradition of Buddhist practice, worship the Buddha and the Buddha's offerings necessary hexachrome taste: flowers, James Shannon, holy water, incense sticks, fruit and佛灯. At that time, however, dry grass to spend the quarter Xie, people had no choice but to use ghee shaped wreath on a bouquet of flowers before the Buddha.
Another argument is: the year in 1409 to commemorate the release master Tsongkhapa respect, to promote Buddhism, brought together thousands of Tibetan monks in the eighth of the fourth month the first month to the Jokhang Temple in Lhasa on the 15th held a prayer Dafa will, during this period , Tsongkhapa dream become a beacon of thorns, weeds into flowers. In order to reproduce like a dream throughout, he organized with Art Monk butter plastic trees of various flowers, birds and animals Qi, together with the butter lamps with honors in Florence ago, since then has continued down, known as' sleep Afghanistan is Pakistan '(meaning as follows: New Year honors on the 15th). "
这是在寒冷的冰点下盛开的艺术之花。酥油花虽名曰“花”，但其题材多样，内容丰富，主要以佛祖神仙、菩萨金刚、飞禽走兽、花鸟鱼虫、山林树木、花卉盆景等内容组成各种故事情节，形成完整的立体画面。此项工作从农历１０月１５日开始到翌年正月１５日完成。
在塔尔寺，“智美更登”、“唐僧取经”、“天女散花”、“天仙配”、“白蛇传”是一般常见的题材，但因为杰宗曾扎和贡茫曾扎（即上花院和下花院）年年都要进行酥油花展的比赛，因此，每年展出的内容都是有所变化并且保密的，以便在亮相时达到一鸣惊人的效果。
因为岁末草黄之后，牦牛奶经过提炼的酥油是纯白的。所以用这种酥油塑造出的佛像会面如皎月，肤质白皙。在制作之前艺僧们要先沐浴发愿，举行所需要的宗教仪式。然后一同议定所选的作品内容，并分配给各种题材中擅长专项的师傅带领其弟子分头工作。制作时，首先选取上好的酥油浸泡于凉水中，进行长时间的揉搓，直至搓成膏状，去除酥油中的杂质使其更加光滑细腻。这是用料准备阶段。
而酥油花艺术的具体创作分为四个步骤：
“扎骨架”
艺僧们根据作品将要表现的内容，用加工过的柔软草束、麻绳、竹竿、棍子等物扎成不同形态和大小的基本模型。
“做胚胎”
用去年拆下来的旧酥油花掺拌草木灰反复捶打，制成韧性好弹性强的黑色塑造油泥。之后裹在骨架上完成大致的模型，其塑法类似面塑或泥塑。
3. “敷塑”
在加工过的白色酥油中掺进各色矿物质颜料，调和成油塑原料，并涂塑在前期完成的模型上，有时需要要用金、银粉勾勒，完成各色形象的塑造。
在塑造五彩缤纷的红花绿叶、玲珑剔透的玉石宝玩时，一般需要用彩色油料一次完成。塑制过程中，为防止因手的温度而使酥油胚料融化变形，艺僧们必须处在零度以下的作坊里，并且在身边放一个盛有冰块的水盆，不时地将手浸入冰水中降温。所以很多艺僧手上生出了冻疮，这使制作过程变得非常艰辛。正是这些僧人们对佛教忠贞的信念和对艺术虔诚的诠释，酥油花才能从寒冷的岁月和坚韧的精神中盛开出它完美的花瓣。
4.“装盘”
把一件件完成的作品按设计好的总图用铁丝安装到位，并固定在几块大木板上或特制的盆内，立体悬空、栩栩如生。一座大的花架上，往往要塑造几十个、甚至一二百个人物组成的故事画面。使观众从不同角度都能一饱眼福。在展出时，僧人们将酥油花架高高立起，并将各个组图安装成整幅的故事画面，最高可达十几米。最后进行开光仪式，顿时法号声声，青稞如雨，桑烟袅袅，檀香四溢，一盏盏闪烁着金光的酥油灯围绕着巨大的冰点之花。这时人潮如水，涌在花下，一条条吉祥的哈达带着虔诚的敬意飞舞在佛像栩栩生辉的光彩中。
酥油花起源于西藏，但具体的时间众说纷纭。有的说当年由文成公主带来的释迦牟尼佛像原来没有佛冠，后来的宗喀巴大师，为佛像献上了莲花形的“护法牌子”和披肩，并且供奉了一束“酥油花”。从此酥油花就传到了宗喀巴大师的诞生地――塔儿寺。并在这里得到弘扬和发展，明万历年间油塑技艺的传入和艺人们长期精心的研制使塔尔寺的酥油花雕艺术达到了极高的艺术造诣。也有的说当时藏人为了向文成公主带来的释尊表示敬意，在佛像前献上了所有的供品。但是按印度传统的佛教习俗，供奉佛和菩萨的供品必需俱全六色：花、涂香、圣水、薰香、果品和佛灯。然而当时正值草枯花谢之季，人们只好用酥油塑造了一束花献于佛前。
另一种说法是：公元１４０９年宗喀巴大师为了纪念释尊，宏扬佛法，召集了万名僧人于藏历正月初八至十五日在拉萨大昭寺举行了一次祈愿大法会，在此期间，宗喀巴梦见荆棘变成明灯，杂草化为鲜花。为了再现梦中境像，他组织艺僧用酥油塑出各种花卉树木、奇禽异兽，连同酥油灯一起供奉在佛前，此后一直延续了下来，称为‘觉阿却巴’（意为：正月十五日供奉）。 ”