西藏民间美术是我国具有民族特色的地方性民间美术，也是西藏民族民间文化的视觉表现形式。在非物质文化遗产保护和文化产业发展的现实语境下，西藏民间美术正面临着如何保护和发展的文化选择。本文在梳理近三十年中英文文献和考察西藏民间美术生态现状的基础上，探讨了西藏民间美术的概念和分类、特征和内涵、保护和传承、发展和创新等主要问题。本文认为民间美术是由民间艺人创造，服务于民间社会生活，有一定技术水平和审美价值的美术形式及其产品。西藏民间美术的材料、工艺、色彩、造型等特征彰显了独特的审美价值，而它的基层性、集体性、宗教性、活态性等特性呈现出深厚的文化底蕴，承载着民俗宗教文化的具体事象。西藏民间美术在吐蕃时期形成与贵族美术、宗教美术分层而立的社会格局。藏传佛教的兴盛促进了唐卡、金铜造像等艺术的兴起和发展，科技进步和文化交流促进了编织、制陶等民间工艺的繁荣。进入现代社会，西藏各地区拥有不同的民间美术资源，如何保护这些资源并进行合理的开发，关系到民族特色文化保护地的建设和人类文化生态平衡的维护。西藏民间美术的保护对象是民间艺人及其随身依附的技艺和思想，以及伴生的文化地理环境。因此，生态博物馆、文化产业园、家庭手工坊相结合的保护模式值得尝试，口述史研究应该在传承机制中发挥更大的作用。在西藏民间美术的产业化发展中，要处理好手工艺品与机工产品、省城繁荣与周边荒芜、质量规范与艺术创造等矛盾。通过强化乡土特色、品牌塑造和层次化经营等发展手段，达到“以发展促保护，在保护中发展”的良性循环。西藏民间美术上千年以来保持着自身的独立性有着多方面的原因，天然的地理屏障，自给自足的经济屏障，人为的语言、政治和民族屏障，独特的宗教和美学屏障，共同保护了西藏民间美术的独立自主性，这也许是它独具特色的文化奥秘。现代科技社会把有些屏障拆除了，人民也有提高生活品质的精神诉求，因此，西藏民间美术不得不面对现代科技的冲击，以文化创新的方式来延续传统民间美术的基因。
Tibet folk fine art is a kind of local folk art with national features, and also a kind of visual cultural with Tibet nation folk culture. Today Tibet fine art is faced a state of cultural choice how to protect and develop in the context of ICH and cultural industry. This dissertation is aimed to study Tibet fine art based on rich books and articles which written in English and Chinese in recently 30years. This dissertation is aimed to analyses the main problems on Tibet arts, namly conception, features, contents, history and states, protection and inheritance, development and creation. Tibet fine art is created by local folk artisan and served as social function in folk social life, and it is a kind of visual arts with rich technical and aesthetics. The material, technical, color and form of Tibet arts is showing its unique aesthetic value. The features of grass-roots, collectively, religiosity, living state which inherit in Tibet arts are showing rich cultural meaning and bearing folk religious culture in art forms.Tibet folk fine arts along with noble arts and religious arts is belong to the main three arts in Tubo period. The arising of Tibetan Buddhism caused the rise and development of Tangka and Gold bronze statues. In the meantime the technological progress and cultural exchange caused the boom of weaving and potting etc. Especially in modern social times, Tibet fine arts are with special features in each region. So the protection and usage of these folk arts is showing closely relationship with national folk arts and human cultural ecological balance. Those folk artisan with special technical and thinking and cultural geographical environment are both belong to the protect contents. So eco-museum, cultural industry quarter and family workshop are the various modes which we can use. Oral history research is also a key methodology in the heritance system. We must deal with the contradictory relation between handcraft works and machine works, city and countryside, quality and arts etc in harmonious relationship, and use the style of folk feature, brand protection and laying management to achieve the excellent system of “Development with protection, Development in protection”.Tibet fine arts keep its unique style in thousands years for many reasons, namely, its natural geological environment, unique language, politic ,nation, religious and aesthetics style . These unique style protect the unique Tibet arts and these are the cultural secrets. Modern technology removed the natural protection screen in Tibet region. The people is pursuit the spirit life in the meantime. All in all, Tibet folk fine arts is faced modern technology. Tibet folk fine arts will try to inherit the excellent folk cultural gene in some new modes.
