An Analysis of the Artistic Characteristics of the Eight Auspicious Patterns of the Tibetans
Research Article
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An Analysis of the Artistic Characteristics of the Eight Auspicious Patterns of the Tibetans

Qianyu Zhou 1*
1 Soochow University
*Corresponding author: 19806269016@163.com
Published on 19 August 2025
Journal Cover
LNEP Vol.115
ISSN (Print): 2753-7056
ISSN (Online): 2753-7048
ISBN (Print): 978-1-80590-329-1
ISBN (Online): 978-1-80590-330-7
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Abstract

The Eight Auspicious Symbols constitute a foundational set of visual icons deeply embedded within Tibetan Buddhist culture. They serve as potent embodiments of core religious philosophy and express a distinctive ethnic aesthetic sensibility. This research employs a multidisciplinary methodology, drawing extensively upon relevant textual literature (including Buddhist scriptures and historical records), diverse historical documents, and ancient visual materials (such as thangkas, murals, and ritual objects), to trace the historical evolution and unpack the multifaceted symbolic meanings of these eight symbols. The study conducts a detailed formal analysis, scrutinizing their characteristic visual forms, specific color symbolism, and the profound significance implied by their compositional elements and traditional representations. This systematic examination rigorously delineates their essential artistic attributes, including their stylistic conventions, compositional principles, and patterns of decorative usage. Furthermore, the paper reveals the rich cultural connotations carried by the symbols, exploring their connection to fundamental Buddhist doctrines (like the Noble Eightfold Path and concepts of auspiciousness) and their role in reflecting Tibetan cultural values and worldview. Finally, the investigation delves into the unique aesthetic significance of the Ashtamangala, analyzing how their harmonious visual language, symbolic potency, and ritual context contribute to their enduring power and central place within the artistic and spiritual practices of Tibetan Buddhism.

Keywords:

the eight auspicious symbols, Tibetan patterns, Tibetan culture, artistic features.

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Zhou,Q. (2025). An Analysis of the Artistic Characteristics of the Eight Auspicious Patterns of the Tibetans. Lecture Notes in Education Psychology and Public Media,115,8-14.

References

[1]. Ozaki, Shunmori. Porcelain of the Ming Dynasty [M], Yusankaku, Tokyo, 1942.

[2]. Li Gao. Analysis of the eight auspicious patterns on the porcelain of the Ming and Qing dynasties [J]. Cultural relics identification and appreciation, 2024, (03): 134-137.

[3]. Wang Lulu. Research on the Innovative Design of Tibetan Eight Auspicious Patterns [D]. Lanzhou University of Science and Technology, 2022.

[4]. Wang Jingyuan, Li Xinhua. Research on Eight Auspicious Patterns and Exploration of Modern Design [J]. Design, 2023, 36(05): 30-33.

[5]. Pan Xuemei. Design and application of eight auspicious patterns [J].Packaging Engineering, 2013, 34(04): 97-100.

Cite this article

Zhou,Q. (2025). An Analysis of the Artistic Characteristics of the Eight Auspicious Patterns of the Tibetans. Lecture Notes in Education Psychology and Public Media,115,8-14.

Data availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

About volume

Volume title: Proceeding of ICIHCS 2025 Symposium: The Dialogue Between Tradition and Innovation in Language Learning

ISBN: 978-1-80590-329-1(Print) / 978-1-80590-330-7(Online)
Editor: Heidi Gregory-Mina, Enrique Mallen
Conference date: 17 November 2025
Series: Lecture Notes in Education Psychology and Public Media
Volume number: Vol.115
ISSN: 2753-7048(Print) / 2753-7056(Online)