曼荼罗图式不仅出现于西藏建筑,而且在中国腹地也得以广泛传播,体现了汉藏文化艺术的融合与相互影响。带有浓郁藏传佛教密宗文化色彩的曼荼罗图式传达出特有的美学观念,分别以二维和三维形式展现并营造了朴素端庄而充满对比变化的灵动宗教艺术氛围,对研究古代曼荼罗图式的演变及发展脉络具有重要参考价值。 The pattern of the mandala not only appeared in the architecture of Tibet, but also widely spread in the hinterland of China, reflecting the integration and mutual influence between Han and Tibetan cultures and arts. The Mandala mapping with dense Tantric culture of Tibetan Buddhism conveys the unique aesthetics concept, which presents two-dimensional and three-dimensional forms respectively and creates the simple and dignified and vivid religious art atmosphere with contrasting changes. Luo schema evolution and development context has important reference value.