The time-honored and exquisite Tibetan textile handicrafts are diversified in categories, which include such daily necessities as carpet, pulu (tweed), Kadian (smaller carpet), Bangdian (apron), Tibetan quilt, garment, bag, and boots, etc. as well as such production means as bag, pack-basket, saddle and bridle, etc. The large quantity of quality flocks and herds on the vast prairies in Tibet have yielded up affluent raw Material as a mainstay for its textile handicrafts industry. The main processes are usually as f clipping, option, spinning with the spind1e, weaving with the loom, dyeing, tailoring, treating and garment making, etc. The woolen textiles are durable, soft and good in warmth retention, so they are mostly favored by the plateau-inhabited Tibetan people. The Tibetan aprons are naturally oriented, with their color patterns looking like rainbows. The carpets and Kadians are soft, fine, harmonious in colors and enriched with patterns and textures. Carpets made in Gyangze, Lhasa, Gonggar, Nanggarze, Nang, Dingqen and Chagyab; aprons made in Gyaidexiu Town of Gonggar, and the traditional quilt made in Nanggarze, all the most famous.

The pulu and aprons are the main feed for the Tibetan attires as well as the representation of the Tibet textiles. The usual width of the pulu is 25cm, while its length varies. It can be divide into the following seven categories. The first one, called Hsiehma or Koyang, has the superb qua1ity made of cashmere, and was used as costuming for the Tibetan aristocrats before the peaceful liberation. Among the all, the products made in Gyaidexiu town of Gonggar, Shannan Prefecture are the best. The second, called Puchu, has a quality a little inferior to that of Hsiehma, made of hairs taken from belly and back of the sheep and usually used for making the Tibetan robe and trousers. The third, called Kohsia or Ch ??aichan, is made of hairs taken from the chest or belly of the sheep, and often used for making robes or aprons. The fourth, called T'aierhma or T'ichu, falls in the moderate quality and is made of hairs taken from any part of the sheep dyeing to brown or black, and is often used for making robes of cassocks of the monks. The fifth, ca]led Kochan, is made of hairs of the goats and with a ordinary quality, and mostly used for the ordinary beddings or bags. The sixth, called Chuchu, is relative1y rich in variety, among which, the shag and pushed wool are widely applied and used for making the premium beddings. The last one, called Ch'itzu, is made of hairs taken from any part of the sheep and often used for making winter coats. As for the apron (Pangtian) f"It has usual width of l0 cm and also falls in to seven categories. The first, called Koch'a, is dominated by white color and usually worn by little girls during festivals. The second, called Ch'ach'in, is worn by the old ladies during festivals. The third, called Chiangchiatse, is usually worn by ladies above 40 during festivals. The fourth, called Sehsia, is worn by nuts. The fifth, called ech'iungpantian, is worn by little girls below l5. The sixth, called Xagchapaisa and said to be specifica1ly originated for supplying to the Xagcha family, the once big noble family in Tibet and thus named, is cherished by young ladies. The seventh, called Chajungpaisa and said to be specifically originated for supplying to the Chajung family, also the once big noble family in Tibet and thus named, is very popular among young ladies.

The pulu and apron are usually decorated by different patterns and textures. Especially for the apron, which's textures are vividly presented. For example, its cloud texture, called Chiang in Tibetan, is woven by woolen threads of different colors, such as blue, red, green and yellow, etc. Both pulu and apron are highlighted with perfect combination of the serviceability and decoration. The most prevalent textures are as: Guti, Chialo, Chiangti, Chiang, Seti, Koti and Nati, etc, which are not only colorful and eyes catching, but also meaningful. For instance, the Guti means nine eyes. And it is said that this kind of texture can expel the evils. There are also some dramatic stories behind the origin of some textures. Take the Chialo as an example, which says that more than one thousand years ago, an inspiration occurred upon a young man when he looked at the mono-tune pulu without any decoration f to make some cross patterns on it. He made so and brought a batch of pulus with the cross pattern decoration to Chinese inland region, which were soon sold out. This encouraged him to bring back the technology to Tibet. Chialo, meaning brought back from Chinese inland, was so named.

The carpet and kadian are also important kinds of textiles in Tibet. Their working procedures are generally similar, but somewhat different in specifications and craftworks. The carpet is larger in size and often with a square shape and daintier craftwork, while the kadian is smaller and usually with an oblong shape, and mainly used as beddings. The patterns and textures of the carpet are various, among which that of cloud, drill rod, dragon, dragon & phoenix, double dragons and good luck, etc, are all the fashion. The carpets are soft, warm and beautiful, thus favored by Tibetan people.

The wood wares and wooden furniture making also grow as a well-established trade. The products are both durable and good-looking. The Tibetan hutches and tables are beautiful but solemn and noble, the colors of which reflect stillness and also somewhat easiness. The ornaments are curved or painted with very fine workmanship. The patterns, such as the flower, grass, tree, dragon, phoenix, tiger, lion and personage are all lively presented.

Today all kinds of commodities are easily available in Tibet, just as in any other place in China. However, this dose not cast shadow on the traditional handiworks, instead, they are shining even brighter. Beside the traditional production in households or small workshops, the up-to-date machinery and technology have also been introduced. The examples are Lhasa Carpet Works, Nyingchi Carpet Works, Gonggar Apron Works, and etc. By doing so, the state of art is increasingly improved and the products keep changing in styles and designs, which are not only favored by the domestic market, but also well accepted by the neighboring countries and regions, such as Bhutan, Nepa1, Sikkim and etc.