olding seven gallons of wine, a wine vase, a miniature city decorated with gold lions, and golden bowls. Gold animals (animal) are mentioned as decorating the camp of King Ral-pa-can when a Chinese envoy visited him in 821. These early Tibetan skills lived on through the Buddhist period. Tibetan metalworkers have excelled in producing fine things for ritual and domestic use: ritual lamps, vases, bowls, bells, prayer wheels, decorated trumpets and horns, for the temples, and, for home use, ornamented teapots, jars, bowls, ladles, and especially beautiful stands, often in silver or gold, to hold porcelain teacups, capped by finely worked lids of precious metals. Hand-woven rugs of magnificent Central Asian and Chinese designs, always adapted to Tibetan preferences, cover low seats, and tables and cabinets of carved and painted wood were commonplace in prosperous homes.From the 7th to 9th centuries there survive pre-Buddhist carved-stone pillars decorated with Chinese, Central Asian, and Indian motifs and also a stone lion showing traces of Persian influence.The art of casting images in bronze and other metals (metalwork) entered Tibet from Nepal and India. Having first followed foreign models, the Tibetans gradually developed their own styles and began to depict their own lamas and teachers as well as the vast pantheon of buddhas, gods, and goddesses inherited from India, each distinguished iconographically by posture, hand gestures, and accoutrements. (Of lesser divinities and especially of lamas, the identification is often difficult. It is rare that an image is named in an inscription and even rarer to find a date. Because of the extremely conservative nature of Tibetan art, correct dating within several centuries is often impossible.) Images of vast size, rising up through two or three stories, are quite often seen in Tibetan temples, and their construction and dedication is considered a work of vast religious merit.Since images are mainly cast or molded, carving is restricted to decorative motifs, especially on wooden pillars and roof beams. Wood carving and terra-cotta, particularly in western and southern Tibet, were common. papier-mâché, elaborately painted, was also used for masks of divinities. This use presumably originated in Kashmir.Temple interiors (interior design) are usually covered with frescoes and often hung with painted banners, or tanka ( thang-ka). For the preparation of the latter, a taut cotton cloth is impregnated with a mixture of chalk and glue, rubbed smooth by some suitable object; for example, a flat polished stone. A religious painter trained in the tradition draws in the outline, often using printed designs for the main figures. There is no scope for originality so far as the iconographic details of divinities are concerned, and, thus, such painting is a highly skilled craft. For decorative details—for example, flowers, cloud effects, rocks, and groups of devotees—there is wider scope. The tradition of fresco painting and temple banners certainly goes back to that of the great Buddhist monasteries of northwest India and the Ganges Valley, but these Indian origins of the 9th to 12th centuries are now entirely lost. The Indian Buddhist paintings of Ajanta are of a much earlier period (up to the 6th century AD), thus predating the great increase in the Buddhist pantheon and in occult symbolism typical of the later Indian Buddhism received by the Tibetans (Tibetan Buddhism). Central Asian styles certainly reached central Tibet well before the 9th century, but, after that date, it was India and Nepal that were to have lasting influences on the development of Tibetan art. In more recent times, especially from the 18th century onward, Chinese influence became noticeable in the details of paintings, particularly in the freer but still balanced arrangement of the main figures and the use of Chinese-style landscapes as subsidiary decoration. With the disappearance of Buddhism from Central Asia and India from the 12th century onward, Tibetan art developed as a style exclusive to the Tibetans, the Newa