藏传佛教造像大都是先以金属(黄铜、红铜、利玛铜、银等)铸成，而后再以黄金进行表面(镀金、鎏金等)装饰，体现了藏民族或是喜马拉雅地区独特的审美与信仰崇拜。
Most of the Tibetan Buddhist statues are made of metal (brass, red copper, Lima copper, silver, etc.), and then decorated with gold (gilding, gilding, etc.), reflecting the unique aesthetic and belief worship of the Tibetan people or the Himalayas.
藏传金铜佛像的制作方法主要有内地惯用的失蜡法及藏地(包括泛喜马拉雅地区及蒙古部分地区)应用的敲花法与模具法。
The production methods of Tibetan gold and copper Buddha statues mainly include the wax loss method commonly used in the mainland and the flower knocking method and mold method used in Tibetan areas (including the pan Himalaya region and some parts of Mongolia).
敲花法这种工艺大约从公元16世纪开始流行，大约是与尼泊尔地区的释迦族工匠有关。它的产生与当时我国内地宫廷(明代)大量铸造藏传佛教的金铜造像有关。明清时期中央政府为了加强与西藏及蒙古地区的政治联系，内地宫廷专设造像机构铸造金铜佛像施与西藏上层佛教人士及重要的藏传佛教寺庙。而随着藏传佛教的广泛传播，当时西藏地区的一些寺庙也形成了一定规模的造像制作场所……
The flower knocking technique, which began to be popular in the 16th century A.D., is related to the Sakya craftsmen in Nepal. Its emergence was related to a large number of gold and copper statues of Tibetan Buddhism cast by the court in the mainland of China (Ming Dynasty). In the Ming and Qing Dynasties, in order to strengthen the political ties with Tibet and Mongolia, the central government set up a special image making organization to cast gold and copper Buddha statues, and the upper class Buddhists and important Tibetan Buddhist temples in Tibet. With the wide spread of Tibetan Buddhism, at that time, some temples in Tibet also formed a certain scale of statue making places