The Ta'er Monastery is located in the Lotus Mountain south of Lushar Town, where the seat of Huangzhong County in Qinghai Province is located, 25 kilometers away from Xining. It is one of the first batch of national key cultural relics protection units announced by the State Council. The temple is called "Gunben Xianbalin" in Tibetan, which means "Tianjin Island of Ten Thousand Buddha Bodies", abbreviated as "Gunben", and "Ta'er Monastery" in Chinese. Butter sculpture is a special skill of using butter (butter) to shape images, which is one of the "three wonders of Ta'er Monastery" (butter sculpture, murals, and pile embroidery). Butter sculpture first originated from the Bon religion in Tibet and is a small decal on food offerings. Another legend says that in 641, Princess Wencheng entered Tibet and brought a 12-year-old life-size statue of Sakyamuni and enshrined it in the Jokhang Temple in Lhasa. The Tubo people made flowers with butter and offered them to the Buddha to show their respect. Later, various Tibetan Buddhist temples used it one after another and regarded it as a treasure for worshiping Buddha. Offering butter sculptures became an important part of the prayer meeting in the first month of the lunar year. During the development process, the shaping method, color and variety, content and subject matter, and craftsmanship of butter sculptures have been constantly changing. In 1409, when Master Tsongkhapa first initiated a prayer meeting at the Jokhang Temple in Lhasa, he organized the production of large-scale three-dimensional butter sculptures of groups of people to be offered to the Buddha. After that, butter sculptures were introduced to the birthplace of Master Tsongkhapa, the Ta'er Monastery, where they became a custom. On the fifteenth day of the first lunar month every year, when the bright moon rises and the lanterns are lit, the Ta'er Monastery welcomes the annual Lantern Festival. People make and appreciate flowers and pray for good luck and peace. This has never stopped for hundreds of years. The production of butter sculptures is divided into six processes: tying the frame, making the body, applying the sculpture, drawing gold to shape the shape, putting it on the plate, and opening the eyes. The large butter sculptures in the temple are mainly religious themes (such as "The Story of Sakyamuni's Life", "The Twelve Lives of Sakyamuni", "The Story of Padmasambhava", "The Story of Tsongkhapa", etc. All Buddha statues must comply with the "Thirty-two Aspects" requirements), as well as Tibetan opera, myths and legends, and historical figures (such as "Princess Wencheng Enters Tibet"), and there are also some unique small butter sculptures. The raw materials of butter sculptures are very particular. The old butter removed from the butter sculptures made last year and fine wood ash are mixed into a tough black body material before the body can be shaped. When shaping, the temperature requirement is high and the production is difficult. A butter sculpture, from the overall point of view, has dozens of pavilions and towers, hundreds of people and animals, ranging from Bodhisattvas and Vajra as large as one or two meters to flowers, birds, fish and insects as small as tens of millimeters. It combines relief and round sculpture, people and scenery, Buddhist world and mortal world, dynamic and static, time and space are separated but not continuous, the images are numerous but not chaotic, colorful, and integrated, which is amazing. When the butter sculpture is exhibited, there is a small band of more than ten people accompanying it. Ta'er Temple has two institutions specializing in making butter sculptures, the "Upper Flower Courtyard" and the "Lower Flower Courtyard". There are about 20 monks in each courtyard. These monks usually enter the courtyard at the age of 15 or 16 and practice art for life. The skills of making butter sculptures are mainly passed down orally and from master to apprentice. The upper and lower flower courtyards are presided over by a director (called "Zhangchi"), who decides the subject matter, composition, and division of labor of the butter sculptures that year. At present, the main inheritors of the butter sculpture making skills of Ta'er Monastery are Tashi Nima, Luozang Longzhu, Ga Zang Jiacuo, Jiayang Xiere, Zhihua Ruozi, etc. After the religious reform in 1958, religious activities in Tibetan areas stopped and monks were sent out of the monastery. When butter sculpture making was resumed in the 1980s, most of the famous monks had passed away. Butter sculpture works are very easy to deform and cannot be preserved for a long time, which makes it difficult to obtain a fixed model for the traditional skills in the inheritance. We should further strengthen the protection of butter sculpture making skills so that this unique national handicraft can be preserved in the world for a long time.