The Origin and Development of Dzi

Dzi (also known as "Tianyanzhu" or "Jiuyanshi Shale") is a rare gem originating from Tibetan Buddhist culture, which is mainly distributed in Xizang, Nepal, Bhutan and other Himalayan regions. Its history can be traced back to BC, and it is said to be a treasure bestowed upon humanity by the gods or refined by ancient practitioners using secret methods. Tibetan people regard it as a "living gem" and believe that it contains cosmic energy that can ward off evil, pray for blessings, and enhance wisdom.

The historical origins of Tianzhu can be traced back to ancient times, and its origin is closely related to the early civilizations in the Indus River Basin. Archaeological evidence suggests that as early as 3000 to 1500 BC, the Aryans living in this region began making bead ornaments with special patterns. In the religious literature of this period, the Vedas, it is recorded that ancient people engraved mantras and sacred totems on natural stone to pray for divine protection, believing that these symbols could communicate with heaven and earth and enhance the spiritual power of the wearer.

In the 7th century, Songtsen Gampo unified Xizang and established the Tubo Dynasty. With the introduction of Buddhism, Tianzhu gradually became a sacred object of Buddhism. The Tibetan classic "Wubu Yijiao" records that when Lianhua Sheng Dashi entered Tibet to spread the Dharma, he used celestial beads to suppress demons and gave them the power to protect the Dharma. During this period, Tianzhu became a treasure of the royal family and temples, often embedded in Buddha statues or kept as a personal possession of high-ranking monks.

These cultural relics, known as "millennium Tianzhu" or "pre Tang Tianzhu" by the academic community, belong to Cuosi Tianzhu in typology rather than pure Tianzhu. Its production process directly inherits the traditional techniques of the Meisul civilization, and the totem patterns also retain typical Western Asian features such as linear patterns, tiger tooth patterns, and turtle back patterns. It is worth noting that although the decoration of these beads follows the symbol system of the Meisur civilization, they have begun to show the aesthetic tendency of Xizang in terms of composition and expression techniques, laying the foundation for the subsequent fully Tibetan beads art.