Plants used in the production of Tibetan wooden bowls

From the perspective of plant utilization, through this ethnobotanical investigation, we recorded a total of 18 plant species used in various stages of Tibetan wooden bowls production, belonging to 16 families. The basic information of these plant species is recorded in Table 3, including their scientific name, local name, family, and habit. The identification of each plant was confirmed by Shicai Shen from Key Laboratory of Green Prevention and Control of Agricultural Transboundary Pests of Yunnan Province, Agricultural Environment and Resource Research Institute, Yunnan Academy of Agricultural Sciences, and the scientific names were checked through “iPlant” [17], an Intelligent Plant Information System, developed by the Institute of Botany, Chinese Academy of Sciences. The documentation of local names of plants was accomplished with the help of the elder informants since younger people seldom know the local Tibetan names of these plants. Also, the plant specimens were cited from the Herbarium of Kunming Institute of Botany, Chinese Academy of Sciences (KUN). In the process of making Tibetan wooden bowls, 13 plant species are used as raw materials, belonging to 12 families. Additionally, 6 plant species are used for lacquer and dyeing, belonging to 5 families. Among these plants, Taxus yunnanensis can be used both as a material for processing wooden bowls and for dyeing. Due to the rarity, Torreya yunnanensis (synonym of Torreya fargesii var. yunnanensis) has been listed as endangered (EN) species in the IUCN Red List of Threatened Species [18]. Meanwhile, Taxus yunnanensis and Torreya yunnanensis are classified as I and II protected plants, respectively, in the List of National Key Protected Wild Plants in China in 1999 (this List was adjusted in 2021) [19], then, craftsmen ceased using these materials that year.

Table 3 The basic information of plants used to make Tibetan wooden bowls in Benzilan Town, Yunnan, ChinaPlants used as raw materials

Duotong Village has become an important raw material collection area due to its abundant forest resources. Therefore, the field investigation of the raw materials was primarily conducted in the high mountain areas surrounding Duotong Village.

With the assistance of the wooden bowl craftsmen in Duotong Village, we identified 13 plant species (along with the altitude at which each plant was first encountered), belonging to 12 families, which are used as raw materials to produce Tibetan wooden bowls. These plants can all be collected from the forests locally.

Additionally, there are differences in the perceptions of the raw materials for Tibetan wooden bowl production among different vocations and villages (or community). Therefore, to facilitate understanding of the varying perceptions of these materials across different vocations and villages (or community), we list Table 4 to present the FC of plants among respondents from different vocations and the RFC for each plant, as well as Tables 5 and 6 to, respectively, present the FC and RFC of plants reported by informants across various villages.

Table 4 FC of different vocations and RFC of different plant speciesTable 5 FC of different villages (or community) of different plant speciesTable 6 RFC of different villages (or community) of different plant species

According to Table 4, the raw materials for wooden bowl production mentioned by informants from each vocational group, along with their FC values, reflect the general perceptions within the Tibetan community of Benzilan Town. Meanwhile, the raw materials cited by all the craftsmen illustrate the level of consensus within the professional craftsmen group and exhibit more extensive knowledge in selecting raw materials for wooden bowl making than other vocations.

Furthermore, as can be seen from Tables 5 and 6 (especially its RFC), informants in Benzilan Community and Duotong Village—as clusters of the wooden bowl industry—demonstrate greater knowledge regarding the selection of raw materials for wooden bowl making. As well as reflecting, to some extent, the perception regarding the raw materials used in wooden bowl making across different villages. This phenomenon can be principally attributed to Benzilan Community and Duotong Village’s advantageous natural conditions and geographical positioning, while forest resources in other villages remain either scarce or subject to official conservation restrictions.

According to Tables 4 and 6, from the perspective of general perception, all informants from different vocational groups and villages (or community) mentioned 4 plant species—A. yunnanensis; R. yunnanense; A. pictum subsp. mono and D. yunnanensis—each with an RFC value of 1, indicating that these 4 species are considered important local plant species. While this phenomenon may not be common in theory, through discussions with the informants, we identified several reasons: 1) From a cultural perspective, in the perception of the Tibetan community in Benzilan Town, A. yunnanensis, a herb plant, is prized for its smooth and delicate root nodule with clear grain patterns, and superior quality compared to other woods. Due to its extreme rarity, it is imbued with a sense of mystery, making it the most valued raw material for wooden bowl production. According to Yixi,Footnote 1Genba (local name of the root nodule of A. yunnanensis) is extremely precious. He only heard about them. It is said that they can glow at night. In their hearts, it is the most sacred type of wood. Meanwhile, according to Duzhicili,Footnote 2 it is extremely rare. It is like something out of a myth. But they all believe it is the best material; 2) From a practical standpoint, R. yunnanense and A. pictum subsp. mono are relatively more common than A. yunnanensis. Their wood is of good quality, and the wooden bowls made from them are widely recognized by the local Tibetan community as high-quality products. D. yunnanensis is the most commonly found material, and wooden bowls made from it are the most prevalent in the local market, making it well-known among locals. Just as Duzhicili said, “Bianza (local name of D. yunnanensis) is quite abundant, and the wooden bowls made from it are the most common ones, which are widely available in the market.” Furthermore, by calculating the RFC values of each plant, we also found that species such as A. forrestii, B. albosinensis and G. ciliata var. evodiifolia are also important raw materials for Tibetan wooden bowls production in the Benzilan Town.

According to Table 4, from the perspective of professional knowledge, all the craftsmen unanimously agree that 11 plant species can be used as raw materials for wooden bowl production, namely A. yunnanensis; R. yunnanense; A. pictum subsp. mono; A. forrestii; P. yunnanensis; B. albosinensis; G. ciliata var. evodiifolia and D. yunnanensis. Consequently, the \(\text=\frac-\text}-1}=\frac\approx 0.17\), indicating a high level of consensus among the craftsmen in selecting raw materials for Tibetan wooden bowls. Meanwhile, it also reflects that the knowledge of plants selection has been well preserved and transmitted among craftsmen. Traditional knowledge is practical knowledge and expertise that is accumulated over generations [20]. The traditional knowledge of selecting these plants as raw materials for processing wooden bowls precisely results from craftsmen passing down from generation to generation. Through interviews and participatory observations, we identified the following reasons: (1) From the perspective of wood properties, these plants are easy to process and produce high-quality wooden bowls; (2) From a distribution standpoint, these plants are relatively common in the area and represent the dominant vegetation types in Benzilan Town.

Additionally, it is worth noting that the wood of Taxus yunnanensis was once believed to have medicinal and health benefits. The wood features uniform and straight grain, with moderate weight and hardness, making it one of the valuable commercial tree species [21]. Due to these properties, many local craftsmen previously used Taxus yunnanensis for wooden bowl production. However, after Taxus yunnanensis was protected officially, this phenomenon ceased. Duzhicili explained it, “There was a period in the past when it was said that Luomiexiaya (local name of Taxus yunnanensis) could cure cancer. At that time, people cut them down to make wooden bowls or cups. But that kind of behavior has long since stopped now.”

Plants used to lacquer and dye

During the production of Tibetan wooden bowls by craftsmen in Benzilan Town, lacquering and dyeing processes are carried out concurrently. Consequently, the plants and their use parts required for these processes are detailed in Table 7, encompassing 6 species from 5 families. Based on their use purpose, the resin of the T. vernicifluum is utilized to produce ripe lacquer; tung oil made from seed of V. fordii serves as an auxiliary material for processed lacquer; and the branches and trunks or seeds of Taxus yunnanensis; Torreya yunnanensis; B. sinica and B. rapa var. oleifera are employed as plant-based dyes.

Table 7 Use parts and purpose of different plants used to lacquer and dye

Firstly, the resin extracted from T. vernicifluum is the most essential material in the lacquering process. Currently, Tibetan wooden bowls possess not only practical functions but also exhibit significantly enhanced artistic value through the meticulous application of lacquer. This allows them to perform exceptionally in daily use while also serving as art objects with high esthetic value. Over thousands of years of development and transformation, lacquering has become an art handicraft that attracts worldwide attention [22]. However, geography and culture influence the ways in which humans choose to utilize plants in their behaviors and knowledge [23]. Due to the limitations of the local natural ecological conditions, T. vernicifluum cannot grow in Benzilan Town. Consequently, raw lacquer must be purchased from neighboring counties such as Gongshan County and Weixi County (Fig. 3).

Fig. 3

Lacquer bucket used for storing and transporting the resin of Toxicodendron vernicifluum. Taken by Wei Liu at Yixi’s home in Benzilan Community on August 3rd, 2024

Craftsmen process the acquired raw lacquer by heating it into ripe lacquer, which is then used to lacquer wooden bowls. Our field investigations revealed that with technological advancements, chemical lacquers—owing to their low cost and ease of acquisition—once supplanted traditional plant-based lacquers and dominated the market. However, over time, wooden bowls lacquered with chemical lacquers have been prone to cracking and deformation and may pose health hazards, leading many to reject them. In this context, traditional natural plant lacquers have demonstrated unique value, highlighting the importance and resilience of traditional plant-based lacquer knowledge. Yixi said, this (natural lacquer) is the best material. Unlike chemical lacquer, it does not have any pungent smell, and it will not be harmful to physical health. And it is also imbued with culturally significant auspicious symbolism.

Secondly, the seeds of the V. fordii serve as auxiliary plant materials. Craftsmen collect the seeds and extract tung oil, which is then incorporated into raw lacquer and subsequently heated. The resulting ripe lacquer exhibits higher transparency and superior performance. On the one hand, it enhances the corrosion resistance and waterproofing properties of the lacquer. On the other hand, it is easier to lacquer the surface of wooden bowls.

Lastly, Taxus yunnanensis; Torreya yunnanensis; B. sinica and B. rapa var. oleifera serve as the primary plant-based dye materials. Among these, Torreya yunnanensis; B. sinica must be sourced from neighboring counties or towns. In terms of dyeing effects, Taxus yunnanensis is used to dye wooden bowls red; Torreya yunnanensis and B. sinica are used to dye yellow; B. rapa var. oleifera is used to dye black. Plant dyes are normally extracted from various parts of the plant, so they are the most convenient and widely used in natural dyes [24]. Branches or trunks of Taxus yunnanensis are harvested and ground into a fine powder, which is then boiled in water. After filtration, the resulting sedimented powder is utilized as red dye; the yellow dye is produced through a similar process. For B. rapa var. oleifera, putting the oil extracted from its seeds into a container with an immersed wick, and at the same time, suspending iron objects above the container, and igniting the wick. This process will generate black powder that adheres to the iron objects, and the collected black powder serves as black dye. The primary purpose of dyeing wooden bowls is for decorative enhancement.

Currently, in the dyeing process of wooden bowls, local craftsmen employ not only traditional plant-based dyes but also extensively utilize other non-plant-derived dyes, such as gold powder. These non-plant dyes not only impart vibrant and varied colors to the wooden bowls but also enhance their visual appeal and artistic value (Fig. 4). Furthermore, it is noteworthy that a bluish-white mineral known locally as “agasa” is present in the area (Fig. 5). Historically, craftsmen have discovered through extensive practice that this mineral exhibit high compatibility with lacquer, enabling it to integrate seamlessly with the lacquer. Due to its long-standing use, agasa has become an indispensable raw material in the lacquer application process.

Fig. 4

Lacquer in different colors. Taken by Wei Liu at Yixi’s home in Benzilan Community on August 3rd, 2024

Fig. 5

Wooden bowls processed with lacquer mixed with agasa. Taken by Wei Liu at Yixi’s home in Benzilan Community on August 5th, 2024

Various stages in the process of Tibetan wooden bowls production

Many local handicrafts and objects for domestic use are elaborated [25]. Through field investigation, we found that the production process of Tibetan wooden bowls is quite complex in Benzilan Town. The main steps include raw material selection, carving, boiling, fashioning, lacquering, and decoration. Based on the tasks involved in each step, we further summarized the process into four key stages: material selection, processing, lacquering, and decoration (Fig. 6).

Fig. 6

Four key stages of making a wooden bowl in Benzilan Town. a shows raw material selection; b shows processing; c shows lacquering; d shows decoration. All photos were taken by Wei Liu on August 6th, 2024. Photos a and b were taken at Duzhicili’s home in Duotong Village, while Photos c and d were taken at Yixi’s home in Benzilan Community

Material selection

The raw materials for Tibetan wooden bowls production are generally collected by craftsmen locally. The collecting process is time-consuming and labor-intensive. In the past, when various conditions were inconvenient, craftsmen would set up a simple tent or living space on the mountain to facilitate better collection of raw materials as well as processing raw materials (Fig. 7). Craftsmen would go up the mountain to select suitable plants and collect raw materials from various parts of the plants. All the plants are recorded in Table 3. As for the parts used, they generally include burls or root nodules, crotches of tree, and trunks. But A. yunnanensis is an exception, as it is herbaceous plant, and only its root nodules can be used as raw materials for making wooden bowls.

Fig. 7

The site where craftsmen collected and processed wooden bowls on the mountain decades ago in Benzilan Town. Taken by Wei Liu on the mountain in Duotong Village on August 5th, 2024

Processing

The processing of Tibetan wooden bowls is still a complex and intricate process. This process primarily involves shaping the raw materials into the form of a wooden bowl through a series of complex techniques. It is worth noting that elder craftsmen are more skillful and experienced in the process of making Tibetan wood bowls. Today, this process seems simple due to the development of modern technology, which allows the use of machines in the crafting process (Fig. 8). In the past, however, the entire process was entirely carried out by the craftsmen manually.

Fig. 8

The craftsman is processing wooden bowls with machine and other tools. Taken by Wei Liu at Duzhicili’s home in Duotong Village on August 6th, 2024

Lacquering

Lacquering is a key process in the production of Tibetan wooden bowls in Benzilan Town. The most important material used in this process is the resin of the T. vernicifluum—raw lacquer. The craftsmen boil the collected raw lacquer to make ripe lacquer (Fig. 9). During the boiling process, they typically add tung oil made from seeds of V. fordii, as they believe the addition of tung oil improves the properties of the lacquer. Then, the craftsmen repeatedly and evenly apply the ripe lacquer onto the surface of the wooden bowls, not only to make the surface smoother and shinier but also to protect the bowls. At the same time, during the lacquering process, if dyes are mixed with ripe lacquer and applied to the wooden bowls, it can also serve to dye the bowls.

Fig. 9

Different natural lacquer. a shows raw lacquer; b shows ripe lacquer. Taken by Wei Liu at Yixi’s home in Benzilan Community on August 3rd, 2024

Decoration

Decoration usually takes two forms: gilding with gold or silver, and painting (Fig. 10). The primary purpose of gilding gold or silver is to highlight the prestigious status of the owner, while also protecting the wooden bowl from damage. Additionally, gold and silver have the function of detecting poison, and in the past, local Tibetans used them to test the toxicity of food while traveling along the Tea Horse Road. Painting typically involves adding patterns or Tibetan Buddhist motifs to the wooden bowl, each of which carries auspicious and positive meanings.

Fig. 10

a shows wooden bowls gliding with silver; b shows wooden bowls painting different patterns. Taken by Wei Liu at Yixi’s home in Benzilan Community on August 8th, 2024

Differences in Tibetan wooden bowl making between Benzilan town and Gyirong town

In China, the Tibetan-inhabited regions are traditionally categorized into three major cultural and geographic areas: Ü-Tsang, Kham, and Amdo. The research conducted by Ding and his colleagues was carried out in Gyirong [13], which is part of Ü-Tsang. In the Ü-Tsang region, people prefer wooden bowls that are dyed and vanished. The study area of this paper is Benzilan Town, which belongs to the Khams Tibetan area. There are certain geographical and natural differences between the two places. This has significantly influenced the craftsmanship of Tibetan wooden bowls in these two regions.

Through a comparative analysis with Ding’s study, we found notable differences in the material selection, dyeing, and lacquering (or varnishing) processes of Tibetan wooden bowl production between the two regions.

Differences in material selection

According to Table 8, we can see the plant species utilized in wooden bowl making in Gyirong Town as recorded by Ding et al. which are completely different from those in Benzilan Town. There are 16 plants belonging to 11 families being used at different stages of Gyirong wooden bowl processing. Among them, there are nine species used as wood materials, three species used to make dyes, and four species used to make varnishes [13].

Table 8 Plant species utilized in wooden bowl making in Gyirong Town

On one hand, this reflects the significant differences in the raw materials for making wooden bowls between the two places, which can be largely attributed to differences in the natural environment. However, although the specific plant species utilized in the two places are different, it is worth noting that the craftsmen in both places have selected some plants from the Salicaceae family, Pinaceae family, Betulaceae family, and Ericaceae family as raw materials. On the other hand, all raw materials for Gyirong wooden bowls are locally sourced, while the lacquer and certain dyeing agents used in Benzilan Town’s production process must be procured from external regions. This practice reflects Benzilan Town’s long-standing economic and cultural exchanges with neighboring areas.

Differences in dyeing and lacquering (or varnishing)

Beyond the differences in raw materials usage, there exists a fundamental divergence in dyeing and lacquering (or varnishing) between the two regions. In Gyirong, dyeing constitutes an independent production stage. Craftsmen formulate dye liquors of distinct colors using different plants, achieving chromatic effects by immersing the bowls in sequentially prepared dye liquors. Subsequently, they apply oil extracted from Impatiens seeds onto the pre-dyed surfaces to complete the varnishing process. Notably, Gyirong’s exclusive use of Impatiens seeds as a varnishing agent represents a distinctive regional practice.

In contrast, Benzilan Town integrates dyeing and lacquering into a simultaneous process, where plant-based pigments are mixed directly with lacquer before application onto the bowl surface. Notably, Benzilan craftsmen now frequently employ mineral pigments alongside botanical dyes—a practice absents in Gyirong’s traditional workflow. In terms of lacquer material selection, Benzilan Town employs natural lacquer sourced from T. vernicifluum. This preference is driven by two key factors: (1) Benzilan Town is situated in close proximity to lacquer-producing regions such as Gongshan County (Yunnan Province), which ensures convenient access to raw materials. (2) Local craftsmen regard this lacquer as the optimal ecological material and believe that the use of this lacquer also embodies symbolic meanings of invoking blessings for happiness and auspiciousness.

Furthermore, it is noteworthy that Benzilan Town exhibits a unique practice: Bowls crafted from rare materials like burls or root nodules are intentionally left undyed and unlacquered. Craftsmen value the innate grain patterns and hues of these materials, believing such “unadorned” bowls possess symbolic efficacy in wealth accumulation and fortune attraction. These differences not only reflect distinct craftsmanship of wooden bowl production but also the contrasts in cultural between the two regions.

The raw material selection standards and cultural connotations of Tibetan wooden bowls

In terms of raw materials, the selection of them for Tibetan wooden bowls is highly meticulous. Wooden bowls crafted from high-quality materials can reflect the social status of their owners. Within the local Tibetan community, there are no strict standards regarding the preciousness of the plant species used in the production of wooden bowls. However, local Tibetans exhibit clear preferences for specific parts of the plants employed. It can even be argued that, compared to plant species, the parts of the plants used in the manufacturing process serve as the key criteria for determining the quality and preciousness of the wooden bowls. This is one of the reasons why the root nodules of A. yunnanensis are considered among the most valuable materials in the perception of the local Tibetan community.

Through field investigations, we determined that the relative preciousness of different plant parts ranks as follows: burls or root nodules, crotches of tree, trunks. From a material standpoint, burls or root nodules are considered the most valuable and precious due to their exquisite grain and superior wood quality (Fig. 11). Wooden bowls crafted from these materials are known as “treasure wooden bowls.” It is believed that these bowls possess properties that attract wealth and ward off evil, leading the local Tibetans to regard them as symbols of social status. These types of wooden bowls are typically minimally decorated and sometimes not even lacquered to better display their unique grain. Crotches of trees are robust and suitable to produce wooden bowls. Conversely, tree trunks are prone to cracking during the manufacturing process and lack exquisite grain, thereby possessing the lowest value.

Fig. 11

Wooden bowls made from the burl of Acer pictum subsp. mono. Taken by Wei Liu at Yixi’s home in Benzilan Community on August 8th, 2024

In terms of different plant parts, Yixi said, “The wooden bowls made from burls and root nodules have beautiful patterns, and they are pretty. Moreover, these kinds of wooden bowls are said to be able to attract wealth.” Duzhicili also said, “Burls and root nodules are the best, but this kind of material is not particularly easy to find, so the wooden bowls made from it are also relatively expensive.” and “Tree trunks are not an ideal material for making wooden bowls. They tend to split easily during processing, and the resulting wooden bowls don’t hold much value.”

Local knowledge is experiential and embodied in everyday practice, and it is also crucial for the conservation of biodiversity [26]. During the material collection phase, local Tibetans exercise great caution to avoid indiscriminate logging. Their aim is twofold: to safeguard the ecosystem and to ensure the high quality of wooden bowls. Their first-choice materials are burls and/or root nodules. Craftsmen use specialized tools to precisely remove these specific parts of the plant, taking care not to impede the plant’s normal growth (Fig. 12). When gathering other plant components, they deliberately select plants that have naturally withered or died. This locally developed ecological knowledge, which has been accumulated and refined by those whose livelihoods depend on the natural environment [27], serves as a prime example of the sustainable utilization of forest resources. This traditional utilization of plants also has potential implications for promoting biodiversity conservation [28], and a reflection of the traditional ecological concepts of the local Tibetan people.

Fig. 12

a shows a burl; b shows a mark after cutting of a burl. Taken by Wei Liu on the mountain in Duotong Village on August 5th, 2024

Social significance of Tibetan wooden bowls and related industries

Traditional handcrafts play a significant role in local economies and employments [29, 30]. They are regarded not only as a supplementary activity for diversifying family income [31], but also as a source of employment opportunities that require low capital investments [32]. The production and sale of Tibetan wooden bowls can provide employment opportunities, thereby assisting residents in generating income and promoting economic diversification and sustainable development. For example, the Yixi family has created over one hundred jobs in Benzilan Town and its surrounding areas, including positions for many individuals with disabilities, thereby offering essential economic support for their livelihoods. Additionally, these employment opportunities do not hinder workers from collecting matsutake mushrooms during appropriate seasons, thereby maintaining their sources of income in various sectors such as agriculture and forestry. Furthermore, the development of the Tibetan wooden bowl industry has stimulated related upstream and downstream supply chains, including raw material procurement, manufacturing, sales, and tourism, thereby further enhancing the local economy’s vitality and resilience.

As carriers of ethnic culture and symbols of ethnic characteristics, ethnic handicrafts have become an important resource for the development of ethnic tourism [33], therefore, they play an important role in ethnic tourism [34]. Also, the development of traditional crafts and handicrafts allows tourists to understand the unique traditions of the indigenous population [35]. In Benzilan Town, the emergence of the Tibetan wooden bowls industry has driven the continuous development of related tourism sectors. Tibetan wooden bowls, renowned for their unique craftsmanship and rich cultural heritage, attract many domestic and foreign tourists. Visitors to Benzilan Town can not only tour the production process of Tibetan wooden bowls, gaining an in-depth understanding of each stage from raw material selection to finished product creation, but also actively participate in hands-on handicraft-making activities, personally experiencing the allure of traditional techniques. Moreover, to meet the market demands, local wooden bowl craftsmen have designed numerous new products by innovating the shapes and painted patterns of wooden bowls. This not only reflects the innovative development of traditional local handicrafts but also contributes to better preservation of traditional crafts. The organic integration of culture and tourism not only enhances the economic vitality of the community but also strengthens the cultural confidence of the local Tibetans.

Nowadays, in the context of the development of modern industrialized furniture, the sustainable development prospects of Tibetan wooden bowls and related industries represent an issue of great value for discussion. As a crystallization of the Tibetan people’s life wisdom, Tibetan wooden bowls have a significant role to display Tibetan culture. With the acceleration of globalization, global cultural exchanges have become more frequent, and people’s awareness and acceptance of diverse cultures have been continuously enhanced. Tibetan culture, as an important part of Chinese culture, attracts increasing attention with its distinctive features. So, cultural value of Tibetan wooden bowls is expected to gain wider recognition and emphasis in future. Meanwhile, the manufacturing process of Tibetan wooden bowls embodies the wisdom of generations of craftsmen. Each finished product is unique, which forms a sharp contrast to the large-scale and standardized production model of modern industrialized furniture. In the current trend where consumers increasingly pursue personalized and high-quality products, the unique handicrafts of Tibetan wooden bowls demonstrate great development potential. By innovating product forms, such as optimizing the shape and patterns of wooden bowls with modern design concepts or custom-making wooden bowls with special meanings according to consumers’ needs, it is possible to meet market demands more effectively.

However, the Tibetan wooden bowl industry faces numerous severe challenges in the face of the impact of modern industrialized furniture. On the one hand, the raw materials for making Tibetan wooden bowls are limited, and some materials are even scarce. Coupled with the limited number and energy of wooden bowl craftsmen, these factors greatly limit the output and production scale of Tibetan wooden bowls. On the other hand, industrialized furniture occupies most of the market share with the cost-advantage brought by large-scale production, while Tibetan wooden bowls are at a distinct disadvantage in terms of price and production efficiency.

Therefore, to achieve sustainable development, the Tibetan wooden bowl industry needs to implement a diversified development strategy. In terms of product design, while focusing on product innovation and personalized production, efforts should be made to strengthen brand building, creating well-known brands of Tibetan wooden bowls with distinct regional characteristics and profound cultural heritage, so as to enhance product added value and market competitiveness. In the expansion of sales channels, the Internet platform should be fully utilized to open online sales channels, break through geographical restrictions, and expand the market coverage. At the industrial linkage level, three key measures should be prioritized: first, actively promote the extension of the Tibetan wooden bowl industry chain; second, vigorously develop upstream and downstream industries (e.g., wood processing, lacquer production, and packaging design); and third, construct a complete industrial chain to enhance the industry’s ability to resist risks.