Origin:
Folk song and dance: early Tibetan folk songs and dances have begun to appear in the theater with the color of the art form. Some of the Tibetan historical materials have been recorded. Such as "Tibet king system record" there is such a record: Songtsen Gampo in the issuance of the "ten good code" when held at the celebration, "to wear masks, singing and dancing jumping, or decorated with widows and cows, or lions or tigers, inspired by the dance, in order to dedicate skills. Playing the great celestial drum, the lute, and the cymbals, and all kinds of music ...... Ruyi is wonderful, and the sixteen maidens, skillfully adorned with all kinds of flowers, sing and dance, and make merry. ...... Horses race. ...... The supreme Dharma drums, exerting all their efforts to knock ......"; in Sangay Gyatso's Tibetan medical work "Yase" there is also a record of the form of folk songs and dances; "At the inauguration of the Sangye Monastery, the subjects performed the 'Zhuo ', 'Lu', and 'Harmonization' and other cultural activities are performed by the subjects at the inauguration of the Sangye Monastery. 'Zhuo' is a masked drum dance; 'Lu' is only singing but not dancing; 'Harmony' is both singing and dancing." At that time, the actors were all monks, and the performance was sometimes accompanied by chanting as the accompanying song, which formed a new form of pantomime jumping god and praising Buddha and praying. This form of performance can still be seen in Harugang Village, Naidong County. There still retains the "Azhuo" this ancient large-scale drum team organization, the leader of the dancer's mask and the early Tibetan opera of the white goatskin masks are roughly the same, the name of the wearer of the mask is also called "Aruwa".
Origin two:
Folk rap. As early as the Tibetan Benjaminism period, known as "Zhong" oral myths, historical legends and stories have become an important part of the Tibetan ideology. Benjaminism has specialized in rapping storytellers and singers. In Tibetan history, a large number of folk stories have been produced throughout the ages, and these stories have been sung in the form of folk songs, hymns, and rhyming phrases to make the words of the characters more vivid and touching. This form of singing has been continuously developed and perfected in the process of long-term circulation. This is one of the reasons why many folktales have survived to this day. For example, in the eleventh to thirteenth centuries, the Tibetan folk heroic epic "King Gesar", its rap style by the influence of Buddhist rap literature and development, in addition to the monologue and dialogues are suitable for singing rhymes, some of the storyline narratives have been changed into singable rhymes, and the rhyming writing method is adopted is the folk song style. In addition, other forms of rap, such as "Zenga" (meaning auspicious wishes), "Lama Mani" and so on, also played an important role in promoting the emergence of Tibetan opera. Especially "Lama Mani Nai" this kind of rapping art, its influence on Tibetan opera is very great, the script of Tibetan opera is the script of Lama Mani Nai artist's rapping story. The characteristics of rap art are also clearly reflected in the performance of Tibetan opera. For example, when Tibetan Opera is performed, there is a storyteller, who speaks wherever the actors sing; the storyteller introduces the story in a fixed chanting tone before the actors can go on the stage to perform.
Origin III:
Religious ceremonies and religious art. Tibetan history "Ba Xie" recorded; "in the eighth century when the Tubo Zanpoche Chisong Dezan built the Sangye Temple, Master Lotus Sheng for the subduing of evil spirits in the first application of a dance in the track rituals". This dance is the origin of the Tibetan Buddhist temple dance "Dorje Ga Qiangm" (Vajra Dance, Qiangm for short). Qiangm is in the primitive Benjaminism sorcerer sacrifices to the natural gods on the basis of rituals, absorbing folk folk dance evolved from the new religious ceremonial dance. At the beginning of Qiangm is completely in the monastery for the monks to perform, and later spread into the folk, monks and laymen can watch, and gradually become monks and laymen masses enjoy a certain entertainment of religious dance. In addition, in Linzhi there is a completely unrelated to the monastery "Mi Na Qiangm" (common people jumping god), is to lead back to the "village treasure" to drive away evil and welcome the auspiciousness and the creation of folk ritual dance. One of the symbols of joy, luck and good fortune of the male servants God jumped the "wave terrier dance", but also by the monastery jumping God Sakya Temple Drolma chapter "Zimar Duojia" Qiangm and the Tibetan drama "Baima Wenba" absorbed.
In the 14th century, the Kagyu (White Sect) monk Tangdong Jeppu (1385-1464), who was traveling in the clouds, presided over the construction of what is said to be Tibet's first cable-stayed bridge in 1430. In the process of building the bridge, he found that the workers have seven sisters who can sing and dance well (some say seven siblings), so on the basis of the white mask theater, absorbing the legends in the Buddhist scriptures and folklore with theatrical elements in the content of the program, designing singing movements and drums and cymbals accompaniment, guiding the seven sisters performances, in order to publicize the religion, and for the good repair of the bridge to raise funds (for good deeds and virtues). The seven sisters' natural beauty, light dance and beautiful singing made the audience think that the fairies had descended to the earth, and praised them as "Ajilam" (fairies). Later Tibetan opera was called "Ajilam", also named after it. According to "Tang Dong Jiebu biography", Tang Dong Jiebu presided over the construction of the iron bridge, the number of wooden bridges amounted to hundreds of wharves and ferries have more than a hundred. And the construction of so many bridges and ferries, the required funds in addition to its lobbying and fortune, mainly by the organization of fund-raising performances to raise. After Tang Dongjiebu will be developed by the white mask theater back to his hometown main temple is very - Rigozhi Temple, the creation of a very - Rigozhi troupe, the white goatskin masks to be decorated into blue masks, in the white mask theater performance art based on a variety of songs and dances and combining the local ancient Yoga arts, acrobatics, etc., the scripture story Zhimei Gengdeng. From then on, the blue mask theater gradually formed.