The so-called psychological characteristics and personality characteristics of wisdom and introversion mean that Tibetans are more accustomed to thinking about life and exploring the true meaning of everything in the world through meditation and enlightenment. Therefore, whether in religious activities or in daily life, they are more inclined to restrain their actions and words, and more often use their "hearts" to examine and understand what is in front of them, and treat all impermanent changes in life in a silent way. This is obviously directly related to the Tibetan people being deeply influenced by Buddhist culture. Such a cognitive relationship between Tibetans and the outside world is also reflected in Tibetan contemporary literary works. From the creation reality, in the 1950s and 1960s when poetry dominated Tibetan contemporary literature, even some poems with strong social and political characteristics still reflected the cultural and psychological characteristics of the Tibetan people. The most obvious thing is the detailed and diverse description of the scenery in the poem, which is full of sacredness, humility and awe. Of course, some Tibetan poets in that era were lucky, and they had new life opportunities. Because of this great historical turning point, they rejoiced in the new historical situation. Therefore, the description of scenery in poetry naturally contains praise and eulogy for new life scenes and bright future, expressing a brand-new feeling of home. However, to explore the root of "unconsciousness" from the deep level of culture, we cannot ignore their natural awe of nature itself. Although the description of nature in their works contains elements that cannot be conveyed in other ways due to the changes of historical circumstances, it also contains the most fundamental cultural unconscious elements from the depths of consciousness, such as the worship of nature and the belief in animism. Because of this, we can see that Tibetan writers give unreserved praise and eulogy to the natural environment on which they live. This tradition has continued and is still very prominent in Tibetan contemporary poetry. Not only did the older generation of poets such as I Cai Dan Jean, Raoji Basan, Dan Gong Zhen Bou, Gesandoji write many excellent poems praising the natural scenery and human landscape of the snowy plateau, but the younger generation of poets also got infinite inspiration from the vastness and magnificence of nature and painted solemn and colorful pictures of the plateau.
The younger generation of poets, such as Alai, Lemeipingcuo, Wanmayangjin, Caiwangnalu and Banguo, all love the natural beauty of the plateau and dedicate their deepest, warmest and most persistent feelings and beliefs to the land under their feet and the mountains, rivers, lakes and lingshi around them ... In their minds, these mountains, rivers, lakes and lingshi all have magical power. They praise these lofty spirits as the source of life, the place of strength, the place where courage erupts, the sustenance of faith and even the foundation of life. It can be said that in the circle of Chinese civilization, no nation has such a sacred and humble feeling for the natural existence like the Tibetan people. Such obsession with spiritual phenomena is obviously related to the deep-rooted nature worship and animism of the Tibetan people. It is no exaggeration to say that the creations of contemporary Tibetan writers are still deeply branded with regional culture, that is, their creations echo the magnificent, beautiful and magical natural scenery of the Qinghai-Tibet Plateau from a distance, and they have a "blood relationship" that blends well with each other. This blood relationship naturally comes from the spiritual concept in the depths of the subconscious. If the Tibetan contemporary literature in the initial period unconsciously or implicitly expressed the Tibetan people's national cultural psychology under the influence of political ideology, then the Tibetan contemporary literature in the new period has more clearly highlighted its uniqueness in the increasingly diversified cultural environment, that is, fully expressed the Tibetan people's cultural psychology. Of course, this performance is also a process of continuous exploration and change. At the beginning of the new period, there was a lively scene in which the older generation writers and the younger generation writers lived together, and novels, short stories and excellent poems competed for each other. However, no matter old writers or young writers, their works all show certain national characteristics; No matter what kind of works, they convey the unique cultural psychology of plateau people to varying degrees. As far as novels are concerned, from the creation of the older generation writers such as Jiangbian Jiacuo and Ishidan Zeng, although most of their contents reflect the revolutionary course of people in Xizang's new historical road under the leadership of China's * * * production party, we will find that they still vividly reflect people in Xizang's cultural psychology and national spirit from the details of description, rhetoric and performance. For example, several important novels, such as Gesando, Survivor, Lost Land and so on. , came out in the 1960s and 1980s. From the perspective of theme and content, it reflects the arduous, complex and magnificent historical process of how people in Xizang embarked on the road of resistance and gained a new life. These works with distinctive characteristics of the times and rich social content, while focusing on covering huge and profound historical content and presenting the characteristics of the times, have not become simple historical documents and textbooks.
They skillfully integrate the historical content reflecting the great changes of the times into the artistic expression with national characteristics, making it an artistic work with both historical significance and aesthetic personality of national culture. The Tibetan cultural psychology and national spirit revealed by these aesthetic personalities are the most distinctive core factors. Of course, all this display can not be separated from the writer's choice of specific artistic expression means. Tibetan writers pay special attention to the narrative under the background of national cultural atmosphere when expressing the theme "How the Tibetan people embark on the road of resistance and finally win and become the masters of their homeland". Whether it is characterization, environmental description, or the use of corresponding artistic means, such as psychological description, language choice, structural setting, etc. The writer tries to pursue strong national cultural characteristics and aesthetic atmosphere in his works, so that his works show profound national cultural psychology and national spirit. For example, in the Survivor written by Ishidan Zeng, after the brutal government forces bloodbath Deji village, the elder brother's family in Sam, Deji were brutally killed except their young children. Dejisam had to take on the responsibility of protecting and caring for children. At this time, desperate Dejisam, with hatred, left his hometown with his children at a loss and fled to a different place. In Qamdo, she met a Lama from a temple. When the Lama heard about what happened to them, he hoped that she would be merciful and worship Buddha to eliminate disasters instead of complaining. Deguisa disagreed with the Lama's persuasion, so the Lama gave her a lesson, which moved Deguisa. There is a narration in this article: her spiritual world has entered the realm of mysterious gods. She feels that this field is not only sacred and open, but also full of light and future that could not be seen in the past. She thanked the old Lama for pointing out three key obstacles and telling her how to save the transition. In fact, the old Lama's intention of paying special attention to the worship of Jueren Bofo when reading divination is to privately persuade Dejisum to give up the idea of killing and revenge, hoping that Dejisum will embark on such a Buddhist road with humiliation, hatred and compassion. [3](P39) Undoubtedly, this narrative fully shows the profound Buddhist cultural psychology of the Tibetan people. Although Dejisam can't accept the bloody fact of the tragic death of her loved ones, she still has irresistible beliefs in the depths of her soul in the face of her own beliefs. This psychological state is naturally the result of the accumulation of Tibetan culture. Like blood, it flows in the cultural veins of the Tibetan people. Even when life cannot be guaranteed, it still has great power, firmly occupying people's spiritual world and virtually dominating people's psychological cognition and realistic behavior. Of course, in the novel, the author does not write this way to emphasize the powerful function of Buddhist culture. Judging from the logic of story development, such story narration seems to highlight the hardships of the bottom people's survival, thus revealing the cruelty of the ruling class in old Tibet and paving the way for them to embark on the road of resistance in the future. But there is no doubt that this description also highlights the practical influence of Tibetan religious and cultural psychology in people's daily life from another aspect. In addition to the description of the story plot can highlight the unique cultural psychology and national psychology of the Tibetan people, the choice of language and some frequent cultural events also show the national cultural psychology to some extent. Language is a system combining sound and meaning, and it is an important medium of literary expression. The importance of language to literature is an acknowledged fact. It is not only reflected in the organizational structure of the work, but also determines the cultural quality and historical significance of the whole work at a deeper level. Because as a basic part of literary works, as the direct and only materialized form of literature, language actually contains profound cultural connotation and psychological implication. "Everything in language, including its material and mechanical manifestations, such as the change of sound, is psychological in the final analysis." Therefore, the integration of Tibetan ancient literature and modern and contemporary literature is awe and harmony.