「魯神」是以卓尼藏族地區原始宗教的「萬物有靈」思想為基礎，以其獨 特的地理環境和宗教文化為依託，經過長期的相互作用與融合，從而形成的帶 有濃郁地域性特點和內涵的藝術形式，它不但積澱和保留了較多的卓尼地區原 始文化特點，同時它還吸收和融合了包括佛教等其他外來文化的因素，可謂相 容並蓄、博採眾長。從「魯神」的核心內涵來看，它不但展示了卓尼藏族藝術 的無限魅力，它還體現了卓尼藏族社會重視人與人、人與自然之間和諧發展的 理念，更是卓尼藏族地區人們價值觀和審美觀的集中體現。

The artistic form of the deity Lu, or Dragon-god, is inspired by the animistic belief of the Co-ne Tibetan people. Through a long-term process of mutual integration and evolution, it has become an artistic form with rich national and regional cultural features and specific connotations. This artistic form has not only accumulated and retained original, local cultural features, but it also absorbed and integrated foreign cultural elements. Therefore, it can be viewed as an allinclusive artistic form widely drawing upon the richness of both local and foreign aspects. The distinctive religious connotations of the Dragon-god express the boundless charm of Co-ne Tibetan art. They convey the notion of ideal harmony between man and man, man and object, and man and nature in Co-ne Tibetan society. They also embody the ideals, values and aesthetic norms of the Co-ne Tibetans. In recent years, the dragon pattern art has received extensive and increasing attention from scholars, providing vital historical materials for research on nature, history, politics and the culture of the Co-ne Tibetan-inhabited areas.