The author begins by examining the images of Fuhu Luohan that appear at Shanzuigou in the Helanshan mountains of Ningxia and examines the different images of Chinese and Tibetan arhats,focusing on the origins of the images of the Tibetan Buddhist arhats-Fuhu Luohan（Crouching Tiger）,Budai-Heshang（Cloth Bag Monk）and Dharmatrata. The author argues that the formation of the titles and images of Dharmatrata are intimately related to the evolution of the beliefs of the Tubo Chan school,the Chan Bao Tang school and the Tang and Five Dynasties belief in Xingjiaoseng（Itinerant Monk）,and that these were interconnected with Fotuoboli and the belief in Budai-Heshang（Cloth Bag Monk）popular in the Northern and Southern Song dynasties.The article also explains how belief in Xinluo- seng,the Monk of Si]la,and in Baosheng-Rulai（Ratnasambhava）led to the special relationship between the Tibetan Dharmatrata and the Helanshan area of Ningxia.The complex evolution of these beliefs and imagery reflects the multicultural blending that characterizes the development of Chinese Buddhist art from the 11thcentury to the present day.
