摘要“曼唐”即藏医药学平面图，是第司·桑杰嘉措在17世纪末，以《四部医典》注释本《蓝琉璃》为主要依据，参考《月王药诊》《八支心要》等医学古籍的基础上主持绘制而成。曼唐共有80幅，涵盖了藏医学关于生理、病理、预防、诊断、治疗等内容，被历代藏医学者视作学习藏医药的首选辅助教材。随着18世纪以来曼唐的定型和传播，藏医教育水平得到进一步发展。在传统藏医教学模式革新的同时，曼唐的载体也趋于多样化，出现了挂图、长条书、壁画和刻板4种载体，以适应不同阶段、场所、人群的使用需求。不同载体的曼唐拓宽了藏医教育的学习场景，对于推动藏医学传承与发展发挥了重要作用。

abstractsSman thang, the graphic drawings of Tibetan medicine, was completed by Desi Sangye Gyatso at the end of the 17th century. Its content was based mainly on Blue Lapislazuli (Lan Liu Li), the annotated version of Rgyud bzhi (Si Bu Yi Dian). It drew references from many classic medical books, such as Ashtanga Hridaya (Ba Zhi Xin Yao) and Lunar King (Yue Wang Yao Zhen), involving the content of Tibetan medicine on physiology, pathology, prevention, diagnosis and treatment, with 80 drawings in total. Sman thang was, therefore, taken as the first reference learning material by the Tibetan medicine learners for a long time. With the Sman thang stereotyping and dissemination after the 18 th century, Tibetan medical education had been further developed. With the innovation of traditional Tibetan medicine teaching, the genres of Sman thang tended to be diversified into flip charts, long form books, wall paintings, xylographs and other forms, adapting to the needs at different stages, places and for various people. These genres of Sman thang broadened the scope of Tibetan medicine education and played an important role in promoting the development of Tibetan medicine.