Tibetan operas reflect the Tibetan people`s lives of various periods. First, it shows ``one husband multi-wives`` custom, most Tibetan king and nobleman have several wives. In their marriage ceremony, ``Good luck arrow`` and ``Tibetan ceremonial scarf - Hada`` are most important typifier. Opera `s hero sent his servants to enquire about the girl and he had his servants force on her the "Good Luck Arrow", which symbolises an engagement. And Hada is used for wedding ceremony or wedding gifts. Present hada is a common practice among the Tibetan people to express their best wishes on many occasions, such as wedding ceremonies, festivals, visiting the elders and the betters, and entertaining guests. But Hada also means mourn over someone`s death. Opera shows us an aspect of ``Tibetan Sky Funeral``. Tibetan people believe incarnation, for them body is equal to worn clothes. So they are willing to cut their body. After death, a dead person meets ``Yama``, Lord of death. Ordinary persons must confront him when they die, gazing into his mirror of karma. Beneath Yama himself a monkey-headed demon holds a set of scales on which white and black pebbles, representing one`s good and bad deeds, determine one`s destiny. After judgment, fierce police demons seize the defendant and lead him upward or downward to his next rebirth. Yama`s judgement scene, mirror and scale is important props. If the deceased persons are capable of recognizing the confusing and often frightening bardo visions as simply their own mental projections reflective of the previous life`s thoughts and deeds (karma 業), the ongoing cycle of birth and death will be overcome. Failure to recognize these appearances, on the other hand, leads eventually to rebirth and further suffering in cyclic existence. For Tibetan people, death is another name of birth.