For several years Shamar Rinpoche has made the wish that Dharma art be established in the West with its direct source in the Karma Gadri school (the tradition to which we, as Karma Kagyu practitioners, belong). Progressively the objectives and the role of this vast project became clear to us. Reflecting upon the beginnings of this lineage (see transmission lineage) it became evident that getting together the various talents, knowledge, documents etc. would be the first priority on which we would have to concentrate our efforts.

Firstly it seemed necessary to make a contact with people wishing to devote themselves to an apprenticeship of traditional painting. Then to create an opportunity making the Dharma accessible for western artists via their personal work. Furthermore we felt that the creation of an archival storage of Gadri works was completely indispensable. This would include finding and eventually acquiring original works as well as creating a collection of documents in conjunction with Dhagpo Kagyu Ling's library.

In 1995 Gendun Rinpoche requested Kunkyab and Samten, in retreat at that time, to take charge of the project's development by incorporating it with the large temple's decoration. From this time on it became necessary to train a team of student practitioners so that they would be up to the task of making frescoes, mandalas, sculptures etc. when the moment arrived.

In order to help us accomplish this task Shamar Rinpoche made it possible for us to meet a Sikkimese painter, Denzong Norbu, who had dedicated his life in the service of the 16th Karmapa. Touched by this project and with the transmission of this knowledge being dear to him, Denzong Norbu agreed to visit Dhagpo Kundreul Ling regularly.

The experience of working together as a group and the numerous exchanges with Shamar Rinpoche and Jigme Rinpoche over the past two years have enabled us to organise and carry out these activities with greater precision.