It is possible that we won't find many people who wish todedicate themselves to Tibetan painting. It is something that demands a great deal of energy, perseverance and patience.

The objective behind the Art school project is not to create an academy of Tibetan art. Nor is it to preserve everything in minute detail exactly as it was in Tibet. There are certain elements which no longer correspond to our civilisation. However at the same time it is important not to deviate to an extent where we lose important reference points like the artwork that is now flooding the 'market' in Nepal as well as the West. We have to find solid foundations for Dharma painting.

Norbu is precious in this respect as he can show us our lineage's art as it was in Tibet whilst explaining the importance of the different aspects. He shows us the importance of different substances in that they each possess an energy. For example when we make rolls of mantras to fill the Buddha statues, we use real saffron to dye the paper.

We could easily use yellow colouring to give the same colour. But this would not have the same meaning because the substance in itself creates a good 'tendrel' meaning it has a special connection with enlightened qualities.

The mind's qualities can also be developed through an artistic practice other than sacred painting. By making simple gestures on a piece of paper we can deepen our knowledge of the mind's functioning. It may also be useful to develop workshops which provide an access to the Dharma and meditation via pictorial practices. Many artists, be they amateurs or professionals regard their work as a means of exploring the mind. The Dharma has the ability to help them to connect their experience of art with authentic spiritual development.

This type of project should remain clearly distinct from thangka painting, and should be categorised more particularly under 'Dharma in action'. However with some help from the Dhagpo lamas, it could become part of this project's sphere of influence.