This living quality cannot be expressed through mere 'resemblance.' A western art master often used to say 'resemblance kills the truth.' In other words the truth of the creative gesture is linked to one's state of mind at the moment of creation. The source of this must come from the depth of one's being in a state in which one is no longer conscious of the self. This is what gives a work its 'true' quality.

The degree to which one identifies with a 'self' will have an effect on the quality of the work. When the artist considers himself as a simple vehicle through which the creation is realised, free from all notions of a creator, a work, and an action of creating, then this correct attitude gives the result its sacred dimension. In this way even paintings without any representation are able to possess this truth due to certain gestures which give life to a transcendent quality. This can be seen in the case of calligraphy, particularly developed in the Zen tradition. The apprenticeship of Dharma painting combines all of these elements. It requires a long training based upon a master-disciple relationship. Certain motifs which incarnate this 'life principle' must be constantly repeated and the proportions of the buddhas, bodhisattvas and other elements which are vehicles of a 'pure vision' are rigorously studied. These forms possess a special blessing which allow one to approach an understanding of the nature of mind.

Before anything, the necessary motivation is the development of the enlightened mind. This is the basis for the creation of practice supports worthy of being a receptacle of the Three Jewels spiritual influence. Then without even the slightest concern for personal glorification one must apply oneself faithfully to follow the instructions of a living master. Through his guidance one can develop the qualities of body, speech and mind which enable one to create such supports.

These instructions are not just for an accumulation of knowledge, but also to set an example for one's behaviour. More specifically there are certain ways, according to the type of tantra and deity, in which one consecrates the canvas or uses the colours or implements. Ideally an artist who paints a deity or mandala should have himself received the corresponding initiation and do the practice every day.