Step By Step Process

1. CANVAS PREPARATION:
First canvas is prepared suitable to paint images in appropriate size according to the numbers of deities and details to be depicted on the painting. A piece of cotton is hand sewed by artist is fixed in appropriate frame. The cloth needs to be very tightly stretched to apply gesso and prepare canvas for application of color details.

After fixing the sewed cotton cloth in frame artist stirs up a mixture of white clay known as gesso, water and glue made of raw skin in a clean pot to the consistency of thick cream. Blessed medicines or other sacred substances are added in that cream. The mixture is then strained through fine gauze to remove any impurities and applied evenly to the dry canvas. It takes around 3-5 hour in sunny day to get dried. When first coat gets dried again it is coated and then the canvas is held up to the light and in next time the areas which have not been evenly coated are patched up with more of the clay mixture and again left to dry.

The canvas is then laid upon a smooth wooden board and a small area is moistened with water using a soft white cloth. Section by section, the artist vigorously rubs the canvas smooth with a piece of white marble, moistening it with water as he works. This takes about an hour. The entire canvas is then slowly and carefully stretched by tightening the strings tied to the frame and left to dry in indirect sun. Once dried, the entire procedure is repeated for the other side of the canvas, stretching it after each moistening and leaving it to dry. When it has been thoroughly treated and dried, the canvas should be so tightly stretched that it makes a nice drum sound when tapped and it is sign showing that now it is ready to be painted. The front of the canvas is then polished with a conch shell. This the entire process takes 3 - 4 days if worked continually. After this process frame gets ready to sketch basic lines for Thangkas. It is called re se in Tibetan.

2. FOUNDATIONAL LINE DRAWING
At this stage the artist bathes, takes purification vows at dawn, meditates upon his tutelary deity, and performs rituals to clear away obstacles and harmful spirits. Having studied the description of the image to be painted in a religious text and consulted a lama about any confusing details, the artist recites the sacred syllables of the Buddha or deity in question and begins to draw. Ideally, the artist recites these syllables and visualizes the deity for the full duration of the creation of the Thangka. If this is done in a genuine way, the Thangka is very different from an ordinary work of modern art and is inherently highly sacred. The foundational lines are done by pencil. It takes between 10 to 20 days to complete, depending on the size and complexity of the Thangka. It is called thig in Tibetan.

3. COLOR PREPARATION:
As per the need of Thangka color is prepared mixing different colors to each others. It is quite a difficult task and if any combination gets not matched whole color gets waste. So the quantity of mixture of different color should be very carefully done. It takes a full day to prepare the primary colors and other colors. Traditionally, the materials included a variety of mineral and vegetable substances: minerals, precious stones, bark, leaves, flowers (especially the rock rose), gold, silver, copper, etc. Each had to be collected from its source in different areas of Tibet, cleaned, ground, powered, crushed or cooked. Nowadays, artists in exile tend to opt for chemical based pigments, easily available for purchase. In an attempt to preserve the genuine tradition of Thangka art, we Lokesvara Thangka family use natural materials as far as possible in our art work. While each color is being mixed, it is continuously tested on the edges of the canvas and allowed to dry. Only after the paint has completely dried does it reveal its true color. It is called tson in Tibetan.

4. PAINTING:
There is a definite, specific sequence to color application. In general, the Thangka is painted from top to bottom. The first step is the sky, which takes 3 to 6 days. An initial deep blue wash is followed by innumerable slender, length wise brush strokes to produce a stipple effect of lines. Then all the blue parts of the Thangka (water, clothing, etc.) are filled in. The dark green landscape and all the dark green areas are next. This is followed
by light blue, then light green, red, orange, pink, brown, pale orange, yellow, pale yellow and finally white. When the whole series of base coat colors have been applied and allowed to dry, the Thangka is scraped with a razor blade, held at an arched angle to the cloth, to smooth away any roughness in the paint. The dust is brushed off with a soft cloth or feather. It is called tson jye in Tibetan.

5. REDRAWING AND SHADING:
The original detailed lines of the clouds and flowers which have been covered by paint are redrawn by pencil and traced over in black ink. The artist then shades them with a fine paintbrush. In general, a Thangka needs three
applications of paint, but flowers require many repeated applications of thin paint to give them their effect of inherent radiance. A single flower may take 3 to 7 days to complete. In a complicated and high quality Thangka flowers, leaves, sky, and many other parts are shaded which takes more time. Only coloring and shading makes different in quality of Thangka. We lokesvara family do our best and we prefer in quality. It is called dang in Tibetan.

6. DETAILS:
Painting the intricate details of the back and foreground landscape and brocade clothing designs follow the same sequence of color application as above. This takes 18 to 20 days to complete. It is called che in Tibetan.

7. BODY SHADING AND FINAL PAINTING:
The artist then shades in color to give shape to the figure's body. The flowers are given final shading and all the minute background details such as fish, deer, birds, fruit and countless grass blades are painstakingly painted. It is called kum jye in Tibetan.

8. GOLD APPLICATION:
A considerable quantity of gold is used to highlight and give it its final glorious touches to Thangka. This entails a strenuous, complex process. Gold is one of the most expensive materials required for Thangka painting. More the gold is used and more the complexity the Thangka the price raise in same way. The artist purchase pure gold from market for Thangka painting. This gold is same as we use for ornament but it is available in tablet form nowadays in market. So such tablet gold is mixed with glue and heated for its proper mixture and it takes
longer duration to get mixed. When it gets completely mixed then it becomes ready to use. Gold is put on Thangka in different area like cloth, the sun, the moon, and other tools that are associated with particular god or goddess. It is called ser che in Tibetan.

9. OPENING THE EYES
This is the most important moment of a Thangka artist's work. Before painting the figure's eyes, the artist bathes and makes offerings to the Buddha's body, speech and mind. When the eyes have been painted, seed syllables and prayers are inscribed on the back of the Thangka to awaken the image's energy. This task is performed by very senior artist. In order to perform this task artist draws different lines and finalize the face. It is called chen jye in Tibetan.

10. FACE AND BODY SHADING
The artist then shades in color to give shape to the figure's face and body. It is one of the most important stages since the look of Thangka depends very much upon this stage or work. Only opening eyes and making face is not enough, so this step works as polishing and finalizing. It is called syam dang in Tibetan.

11. GOLD POLISH
In this stage gold plated part is polished with a gZis stone. It is done to give shine of gold. Thangka consumer should know that original gold gets brighter after this process whereas duplicate gold plated Thangka becomes black. This step brings glow of Thangka of gold. It is called zhi in Tibetan.

12. BROCADE
Final 4 to 6 days elapses while the tailor affixes a brocade frame to the completed Thangka.

13. CONSECRATION
This final step is what distinguishes Tibetan Buddhist practice from ordinary "idol worship." The practitioner takes his or her newly completed Thangka to a highly realized Buddhist master and makes offerings to request the master's blessings.

The master, endowed with the clear mind of enlightenment, is able to "bring alive" the image on the Thangka by infusing it with energy and beseeching the deity to open its eyes and look upon all sentient beings. The Thangka, having now been properly consecrated, is a receptacle of wisdom. It is ready to be hung and venerated as a genuine living embodiment of enlightened mind. These are the steps provides a guide in achieving the desired visual effects required for the creation of quality Thangka. However, one must remain aware that it is essential to combine these processes with the correct motivation, philosophy and creative ability to obtain a Thangka of excellence. It is called rab ne in Tibetan.