Religious paintings mounted on brocade and rolled up between two sticks are called " Thangkas". Theri eminent portability was essential in a land of nomands and they were often used by mendicant preachers and doctors as a visual learning aid. Not so portable are the huge " Thangkas" the size of large buildings that are unfurled every year during festivals.

The production of the " Thangka" is and act of devotion and the proess is carefully formalised. Linen or now more commnly cotton is stretched on a wooden frame, stiffened with glue and coated with a mix of chalk and lime called gessol. Iconography is bound by strict mathematical measurements. A grid is drawn onto the " Thangka" before outlines are sketched in charcoal, starting with the main central deity and moving outwards.

Colours are added one at a time, starting with the background and ending with shading Pigments were traditionally natural- blue from lapis; red from cinnabar; yellow from sulphure. Most " Thangka" are burnished with at least a little gold. the last part of the " Thangka" to be painted is the eyes, which are filled in during a special" opening the eyes" celebration.

Finally a brocade backing of three colures and a "curtain" are added the latter to protect the " Thangka".

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