在藏族的传统中，唐卡绘画是无比神圣的，无论是寺院的艺僧还是民间画师，必须是极为笃信佛教的信徒，画师必须把对佛的敬畏和热爱带入作品中。因此，在唐卡绘制之前，需要举行一定的仪式，如诵颂经文、焚香供敬和发放布施等。条件允许， 还要请高僧大德前来祈祷，算定良辰吉日方能开笔。

每一位画师正是因为坚守传统度量准则而成为宗教记忆的复制者。造像艺术中，一丝不苟的尺度和比例是不可逾越的法度。因此，关于唐卡有这样的说法：若不成比例，连画师也将招致恶报。佛像身体的每一个部位都有严格、准确的比例规定和记载，画师们必须依照规范的比例绘制佛像，否则，就是对佛像的亵渎和侵犯。

唐卡的用料非常讲究，全部采用金、银、珍珠、玛瑙、珊瑚、松耳石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等天然植物颜料。这些天然的植物和矿物石开采回来后，要经过很多复杂的程序加工处理后才可以使用。唐卡用天然矿物质颜料绘制可保存千年，依旧色泽明亮，而用现代化学颜料绘制的唐卡保存期则很短。

开光的主要目的是为了让心中所向往的神灵入驻唐卡，这样神灵也能听到祈祷者的心声，为其施发恩泽智慧。为唐卡开光时，将佛像安好，先诵经及咒语，奉请佛菩萨安座。唐卡绘制完成后还会请高僧进行装藏，在唐卡的背面写全经文咒语。 点睛之后，经过彩缎装裱、两端承轴、开光诵经，这样一幅既可以悬挂又可以卷轴收藏的唐卡画才算完成。

ARTJUN thangka artists are all deeply devout followers of Tibetan Buddhism. Before commencing a thangka painting, certain rituals must be performed, such as chanting scriptures and offering incense. They also invite high-ranking monks to conduct prayers and determine an auspicious date before putting brush to canvas.

In thangka painting, meticulous scale and proportion are inviolable rules. Hence, there is a saying about thangkas: if the proportions are incorrect, even the artist will incur karmic retribution. Artists must depict Buddhist images according to standardized proportions; otherwise, it constitutes a desecration and violation of the sacred images.

All ARTJUN thangkas are crafted using precious minerals and gemstones such as gold, silver, pearls, agate, and coral, alongside natural plant pigments like saffron and indigo. These materials retain their vibrant hues even after millennia, whereas thangkas painted with modern chemical pigments have a significantly shorter lifespan.

The primary purpose of consecration is to invite deities to inhabit the thangka, enabling them to hear the devotee’s prayers and bestow blessings and wisdom. After completion, the thangka undergoes a ritual performed by a high-ranking monk to install sacred objects. Following the eye-dotting ceremony, it is mounted with colored silk brocade.