Preparations for rebuilding the nunnery’s library were underway. Khema Shamavati and all of the nuns gathered with a few local scholars, traders, builders and artists to detail the tasks. The scholars were concerned about the replacement of rare books and artifacts and the accuracy of what the printing press might someday print, so they set out to research the history of the village and in particular the library in order to inform the builders of the press itself and the traders who would also be acquiring new books.

Before any repairs to the building could be made and before any building materials could even be collected there were specific rituals, blessings and empowerments that Khema and other ritualists would have to perform. This would guarantee, from the local deities and the Earth Goddess, the longevity of the structure, the wellness and flourishing of the community where it lies. Normally before the commencement of any building project the group would have to ask the Earth Goddess for permission in a lengthy and intricate ceremonial style, they would also have to acknowledge the smaller deities in similar ways. Originally builders would have also had to plot the building area in accordance with the cardinal directions. Since the library in the nunnery had already existed all of this had been done before so there was no need to repeat the lengthy ritual. A shortened version just to reinforce prior ackowledgement of the Goddess and the spirits would do, which meant that the building process could happen sooner.

There is a young nun who has been under the tutelage of Khema Shamavati for some time. She showed much promise in her ritual abilities and so was recruited by Khema to perform offerings to the spirits and deities of the forest where the trees would be cut down for use in repairs to the library and building the printing press. Khema trusted that this young nun could successfully execute the offering and appease the dakinis there by herself and didn’t need her assistance. So Khema Shamavati headed around to the back of the library’s reconstruction site to performed a short ceremony for thanking the nagas who occupied the earth beneath for their sacrifice of their sacred space for humans to use. Under a meditative trance she created a mandala out of flowers and made 0fferings of rose water, she sat and chanting sacred syllables for a while. When she was shaken from the trance she knew that the earth nagas were satisfied and she went to tell the group that the building process could commence.

With funds from the Lama the group agreed that the artists should be bought the best qualities of paints. The artists involved would be responsible for the painting of every square inch of the new building. As it was built in strict accord with Tibetan Buddhist geographical, astrological and directional observances, the colours of paint would also be symbolic, representing different aspects of the Buddhist Tantra. The community main deity Vajrayogini, who is known to be a female Buddha, will be featured in a large mural above the library entrance. She has blazing red coloured skin, and dances in a halo of fire. With a third eye in the middle of her forehead (her three eyes see the past, present and future) she is adorned with jewellery of skulls and holding a skull in her left hand containing liquid(representing the nectar of bliss) and a blade in her right hand (representing how she cuts through delusion).