the flying granary in the first scroll suggest both distance and passing time, highlighting 's incredible supernatural power. Secondly, the painter can condense several stages of the story into a single scene, allowing the action to be imaged with great economy of means. In particular, the painter of the twice used a characteristic process of , by representing, in a single scene, the same character several times (a technique known as ), or at different moments (the technique), to suggest the passing of time: the nun is represented several times in the scene at (third scroll), praying or sleeping, and then in the final scene showing her new life with . The artistic dimension of the scrolls also follows the canons of the style. Thus, the paintings are dynamic and fluid, relying mainly on the curves and ink lines which really constitute the heart of the composition. The ink drawing confers great freedom on the artists, allowing a naturalistic style in opposition to the very stylised paintings of the court such as the . The colour thus gives way at the line, being affixed only in a discreet tone and revealing the bare paper. The painters mainly used vegetable pigments, the opacity of which varies according to the amount of water used for their dilution. As the paper absorbs these colours with water, gradation effects are created naturally, giving a realistic rendering and facilitating transitions between scenes, for example by creating a light mist in which the landscape is lost, or gradual blurring of the colour giving way to bare paper. The same process is used with India ink to obtain different levels of grey. Depth is typically rendered in by diagonal lines which create axonometry while guiding the reader's eye from scene to scene. This process is particularly well illustrated by the flight of the sacks of rice in the first scroll, or the arrival, from the sky, of in the second scroll, materialised by a long diagonal line from the bottom corner to right to the top left corner of the scroll. To create perspective, the painter also uses bird formations that gradually become smaller and smaller, a process originating in Chinese painting. This Chinese influence is also found in the rugged mountain landscapes, executed with great mastery through soft lines and ink strokes for the reliefs. The work is characterised by the painter's desire to represent the