With this view, and as a first step in this effort, Tibet House had organised an International Seminar on Buddhist Iconography. The papers presented at this seminar threw light on many aspects of this subject. We felt that a volume that brought together these papers will be highly useful to any one who wanted to get acquainted with different aspects of Buddhist Iconography. Hence this volume.

Students of Iconography have often pointed out that at least half of the Icons in the world have their origin in Buddhist tradition. The impact of Buddhist Icons, was not confined to the frontiers of India or any particular country. Almost all of Asia felt the impact of Buddhist Iconography. The effect of the inspiration that these Icons, their forms and their idioms provide, made itself evident in the art and Iconography of the entire Asian continent, and in its own way contributed to the enrichment of art and Iconography in the continent.

Many distinguished scholars and experts, have contributed to this volume. The field we have chosen, is indeed very vast. The variety, profundity and vastness of the sources and the texts in the different schools of thought, such as Sravakayana, Paramitayana and Mantrayana, pose a challenge to the earnest student. The correct identification of images and the assimilation of the meaning and message, will depend on a correct interpretation and appraisal of the Iconographical texts, and the perspectives outlined in the canon that relate to Buddhist art. This depends on the identification of sources, access to materials, and an authentic effort to study the objects and the motivations, the meaning and the content of the different elements in the principles and perspectives of Iconography. No magnum opus of Buddhist Iconography has yet been prepared. It is equally true that the Iconographical approach can reveal new dimensions in the study of the artistic and cultural self-expression and symbolism of the Buddhist people, and give the student a clear glimpse of this spiritual genius and ethos.

In recent times, the world outside Tibet, particularly the Western world, has begun to take an increased interest in the religious practices and traditions of the people of Tibet. This, in turn, has led to a widespread interest in Tibetan Miniatures and Thangkas, and a desire to acquire originals or reproductions. Thus, side by side with intellectual and religious interest, a commercial interest has also made its appearance.

Products manufactured indiscriminately for this market are, often in gross violation of the canons. And also neglect the elements that invest these objects of art with the meaning, that should belong to aids used in religious practices. A greater awareness of authenticity can, therefore, contribute to the ability to discern from the fake reproductions and, perhaps, discourage a commercial outlook that closes its eyes to falsification and sacrilege in the desire to exploit a buyer's market.

Tibet House is deeply grateful to all the distinguished scholars, who have readily acceded to our request and contributed papers on a variety of areas that are relevant to the study of Buddhist Iconography. We regret that there has been some delay in preparing this volume for the press. Tibet House is particularly indebted to Dr. Kapila Vatsyayan, for the keen interest she has taken in this volume. We are also grateful to the National Museum, New Delhi, whose generous assistance made this volume possible. We are also thankful to professor D.C. Bhattacharya, for his assistance in the editorial work, during the initial stages of this volume.