"Prof. Lokesh Chandra's book The Transcendental Art of Tibet charts the development of the large Buddhist pantheon in India and Tibet examines the morphology of notable deities and provides information about 70 Tibetan thanka scrolls. The work is divided into three parts: scrolls, theophany, and theogony." Buddhism views the form as fundamental. The image is substantial nothingness, an impetus for philosophical imagination, the creative force revered in various places, infused with unending multiplication, inspired by the flow of rivers and fountains, arborescent earth, and radiant heaven. A multicolored veil of mythology is woven from the tangled web of the various Buddhist deities. Popular worship and external forces serve as the foundation for new sutras that breathe awe and majesty into human life. The pure, substantial, boundless energy of the inside is actively symbolized by the external form. It reflects the psychology of horizons, they want to flow into reflection, and the vigor to gallop into form, into iconography. The Seven Buddhas) and their previous incarnations, as well as the following narrative of the partition of the relics and Asoka's subsequent dispersal of them, are depicted in the earliest phases of Buddhist iconography.