began to make illustrations of the deities and natural scenes. Historically, Tibetan and Chinese influence in Nepalese paintings is quite evident in Paubhas (Tangkas), and Nepalese styles have been a significant influence on Tibetan art. Paubhas are of two types, the Palas which are illustrative paintings of the deities and the Mandala, which are mystic diagrams paintings of complex test prescribed patterns of circles and square each having specific significance. It was through Nepal that Mahayana Buddhism was introduced into Tibet during reign of Angshuvarma in the seventh century AD. There was therefore a great demand for religious icons and Buddhist manuscripts for newly built monasteries throughout Tibet. A number of Buddhist manuscripts, including Prajnaparamita, were copied in Kathmandu Valley for these monasteries. Astasahas rika Prajnaparamita for example, was copied in Patan in the year 999 AD., during the reign of Narendra Dev and Udaya Deva, for the Sa-Shakya monastery in Tibet. For the Nor monastery in Tibet, two copies were made in Nepal, one of Astasahasrika Prajnaparamita in 1069 AD and the other of Kavyadarsha in 1111 AD. The influence of Nepalese art extended to China in regular order in the thirteenth century. Nepalese artisans were dispatched to the courts of Chinese emperors at their request to perform their workmanship and impart expert knowledge, with the Nepalese innovator and architect Balbahu, known by his popular name Araniko becoming the chief Imperial artist of Kubilai Khan. After the introduction of paper, palm leaf became less popular, however, it continued to be used until the eighteenth century. Paper manuscripts imitated the oblong shape but were wider than the palm leaves. From the fifteenth century onwards, brighter colours gradually began to appear in Nepalese thangka. Because of the growing importance of the tantric cult, various aspects of Shiva and Shakti were painted in conventional poses. Mahakala, Manjushri, Lokeshwara and other deities were equally popular and so were also frequently represented in thangka paintings of later dates. As Tantrism embodies the ideas of esoteric power, magic forces, and a great variety of symbols, strong emphasis is laid on the female element and sexuality in the paintings of that period. Religious paintings worshipped as icons are known as Paubha in Newari and thangka in Tibetan. The origin of Paubha or thangka paintings may be attributed to the Nepalese artists responsible for creating a number of special metal works and wall- paintings as well as