The book is envisaged to provide some facts, materials and information relating to Vajrayana Buddhism prevailing in Nepal and some from Tibet. It has been long felt craftsmen, Artist collector and above all the researchers that there was a dearth of books, which could quench the thirst for the extensive knowledge of Buddhism. The publication of the book provides a great extent of assistance to fulfill existing gap of knowledge regarding historical, cultural and religious meaning and artistic value of Buddhist Icons.
The book contains mainly the description of Dharmakaya, Sambhoyakaya, Nirmankaya, Gurus of Buddhism, Great Eight Boddhisattvas Form of Avalokiteshavara, Form of Manjushree, Form of Taras, Dharmapal, Lokpals and many more about the Iconography of Nepalese Buddhism.

The book accounts regarding the information of the Paubha (Newar) and Thanka (Ethnic Tibetan) the scroll painting which are being produced and growing very fast these days but the quality of it has been deteriorating day by day as the new generation of artist themselves are found not well aware of Nepalese style, the history, meaning of Paubha / Thanka and method of traditional paintings. On the other hand people interested in Paubha and Thanka are confused about newar Paubha and Tibetan Thanka.
The book is brought into existence to arouse a global awareness of the fact that newar Paubha is predecessor to Tibetan Thanka and is proposed to make aware the new generation of artist, collector, general people interested in painting about the history of Nepalese art, meaning of Paubha / Thanka, method of traditional painting through the descriptive script and photo graphs and pictures of Paubha and Thanka prepared by prominent Nepalese Thanka writers.

The art and architecture exhibiting craftsmanship and skills of inhabitants of Kathmandu valley have won an international fame. The wrathful looking and peaceful images of different deities, stupas, vihars, temples are very interesting and appraised much. The preparation and construction of these have been based on the principle and philosophy of Bajrayan, Mahayan and Vastukala. It had been found successful to benefit millions of local people with job opportunities then. But as the western art and architecture get the access to the country our aged old craftsmanship and architecture began to deteriorate and disappear slowly because our young artisans are attracted toward to western art and architecture. On the other hand our traditional craftsmanship had not been lettered in black and white to pursue.
The present book has attempted to avail all artistic designs, countenances images drawing and sketches based on traditional art and culture which can be applied in the product of wood, metal stone respectively by those who are interested having the knowledge and skills through the book even these days to preserve, conserve and continue our aged old traditional and heritage.