The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c23.2

c23.2

The Buddhist pantheon as such did not exist before cir. 300 A. D. which is the approximate time of the composition of the famous Tāntric work the Guhyasamāja. The pantheon got a good start from the theory of the five Dhyāni Buddhas, the embodiment of the five cosmic forces, Rūpa, Vedanā, Saṃjñā, Saṃskāra and Vijñāna. The pantheon further got a fillip from the theory of the Kulas (families) of the Dhyāni Buddhas and their Śaktis or female counterparts. The Dhyāni Buddhas thus became the Kuleśas or progenitors or heads of families, and the families are seen multiplying until they become overwhelming in number. And along with numerical strength, the excellent and meritorious artists went on producing such wonderful specimens of images which were backed by the religious inspiration of the most transcedental type. The pantheon became extremely attractive, and all including the Hindus and Jainas started building their pantheons and adding to their gods and goddesses. In the meantime other Buddhist countries like Tibet, China, Japan and the rest were struck by the wealth of gods and sculptures of the most bewildering variety, and started constructing their own pantheons according to their own national and cultural genius. The pantheon of the Buddhists created in India thus became world property, although Buddhism as a religion vanished from India the land of its birth long long ago.