It was through Nepal that Mahayana Buddhism was introduced into Tibet during the reign of Angshuvarma in the 7th 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 the Katmandu Valley for these monasteries. Astashasrika Prajnaparamita for example, was copied in the Katmandu Valley for these monasteries. Astashasrika Prajnaparamita for example, was copied in Patan in the year 999 AD, during the reign of Narendra Deva and Udaya Deva, for the Sa-Sakya monastery in Tibet. For the Nor monastery in Tibet, two copies were made in Nepal – one of Astashasrika Prajnaparamita in 1069 AD and the other Kavyadarsha in 1111 AD.
The influence of Nepalese art extended to Tibet and even beyond China regular order during the thirteenth Century. Nepalese artisans were dispatched to the courts of Chinese emperors at their request to perform their workmanship and impart expert knowledge. The exemplary contribution made by the artisans of Nepal, specially by the Nepalese innovator and architect Balbahu, known by this popular name "Araniko" bear testimony to this fact even to day.
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.
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