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- Expectedly, however, there appeared certain notable in differences in the developments of concept about the image and iconography in India on one hand and * China and Korea on the other 鹿. For instance, the cult of Amitabha did not develop 'in India to the extent as it did/China and Japan虏. In the later centuries the cult prescribed some interesting icono- graphic features of the deity. The description of Amitabha is found in Indian texts but rarely he is well represented in art. Quite fascinating also is the study of five Dhyani- Buddhas, who are independently represented in China, Korea and Japan. Strangely enough, though the concept of Dhy膩ni鈥� Buddhas emanated in India, these deities did not find much favour with the Indian sculptores and painters. In other words they were more popular outside India (i.e. in the countries mentioned above), than the land of their origin. There 1. Japan received Buddhism through Korea from China. were deep-rooted cultural and spiritual collaborations between India and China during the time of the Han Dynasty - see Kalidas Nag, Discovery of Asia, p.433. But Buddhism was officially recognised in China by 70 A.D. and by the fourth century A.膸. Buddhism became part and parcel of the Chinese life. Korean people accepted Buddhism as the quintessence of Chinese civilisation. Later, Japan received Buddhism from the Korean people due to a close political contact JB, p.10; HDJBP, p.1. 2. The Sukh膩vati Vy奴ha mentions the name of Amit膩bha Buddha for the first time. This text was translated into Chinese sometimes between A.D. 148 and 170 and a la ter copy of this text was brought to Japan. In course of time this Sutra became one of the important cannonical texts of both J艒d艒 and the Shinsh奴 sects BSJ, pp. 185. Also see Sukh膩vativyuha, pp.1, 28, 32. Max Muller, Sukhavativyuha pp. III & IV. - 1