The Buddha is seated in vajraparyankasana on a beautifully rendered lotus flower, emerged from a lake. His right hand displays the earth-touching gesture and the left hand is held in meditation position which is holding a pindapatra. The earth-touching gesture of the Buddha reminds the event of his enlightenment at Bodhgaya. This hand gesture of the Buddha symbolized that he has overcome the temptation of the evil god Mara and of his army in their innumerable aspects. Mara tries to break him even when he has attained enlightenment and tempts him to vanish into nirvana and leave mankind in darkness. The Buddha is serene and motionless. He has passed the raging fury of illusory forms. The Sage is the supremely Enlightenment One, aware of the causes of suffering and of the way to attain liberation from them. He calls the Earth-touching gesture to witness to the supreme Enlightenment he has attained. The Earth Goddess emerges from the ground opened near his seat and says, "It is as you say and I am the eye-witness. Thus the earth-touching gesture of the Buddha signifies the supreme moment of Enlightenment, he sits on a throne which indicates that he has perfected the six paramitas (Transcendences).
In this painting the Buddha Shakyamuni has an oval face and his figure depicts some of the thirty-two characteristic marks (lakshanas) of a Buddha, such as broad shoulders, long arms, long earlobes, circle between the eyebrows, curly hair, protuberance on the top of the head and so on.
There is a jewel on the top of His head. His half closed compassionate eyes, smiling face convey the expression of love and compassion. His robes covered both of his shoulders and are decorated with floral and geometric designs. There is a prabhamandala and mandorla, behind his head and body, respectively. The figure of the Buddha is brilliantly drawn.
Amitabha Buddha, the god of infinite light is seated in Crosse-legged on a throne in the upper center, in clouds. The peaceful offerings are beautifully rendered below the seat of the Buddha. The bottom center depicts lake and the middle ground high peaks and water falls. The painting is suitable for sadhana and esoteric practices.
Ben Meulenbeld, Buddhist Symbolism in Tibetan Thangka, Holland, 2001
H. Kern, Manual of Indian Buddhism, Delhi,1968
Marylin M. Rhie & Robert A.F. Thurman, Worlds of Transformation: Tibetan Art of Wisdom and Compassion, New York, 1999
P. Pal, Art of the Himalayas: Treasures from Nepal and Tibet, New York,1991
This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)".