Amitabha's image has both a simplicity and archetypal quality to it and his demeanour is totally relaxed. In the typically Tibetan manner, his eyes are introspective in expression. These suggest the withdrawal of our external sense perceptions inwards, into higher states of meditative concentration.Thus befittingly, Amitabha makes the Dhyana Mudra, the gesture of meditation. In this mudra, the right hand is placed above the left, with the palms facing upwards, and the fingers extended. The two thumbs touch, forming a mystic triangle. The esoteric sects obviously attribute to this triangle a multitude of meanings, the most important being the identification with the mystic fire that consumes all impurities. This triangle is also said to represent the Three Jewels of Buddhism, mentioned above, namely the Buddha himself, the Good Law and the Sangha. The artist has very skilfully sought to lay stress on the meditative aspect of Amitabha, and has consequently rendered his hand mudra very deftly and expressively.
Thangkas with a black background like this one form a special category of contemplative paintings. They are a highly mystical and esoteric type, usually reserved for advanced practise. Black is the color of hate, transmuted by the alchemy of wisdom into the ultimate-reality-perfection wisdom. The dark connotes death, which enlightenment converts into the Body of Truth. It is used for terrific ritual actions, the radical conquest of evil in all its forms-conquest not by annihilating, but by turning even evil into good. Thus, in the black paintings (Tib. Nagtang) the black ground casts forth deities in luminous visions of translucent color.
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