In this work the artist frees the Buddhist form from any meanings and associations that it usually has within its original context and iconography; he plays with the Buddhist form entirely on his own will and in such attitude he is distinct from his fellow Himalayan artists.

His Skippers, for instance, is intentionally free from any iconographic or historical connotations, and the robust juxtaposition against a golden background creates a sense of an unworldly realm akin to Byzantine icons and frescoes.

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