Painted in 1985, this version of the Bindu is one of the larger early renditions of this concept. According to art historian, Michel Imbert, Raza's use of color symbolizes the elements of Indian tradition and became his 'universe' for they are the basis of all colors registered by the human eye. Because black contains all other colors, Raza notes, "It is the inspiration of the black Bindu that lights up the colors, as if the light were springing from the darkness." (M. Imbert, Raza: An Introduction to his Painting, New Delhi, 2003, p. 54.)
The circle becomes less of a graphical component and more of a central point representing concentrated energy. This circle or bindu manifests itself in various forms throughout Raza's more recent work and is variously interpreted as zero, drop, or seed. In India, the bindu is seen as the point or genesis of creation as well as a focal point for meditation. Formally, it becomes the principle around which Raza structures his canvases with this compositional construct having age-old precedents in meditative aids such as yantras and mandalas.