In this work from 1970, all recognizable elements of the landscape present in Raza's earlier works have disappeared. The emphasis has shifted to color and brushtroke which are relied upon to create and communicate a "certain climate of experience" in the painting. The reason for this shift can be attributed, in part, to Raza's interaction with the group of artists known as the Abstract Expressionists during his trip to the United States in the preceding decade. The result is "... not the outward manifestation of reality as in his earliest works, or the imaginary landscapes in his early gouaches - but "the real thing", through the substantial realm of color." (Geeti Sen, Space and Time in Raza's Vision, New Delhi, 1997, p. 79.) Here, it is Nature no longer "seen" or "constructed", but nature as "experienced".
Yet, Raza's specific choice of colors succeeds in invoking powerful memories of the vibrant and rich Indian landscape. He is concerned with the aesthetic relevance of color and aptly states, "Raga is acertain melody which colors the heart of man. Color in Indian art in ecstasy." (S.H. Raza, Mindscapes, Exhibition Catalogue, Delhi Art Gallery, New Delhi, 2001, p. 5.).