This is one of Raza's earliest Bindu works. "For Raza, this central image became the bindu to which he was introduced as a focal point of meditation when he was just eight years old, in his native village of Kakaiya in Madhya Pradesh. It was drawn for him on the white wall of the school verandah as a small black point, a dot; a means by which his restless young mind was made to concentrate; but the exercise did much more than that. It was a moment of initiation: towards bringing order into a world of mystery, towards directing multiple energies to one central and single source of energy.

The intensity of the experience remained within him and surfaced many years later in France. As Jean Bhownagary remarked, "Raza has been painting the bindu in different forms, ever since the Black Sun..."
A bindu: a circle within a square; a circle with concentric rings set against dense black, expanding; a black dense circle vibrating within a red square; or within several squares, each defined by green and blue and dense-black borders. Within this space, the radiant image becomes a sign: an icon for meditation. We centre our minds upon this single form, upon the epicentre.
The image itself is not still. It is spinning outwards, perpetually in movement against space - betrayed sometimes by that thin white aureole of white around the black circle as in The Inaudible Sound; or by concentric rings of circles resonating with energy. Or by the bold black circle levitating against fine horizontal lines and diagonal lines - from which the circle appears to be emerging as a centrifugal force, as in his painting titled Emergence. Or again, by another means, as in Ankuran: by repeating an identical form around the central source of energy that is the circle - so that it appears like an icon, magnified a thousand-fold.
The inherent paradox of this image which is at once motionless, dense and opaque, and yet in movement - imbues the single form with mysterious powers."
Geeti Sen, Space and Time in Raza's Vision, Media Transasia, 1997