Even if rarely represented, Guhyasamaja is a very significant divinity of the lamaistic Pantheon, since  the Guhyasamaja-tantra was one of the first  Sanskrits texts to be translated into tibetan as of the 8th century.
The tradition would like that this cycle was proclaimed by the
buddha himself the first morning following its  illumination.
With its three faces and six arms holding the vajra, the bell, the wheel, the jewel, the lotus and the sword,

Guhyasamaja constitutes to some extent the supreme shape of
divinity symbolizing union of all the buddhas.
In the majority of his representations, the god appears in union with his female counterpart which is not here illustrated here, but suggested by the embracing gesture of its principal arms holding vajra and bell.

The blue ground of this painting is decorated with rich rinceaux decoration, the whole thang-ka being occupied base to the top by the divinity on her throne, the two higher angles being just released to allow the
installation of two non precisely identifiable monks, probably propagators of Guhyasamaja tantra.

The iconography of the god and his throne, return overall to the models originating in Pala and Sena India which experienced a development in Tibet today commonly qualified "Kadampa style".  However an attentive examination of the structured architecture of the throne betrays beyond
the obvious link with the Indian models, an inspiration associated with the large dried ground decorations which decorated the majority of the large monasteries at the beginning of the ìsecond diffusion of the bouddhism in Tibet, (11th-13th centuries), and whose only some testimonys still remain, as in Yemar, Drathang, Khyanbu, Nesar... and can to some extent be regarded as the expression an art certainly subjected to an Indian  influence, but properlytibetan.