For this paper, I have chosen the paintings that captivated my attention the most when I went to the Rubin Museum of Art. Frankly, I was not expecting much from Himalayan-Tibetian art. Nevertheless, when I saw Guhyasmaja Akshobhyavjra with Consort and Shri Devi, I completely changed my opinion and perspective. There was no doubt that I would choose these paintings for my homework assignment. In order to understand them, one needs to know a little bit about Tibetan culture which emerged from different Buddhist practices, namely Mahayana Buddhism and Vajrayana. They both utilize different techniques that fuse a variety of visualizations during meditation; therefore, most of Tibetan art may be seen as aids to these visualizations. Tantric dieties also play a key role in the esoteric religious practices in the Himalayas. These deities personify many human qualities and may appear either peaceful or wrathful. Undoubtedly, the influence of these tantric deities is clearly shown on my paintings Guhyasmaja Akshobhyavjra with Consort and Shri Devi. The composition of these Tibetan paintings is very extraordinary and differs from what most of us expects to see in the work of art due to strong religious components and references incorporated in the creation of these paintings. One may notice the rigid hierarchy among the figures that ultimately affects the whole composition. In Buddhism, there are various gods and goddesses who can be divided into several categories depending on their main purposes, like the protectors and the wisdom kings. On the paintings one may find some very fearsome deities aiming to scare away demons and evil spirits. For example, in Shri Devi Dorje Rabtenma, the central deity is a human-like creature that rides a horse and swings his sword. It is surrounded by dozens of other figures. On the very top, one can see Buddhists devotees who pray with their heads titled forward. On the bottom and the sides, there are diffi