Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s21.52

v2.c8.s21.52

Behind the pillared hall, in which the last scene was enacted, we notice a balcony in which a queen is occupied in conversation with a lady of youthful appearance. This may be the private apartment of Vimalā, and she may here be discussing with Irandatī the prospect of her marriage with Pūrṇaka. We notice Pūrṇaka at the back of this chamber, probably awaiting the fulfilment of the promise made to him. He is riding on his Sindh horse.² The features of the two ladies are somewhat blurred now, but when newly painted were presumably very graceful. Irandatī has placed her forefinger in a characteristic way upon her chin, perhaps to indicate her feelings of modesty. Indian ladies even now are prone to place their forefingers on their chin in this fashion when blushing. Below, on the steps, is a girl who is perhaps stealthily listening to the conversation between the queen and the princess.