Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v2.c8.s24.3

v2.c8.s24.3

IN the upper part of the fresco is a rājā engaged in a religious conversation with his consort.¹ Both these figures are much damaged, but the portions which are intact show excellent workmanship. The expression on the rājā’s face shows restraint combined with nobility of character, while the attitude of the rānī indicates rapt attention to the discourse of her husband. Behind the rānī is a maid, whose coiffure and features are delineated with great delicacy of feeling. There is an attendant (*chaurī*-bearer?) behind the rājā as well, whose features are also refined.