Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s17.4

v3.c12.s17.4

Farther to the right is a *toraṇa* through which the rājā and his party are shown passing. The design of the *toraṇa* is the same as that of the gateways of Sanchi, but the cross-bars supporting the horizontal curvilinear beams at the top have not all been fixed to the latter vertically. Two of them, one at each end, have a slant, evidently to add strength to the wooden frame of the *toraṇa*. At Sanchi the middle bars are arranged vertically, perhaps to keep openings of uniform size for the insertion of the figurines which are to be seen there. One of the royal party is just passing through the gateway,¹ while several others are seen outside it, one of whom holds a double-edged sword in his right hand and a shield or a crown in the left. Shields of a rectangular form with a curve in the middle are painted in several caves at Ajanta, but the purpose of the trefoil design at the back is not clear; it may represent the conventional coils of the string for hanging the shield round the arm and back (?). Swords with double edges and a broad end were used in the Deccan up to quite recent times, and several specimens of them are in the Hyderabad Museum. They are called *qam'a*, the weapon of destruction. The painting of the sword and the other weapon in such a prominent manner may indicate the resumption of the kingly role by the rājā on his coming out of the sacred precincts of the *stūpa*. Another attendant, to the right proper of the one bearing the sword and shield, has raised his hand and made a loop with his thumb and forefinger, perhaps to indicate to the crowd awaiting the return of the rājā outside the *stūpa*, that he has been initiated into the Doctrine, or performed his religious mission successfully. To mark the boundary of the sacred precincts of the *stūpa* the artist has painted an upright stone of an irregular shape and also a mango tree. Below the latter an elephant may be seen, which has raised its trunk to salute the rājā. The head of the elephant has been finished in an artistic PLATES XXIVc, XXVIIIb & XXIXa-b manner, the hair on its skull being shown by fine brush-lines. The figure riding on the elephant holds a goad in its right hand.