Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v3.c12.s44.3

v3.c12.s44.3

IN the *Vinaya Piṭaka* the story is given in considerable detail, and the main incidents of it agree with those delineated in this fresco.¹ Beginning from the left side of Plate LXXIII, there is a palace which has two stories. In the upper story a king is sitting with a monk on an elaborately carved throne. The king has been identified with Ajātaśatru, and the person dressed like a monk with Devadatta. The latter is suggesting certain plans to the king and has raised two fingers of his right hand to enforce his argument, a gesture still common in India. The king, who is a short corpulent figure, has made another characteristic Indian gesture with his right hand indicating uncertainty. The head of Devadatta is damaged in the fresco, but that of the king is comparatively better preserved, and the features represent a mixed racial type: the nose is sharp, the mouth narrow but with thick lips, and the eyes almond-shaped and fairly large. In the jewellery pearl-strings are prominent; they may be noticed in the ear-rings also. Behind the king’s throne there are three ladies. The hair of these ladies has been dressed and decorated in different styles. The lady in the middle is of short stature, and she is wearing a jacket with full sleeves. To the left of the throne is a maid who is looking at the king with considerable astonishment.