What they are doing. The two figures on the right are shown in movement — knees bent, bodies leaning forward, arms raised in front of the face, each holding a slender object. They are not fighting and they carry no weapons: they are taking part in the celebration around the object in the medallion, most probably as musicians — one appears to be blowing a horn or conch held to the mouth, the other to be striking or holding a long instrument.
Their profession. Musicians or performers attached to a court or to the stūpa's festivities is the best guess, and the one most classes reach. (A second reading is defensible — that they are attendants or devotees hurrying towards the shrine with offerings — so give your reason, whichever you choose.)
Their attire, and what it tells us. Look at what they wear:
- A large, carefully wound turban with a knot at the side.
- Big round ear-ornaments, a necklace, armlets and several bangles on each wrist.
- A short dhoti tied with a sash, upper body bare — light clothing for movement.
That is not the dress of a poor labourer. Ordinary working people in these carvings wear far less. So the panel tells us these were skilled, respected people — well paid enough to own ornaments, and important enough to appear in a sacred sculpture.
Other details in the panel (list these in class):
| Detail | What to say about it |
|---|---|
| A large circular medallion filled with lotus petals | The lotus is the commonest ornament at Bharhut; the object resting inside it is being honoured |
| A thick garland or creeper curving over the medallion | Garlands mark the object as sacred — the same gesture as putting a garland on a picture today |
| Two smaller rosettes and lotus roundels at the sides | Repeated decorative motifs — the sculptor worked to a plan |
| A rocky background of overlapping slabs | The convention for showing a hill or mountain |
| A carved band below with beaded festoons and lotus buds hanging over vases | The lower border of the railing — the same festoon runs all round the stūpa |