A tree divides the relief into two unequal parts. The smallest, on the right, shows the conversation between Rudrayana and the merchants who tell him of his son's misgovernment and to whom the old king announces his intention of taking the matter in hand. The monk is sitting on a pedestal between two trees, his right hand lifted in surprise and disapproval, his waterjug is beside him. At his feet sit three merchants, the front one as spokesman making a sembah, the two others holding flowers.

On the other side of the dividing tree ikhandin is devising his evil plans. The king is seated in an chair with back, leaning easily on his right hand under a canopy supported by columns. The men with whom he takes counsel sit in front of him to the right, where an umbrella is set up. Both the foremost ones are unarmed and no doubt represent the two bad ministers, the others have swords and shields. But this is not all. Quite on the left is a separate pavilion and in its niche-shaped opening appears the figure of a woman of high rank seated with flowers in her hand; this lady, Foucher recognises as the queen-mother. On the right a man kneels before her holding up his hands. This attitude is too humble for the king interesting his mother in the plans for his father's murder, so that this lefthand bit of the relief might be a separate incident consecutive to the one in the centre. It is however quite comprehensible that even though the text does not mention her at this moment, the sculptor has thought fit to introduce this figure as a sort of prologue to the important part she plays later on in the drama. If this is the case, we see the queen mother with an attendant sitting in a separate part of the palace, while in another part her son is being persuaded to consent to his father's murder.