Exclusive illustration of Rama Darbar

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This exclusive illustration of Shri Rama Darbar  has been carefully researched and meticulously curated using references from the sacred Indian epic, the Valmiki Ramayana. A unique portrait only available with The Ramayana World (copyrights).

The portrait—also known as Shri Rama Pattabhishekam—depicts the divine assembly of Lord Rama’s Parivar (family) exactly as described in the Pattabhishekam Sarga (Coronation Ceremony) of the Valmiki Ramayana.

At the center of the scene, Lord Rama is seated gloriously on a magnificent throne studded with precious stones, with Goddess Sita beside Him, symbolizing the restoration of dharma and the coronation of the righteous king of Ayodhya.

Surrounding the divine couple are the revered companions and devotees of Lord Rama, depicted in their traditional positions as described in the epic.

From left to right (relative to Lord Rama):

• Bharata, seated in front with deep humility and devotion
   
• Maharshi Vasishta, the royal guru, holding the sacred waters used for the coronation ritual
   
• Vibhishana, holding the Chamara (ceremonial fan) in reverence
   
• Jambavan, the wise elder of the Vanaras
   
• Shatrughna, holding the Shweta Chatra (sacred white umbrella), a royal emblem of kingship
   
• Lakshmana, standing with folded hands in service and devotion
   
• Sugriva, the Vanara king, holding another ceremonial Chamara
   
• Hanuman, seated at the forefront with the utmost devotion at the feet of Lord Rama
   

The background portrays the magnificent royal court of Ayodhya, richly decorated to celebrate the coronation of Lord Rama. In some traditional descriptions, references are also made to the presence of the Pushpaka Vimana, the celestial aerial chariot associated with Lord Rama’s return to Ayodhya.

Also noteworthy are the sacred symbols of Shankha (conch) and Chakra (disc) placed on either side of Lord Sita Rama. These symbols represent the divine association of Bharata and Shatrughna, whose positions in the portrait are carefully aligned with these sacred emblems.

In contrast to most depictions of Lord Vishnu’s avatars—where the positions of Shankha and Chakra are traditionally reversed—this illustration intentionally preserves their placement to reflect the symbolic alignment with Bharata and Shatrughna in the Ramayana tradition.

 ब्रह्मणानिर्मितंपूर्वंकिरीटंरत्नशोभितम् ।।6.131.64।।

अभिषिक्तःपुरायेवमनुस्तंदीप्ततेजसम् ।

तस्यान्ववायेराजानःक्रमाद्येनाभिषेचिताः ।।6.131.65।।

सभायांहेमक्लुप्तायांशोभितायांमहाधनैः ।

रत्नैर्नानाविधैश्चवचित्रितायांसुशोभनैः ।।6.131.66।।

नानारत्नमयेपीठेकल्पयित्वायथाविधि ।

किरीटेनततःपश्चाद्वसिष्ठेनमहात्मना ।।6.131.67।।

ऋत्विगिमभगिर्भूषणैश्चैवसमयोक्ष्यतराघवः । 

"In the past, Manu was consecrated with a crown encrusted with gems crafted by Brahma and it was adorned at consecration by successive kings. After the consecration, Rama was dazzling seated on a throne made of several kinds of gems as per tradition. The council hall was also made of gold with charming pictures and looked splendid. The great soul Raghava was crowned and adorned with ornaments by Vasishta and the priests." - reference: https://www.valmiki.iitk.ac.in/ 

 छत्रंतस्य च जग्राहशत्रघ्नःपाण्डुरंशुभम् ।।6.131.68।।

श्वेतं च वालव्यजनंसुग्रीवोवानरेश्वरः ।

अपरंचन्द्रसङ्काशंराक्षसेन्द्रोविभीषणः ।।6.131.69।। 

"Shatrughna held white auspicious parasol, Sugriva the Vanara Lord held a white whisk, Vibheeshana the Lord of Rakshasas held a white whisk shining like the moon" - reference: https://www.valmiki.ittk.ac.in