The studio was used by Ruth Frazer and Moissanite, so it was designed to be very spacious and expansive, about the size of two classrooms.
Ruth Frazer pushed aside the scattered paint, brushes, and other clutter, and as the person behind her walked in, they were imdiately drawn to the wall-to-wall paintings.
Especially the works by Moissanite, which were ancient and grand, full of the depth of human history and a mysterious aura. It was delightful to find many unreleased works here, including so unfinished paintings.
Visitors who knew a thing or two couldn’t help but ask, seeing seven or eight paintings related to the Maurya Dynasty: "Are these Moissanite’s new works? It seems his skill has improved quite a bit..."
Another person chid in: "The use of color in these paintings is bold but not frivolous, and the artistic conception is thought-provoking. If exhibited, they would definitely stir heated discussions."
"They seem to be thed around the Maurya Dynasty, which is a rare subject..."
Ruth Frazer ca over, smiling as she explained: "Moissanite loves to paint those forgotten histories. The more scarce the historical records, the more fascinated he is. He even deliberately collects antiquities from that era."
When talking about her husband, Ruth Frazer felt a sense of pride.
She looked at her husband’s paintings, her eyes showing appreciation and admiration, yet there was a sense of loss and lancholy. It was a very complex feeling.
At this mont, a guest asked: "Why do the elephants in Moissanite’s paintings all have black serpentine creatures on them? Is there an explanation for this?"
"These are not serpentine creatures, they are curses," Ruth Frazer replied.
"Curses? What kind of curse?"
"Oh... I also heard him say, it’s a local legend, I suppose." Ruth Frazer flipped through so paintings from the back and brought out another one, placing it in front of everyone.
The content depicted in the painting was also from that period.
The similar use of color, similar scenes, similar atmosphere, and moods, but this painting had no elephants, instead, it featured an execution ground surrounded by people, with roaring flas burning in the center. Upon closer inspection, a woman’s face could be faintly seen in the flas.
Ruth Frazer said: "The woman in this painting is the witch of the Kalinga. ntion Kalinga, and few people know about it, but ntion Ashoka of the Maurya Dynasty, and almost everyone knows. In Buddhist legends, Ashoka was a cruel tyrant who killed 99 brothers to secure his throne. Eight years after officially ascending the throne, Ashoka conquered the Kalinga, bringing the Maurya Dynasty to its pinnacle."
Soone sighed upon hearing this: "History is written by the victors, and the defeated have long turned to dust, with no opportunity for people to know of their existence."
Ruth Frazer smiled, "Yes... which is why the historical records of Kalinga are pitifully few, with only a few ntions in Ashoka’s rock edicts. According to the records, during this war, 150,000 people were captured, 100,000 were killed in Kalinga, it was an unprecedented catastrophe."
She sighed slightly before continuing, "Before the war began, there was a witch in the Kalinga Kingdom who advised the King, claiming she had a way to resist Ashoka’s army.
This witch could condense resentful souls into a kind of curse. The cursed war elephants would grow nurous serpent shadows, devouring all living things in front of them. As long as the Kalinga war elephants bore the curse, they could easily resist any enemy army. However, the King deed it an ominous on and viewed the witch as a demon, tying her to the stake and burning her alive."
"Incredible..." a guest murmured as they looked at the painting, "If the King had heeded the witch’s advice, wouldn’t history have been rewritten?"
"It’s just a legend, you really took it seriously? Haha!..."
Several people bantered back and forth, and Ruth Frazer laughed: "Actually, I have another interpretation of this legend."
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