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At Bundi, the style was obviously a direct development from that of Udaipur itself the idioms for human figures and faces as well as the glowing colours being clearly based on Udaipur originals.
In a Bundi series depicting the twelve months, courtly lovers are shown sitting in a balcony watching a series of rustic incidents proceeding below. The lover, however, is not an ordinary prince but Krishna himself, his blue skin and royal halo leaving no possible doubt as to his real identity.
Such an outburst of painting could hardly leave other areas unaffected and in the closing quarter of the seventeenth century, not only Bundi, the Rajput State immediately adjoining Udaipur to the east, but Malwa, the wild hilly area farther south east, witnessed a renaissance of painting.
At length, escaping from greedy rulers, hostile populations, wild beasts, swamps, rains and fevers, he at length reached Bundi, near Kouka, on the 30th of November.
Following various wars in Middle India, the former Muslim kingdom had been divided into fiefs some being awarded to Rajput nobles of loyalty and valour. The result was yet another style of painting comparable in certain ways to that of Bundi and Udaipur yet markedly original in its total effect.
The Ranas and the Mewar nobility were depicted hunting in the local landscape, watching elephant fights or moving in procession. Similar fashions prevailed in Jodhpur, Jaisalmer, Bikaner, Bundi and Kotah. Only, in fact, in two Rajasthan States and then for only brief periods was there any major celebration of the Krishna theme.
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