The brief was to paint Mewar's lake palace the way the Udaipur ateliers actually saw it: not a postcard view but a flat, frontal pleasure-pavilion floating on lapis, with just enough court life on the near bank to give it scale. Mewar is the school of bold flat colour and clear hierarchy, so the architecture is drawn straight-on and symmetrical, the water laid down as one calm blue field rather than rendered with reflections, and the hills pushed back to a low ochre band. We kept the cast small — one lotus-holding lady and a few seated musicians — so the eye reads water and white marble first and people second. The cypress avenues and the cranes overhead are the only vertical interruptions, and the whole upper half is left open to sky and lake so the pavilion can breathe.