The brief was the durbar done the Mewar way: not a swirling crowd but a strict, legible hierarchy where rank is told by placement, scale and the gold halo of the maharana. Udaipur painters built their reputation on exactly this kind of frontal court scene, so the throne sits dead-centre under a scalloped gold canopy, fan-bearers frame it, and the nobles line up in disciplined profile rows on a flat vermillion carpet. We resisted cramming the field with a hundred faces; a clear front rank of standing courtiers and a measured upper tier keep the eye moving from the haloed ruler outward. The marble pavilion and lapis sky behind give the assembly an architectural ceiling without breaking the flatness — the picture stays a hierarchy chart as much as a portrait of pomp.