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20 A n ntr oduction IndianArt —PartII against his son Prince Khurram’s (Shah Jahan) rebellion in Deccan. After its separation from Bundi, Kota had its own school, commencing around 1660s in the reign of Jagat Singh (1658–1683). In the early period, the paintings of Bundi and Kota cannot be distinguished for several decades as Kota painters borrowed from the Bundi repertoire. Some compositions were taken verbatim from Bundi pictures. However, there is an attitude of non–conformity apparent in figural and architectural exaggerations. With Kota flair for drawing superseding in the following decades, Kota style of painting becomes strikingly individual. By the reign of Ram Singh I (1686–1708), artists had passionately enlarged their inventory to a large variety of subjects. Kota artists seem to have been the first to render landscape Maharaja Ram Singh I of Kota hunting lions at Mukundgarh,as the real subject of compositions. Umed Singh (1770–1819) 1695, Colnaghi Gallery, acceded to the throne at the age of 10 years. But his London powerful regent Zalim Singh arranged for the young king to be amused with hunting while he governed the affairs of the state. Umed Singh, thus, occupied himself with wildlife and gaming from an early age and spent most of his time in hunting expeditions. Paintings served as flattering records of his exploits. Kota painting of this period reflects obsession with the chase, which became a social ritual, in which even women of the court participated. Kota paintings are characteristically spontaneous, calligraphic in execution and emphasise on marked shading, especially, the double–lid eye. Artists of the Kota School excelled in rendering animals and combat. Bikaner School of Painting Rao Bika Rathore established one of the most prominent kingdoms of Rajasthan, Bikaner, in 1488. During his regime, Anup Singh (1669–1698) instituted a library in Bikaner that became a repository of manuscripts and paintings. As a result of long association with the Mughals, Bikaner developed a Reprint 2026-27