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Room 254 - The artist Bagta (around 1769-1820)

That Bagta had aspirations and talents beyond the tight restrictions of the codified Udaipur court style, however, is shown by Kunwar Anop Singhji Hunting Boar. According to an inscription, it was painted in 1769 and the patron was no longer an Udaipur Maharana. Bagta left Udaipur to work for one of the nobles of Ari Singhjis court Rawat Jaswant Singh ji of Deogarh. The picture of Kunwar Anop Singhji Hunting Boar shows an artistic energy and a technical bravado nowhere apparent in the finely painted, but relatively routine works which Bagta executed at Udaipur.
Bagta and his second son Chokha, produced the most brilliant paintings made anywhere in Rajasthan in the early nineteenth century. Whereas Bagta's earlier works showed complicated, often densely rich compositions, the painting of Rawat Gokuldasji with a falcon is a work of seeming simplicity, in which the touch of the artist is more prominent and expressive than the disposition of forms.

Room no 253 - The artist Baijnath (1800-1845).
Chokha's son Baijnath succeeded his father as the court painter. Bagta was still alive in 1822 when he was presented a painting by his grandson. The then young ruler, Rawat Nahar Singh 1st
(1821-47) who was adopted from Sangramgarh, had wanted a painter of his own, and not simply a man who had worked for his predecessor. Then Baijnath – who must have been approximately his age – was the ideal choice. It was probably at this time that Bagta effected a change of patron.
Baijnaths style lacked an observance of human mannerisms as compared to his father Chokha. But he quickly learned his trade and in the painting of Rawat Nahar Singh 1st with Champawatji, he has developed a mature style and shares a love of bright colours and patterns.
Baijnaths first known painting, a courtbeauty repeated a popular motif. A panel on the walls of Moti Mahal(room 228) in Deogarh Mahal was a part of decorations which according to palace records, were commissioned from Baijnath. Rawat Nahar Singh 1 seems to be an interested patron of painting from the time of accession, and his support must have played a part in the steadily increasing maturity and distinctiveness of Baijnaths style.

Following Rawat Nahar Singh’s death in 1847 and the accession of Rawat Ranjit Singhji(1847-1867), there was only occasional painting at Deogarh. Rawat Ranjit Singhji in a Gangaur procession by Baijnath painted in 1850 is the last known illustration by the artist. While the composition delineates the main events of the narrative, the individual detail shows none of the precision and care seen in Baijnath's paintings two decades earlier.

Room No. 256 - The artist Chokha(1770-1830)
The early years of Chokha's career were spent in Udaipur, as there was no interest in hiring another painter in Deogarh at the time. Chokhas composition is more densely packed with figures and landscape details, which was different from his father, Bagtas style. And while the elder Bagta seldom repeated himself, the compositional format of an equestrian ruler led and followed by attendants on foot, was quickly taken over by Chokha (as well as other Udaipur painters) who adapted and used it repeatedly over many years.
Around 1811, it seems Chokha again like his father, left the employ of the Maharana, and over the next few years gradually took over his fathers’ diminishing role as a court painter to the Deogarh Rawats. Bagta had been painting for more than 50 years. Chokha’s primary subject now is Rawat Gokul Dasji and his style in general quickly becomes bolder and less constrained as depicted in the paintings of Rawat Gokul Dasji and his courtiers playing Holi. While Chokhas earlier paintings fit into the Udaipur court style with its vivid reds, blues, yellow and whites; his initial portraits of Gokul Dasji employ a darker paette closer to that of his father. The paintings also depict the Rawat as a massive figure confirming Col.Tod’s description of him. Chokha’s move to Deogarh seems to have endowed him with an artistic energy where the stark, angular, dark forms tonal shading and trees at the top of the wild horses seem to be a major expressive element.
In many ways, the reign of Gokuldas ji marks Deogarh's heyday. Having successfully repelled the Maratha invasion, there was time for art to flourish

Room No. 255 - The artist Kavala
Bagta's son Kavala’s earliest noted inscription was on the reverse of a portrait, of Rawat Ragho Dasji riding, in 1778. The style is very close to that of Bagta, for example, he repeats the witty composition of Bagta’s equestrian portrait where one attendant is indicated only by legs seen behind the front legs of the horse while the other is barely visible behind the animal's rump. Rawat Ragho Das in procession, inscribed to Kavala and dated 1783, is quite astonishingly similar to such later works by the same artist as Thakur Jait Singh of Badnore Hunting Boar, inscribed with Kavala's name and inscribed 1813.
The formula for the landscape, the un-modulated flatness of the textile patterns, and the cartoon-like sharply silhouetted forms of the horses and human fingers are identically conceived.

The paintings of Rawat Ragho Das in procession by Kavala also depicts the clothing of hierarchically important figures emphasized by the heaviness and layering of the fabric and the clothing of the attendant figures is treated with a simplicity of line which denies them equivalent weight and substance

Sarva Ritu Vilas

This portion of the palace with 6 suites is named after the different seasons (Ritu) in the Indian calendar ; with each room being named after one of the seasons. Originally this portion of the palace was the residence of Chauhan ji, one of the former queens of the palace. The seasons, festivals, mythology and religion that may have been an important part of the going ons at the palace at the time are described below. Some of the festival practices of the time are even followed in a similar manner to this day.
The Indian calendar is ingeniously based on both the sun and the moon; it uses a solar year but divides it into 12 lunar months. Twelve such months constitute a lunar year of 354 days 8 hours 48 minutes and 36 seconds. To help the lunar months coincide with the solar year, the practice of inserting an intercalary (extra) month arose. Hence an extra month, called the Adhik Mas, is inserted every 30 months i.e. every 2 ½ years.
Indian astrologers compute astrological calculations with a very high degree of accuracy. Needless to say, our own horoscope calculations are based on these traditional principles of Indian astrology. The Hindu calendar used in Vedic times has undergone many changes in the process of regionalization, and today there are several regional Indian calendars.
Each of the seasons is celebrated in its own unique manner all over the country and as a result there are more festivals than days of the year in India. The seasons overlap each other and hence we have tried to give a division according to the English/Gregorian calendar.

Ritu (season)	Gregorian Month	Hindu month	Zodiac
Vasant (Spring)	February / March March /April	Phagun Chaitra	Aquarius Pisces
Grishma (Summer)	April / May May / June	Vaisakh Jyaishta	Aries Taurus
Varsha (Monsoon)	J une/July July / August	Ashadha Shrawan	Gemini Cancer
Sharat (Autumn)	August / September September / October	Bhadrapad Ashvin	Leo Virgo
Hemantha (Autumn-Winter)	October/ November November/ December	Kartik Marghshirsh	Libra Scorpio
Sisir (Winter-Spring)	December / January January / February	Paush Magh	Sagittarius Capricorn

Most Hindus, especially those in Nepal and North India follow the Bikram Sambat Calendar which marks the Gregorian year 2001, as B.S 2057. Bikram Sambat has 57 years more than the A D year. New Vikram Sambat starts from the Chaitra Purnima i.e the 13th of April in the Julien Calendar.

Vasant Ritu (Room 257)
In this land of numerous deities, not only are festivals celebrated in remembrance of these gods and goddesses, but also on the advent of even commencement of a season. One such festival is Basant Panchami, which heralds the coming of Basant ritu of spring. On a more religious note, the festival is celebrated in honour of Saraswati, the goddess of wisdom and knowledge. Celebrated on the onset of spring, it marks the beginning of new life with yellow mustard flowers starting to bloom and nature displaying her majestic best. Thus the colour of the festival is yellow and women can be seen wearing saffron dresses. The puja on this day is devoted to Saraswati and people pray for wisdom and understanding.
The room with it’s view of the garden would have played an important role in this month where one could feel so close to nature. Also the festival of Holi which is the Hindu festival of colour, is normally celebrated in the spring (phagun festival ) which means the new life and energy of the season. It is a harvest celebration marking the climax of spring. Bonfires are lit, marking both the end of winter and the death of evil, and proceeds from the seasonal harvest-grains, coconuts etc- offered to the flames. The next day, “dhulendi” involves plenty of colour throwing, prayers, fasting and feasting. People have fun throwing coloured powder and coloured water at each other. In the zenana(ladies section of the palace), the ladies temple in the central courtyard would have been the focal point at all these festivals.
The story of Holi centres around an arrogant king who resents his son Prahlada for worshipping Lord Vishnu. He attempts to kill his son but fails each time. Finally, the king's sister Holika who is said to be immune to burning, sits with the boy in a huge fire. However, the prince Prahlada emerges unscathed, while his aunt burns to death. Holi commemorates this event from mythology, and huge bonfires are burnt on the eve of Holi as its symbolic representation.In the Mahal precincts too the first bonfire is lit after a little prayer ceremony by a member of the family. The flame is carried to the surrounding villages where they light their bonfires as well.

Grishma Ritu (Room 258)
The months of Jyaishta and Vaishaka are the hottest when the entire country is reeling under a heat wave. Grishma-Ritu is the season of dehydration, exhaustion, lack of energy and lethargy. The poetic description of the sizzling hot summer month of Jyaishta is rendered in the traditional manner. It shows that in a period of extreme heat, even mutual foes, forgetting their animosities take refuge together from the burning sun. The torrid heat makes everyone sluggish and lethargic.
Even the ayurvedic principles follow that since the sun's rays are the strongest at this time one should stay indoors and eat light and easily digestible foods.
The room with its cool dark interiors would have been the ideal place to take refuge from the summer sun. The thick walls (sometimes almost a metre wide) offered protection from the heat as well. Having been built keeping the principles of “vaastu”in mind, the wind direction in the summer too is such that all the rooms have a cool breeze flowing through in the hot summer, thereby lowering the temperatures.

Varsha Ritu(Room 259)
The monsoon season is much awaited after the extreme heat conditions. The advent of the monsoon is closely followed by one and all as it affects the farmers and subsequently the country’s economy.
As the rains are awaited there are many festivals that revolve around it. The ladies don their favourite Leheriya sarees ( a stripe worn during the monsoon)to celebrate the monsoon.
The month of Shravan is the fifth month of the Hindu calendar, and is one of the the most auspicious months. On Purnima or full-moon day, or during the course of the month, the star 'Shravan' rules the sky, hence the month is called Shravan. This month is spread out with innumerably religious festivals and ceremonies and almost all the days of this month are auspicious.
It is also regarded as a "divine" month in the Hindu pantheon, when the faithful go to offer holy (Ganga) water to Lord Vaidyanath(Lord Shiva). Those who don't or can't go to the divine city, observe austerity. It is a common sight to see many people dressed in red/saffron carrying water pitchers on their shoulders walking along the highways.
Raksha Bandhan or Rakhi Purnima is perhaps the most sublime and sentimental of festivals which also falls on Purnima day. A Rakhi or amulet, may be of silk thread, or of more costly make according to one's means, is tied round the wrist of brothers by their sisters as a charm protecting them from evil or harm and, consequently in return seeking their help when in trouble. The Rakhi name derives from the word 'raksha' that is to protect. It symbolizes the abiding and chaste bond of love between the brothers and the sisters and on the last day of Shravan.

Sitala Saptami: Sitala (the cool one) is the goddess who is associated with disease particularly smallpox and there are many temples and shrines in her honour.. During the day of her worship one is supposed to abstain from all hot, or cooked, food and drink. The reason may be to avoid hot things and is more likely to be the longing for cold water on the part of smallpox patients. At Deogarh one would see a long line of people dressed in colourful clothes walking along the dam to the east of the village; which is where the Sitala Mata shrine is situated.

Janmashtami: This well-known festival, the birthday of Lord Krishna falls on the eight day of Shravan. The day is celebrated in honour of Lord Krishna, the eighth Divine Incarnation of Hindus. A twentyfour hours fast is observed on this day which is broken only at midnight because Lord Krishna was born at midnight. This is one of the greatest of all Hindu festivals. The Kunj Behari temple(Lord Krishna temple) situated at the square just at the base of the Mahal is abuzz with activity and there are special timings for the “darshan” or viewing of the deity as decided by the priests of the temple.

Jal Jhilani Ekadashi: The mid-point of the 'chaturmas' and the Lord is taken out for a boat ride. This festival is also celebrated in Deogarh and one can see the villagers all flocking to the lake side bearing the idols on little palanquins.

Sharat Ritu(Room No.260)
Bhadarva follows the month of Shravan which kicks off the first of the four consecutive months of religious festivities and rituals.
The month of Bhadarwa there are usually no festivals held. There is a logical reason rather than relgious reasoning behind this. This month in India can be very hot and dry so it makes sense not to celebrate something with the risk of making yourself ill. In the last two weeks of the month, Shraad is observed. Basically this is when we remember various ancestors of our families or anyone really close to you and has some importance in your life, like leaders of certain sects etc. There is also a day when one observes a general Shraad for the ancestors of our families or clans.
The next festival is when Goddess Durga is venerated in all her nine form and it is called the festival of the nine nights or Navratri. It celebrates her victory over the demons like Mahishasur, Raktabeej, etc.. Among the warrior clans, the Goddess holds special sway as before a war people would pray to her for strength and courage. Even now you will notice the priest at the entrance to the Mahal, performing the prayers during the Navratri festival. The family invokes the deity to let peace reign supreme, and keeps rigorous fasts and spend a lot of time in remembering the deity known as Mataji. There is an annual cattle fair which is held around the main Mataji temple in the village and the whole village is abuzz with activity. The fair culminates on Dusshera which is celebrated with the victory of Lord Ram over Ravanna, the demon –king of Lanka. A huge effigy of Ravanna is burnt at the fair ground amid loud peels of laughter and rejoicing.

Hemanta Ritu(Room No.261)
During The Kartik and Marsgshirsh months, the temperatures are cooler and a lot of the functions and pujas are performed during the evening and night time. The month of Kartik is also a very auspicious month in the Hindu calendar and a lot of important festivals are celebrated then. The Kartik Poornima or the night of the full moon of the Kartik month is the brightest full moon night of the year and is considered especially auspicious. It is celebrated in the month of November-December and is the sacred day, when the ghats of Varanasi come alive with thousands of brightly lit earthen lamps. Visitors throng in large numbers to watch this spectacular event, famous as 'Dev Deepawali. Baths in the holy rivers, visits to temples and prayers are the common features of this Ekadashi day all over the country.

The festival of lights (Diwali), which follows 21 days after Dusshera is celebrated as the day Lord Ram with his wife, goddess Sita returned to his kingdom of Ayodhya after defeating Ravanna and after 14 years of living in exile. Diwali symbolizes the victory of Good over Evil; of Lord Ram's victory over Ravanna, the king of Lanka. The goddess of wealth, Lakshmi, is also worshipped on this day to receive blessings for future prosperity. As is allover India, the village at Deogarh also has all the houses with lamps on their parapets and people celebrate with bursting of crackers and rejoicing. It is also the night of no-moon (Amavasya) and hence the room is decorated in shades of blues to symbolize the dark night.

Sisir (Room No. 262)
This room at the uppermost portion of the Sarva Ritu Vilas has a large collection of family photographs where one can get a glimpse into the past. They are of the Deogarh family members as well as of families related by marriages.

Makar Sankranti which is a mid-winter festival of India celebrates the northward journey of the Sun is characterised by increasing daylight.

The celebration is similar to winter solstice celebrations in other ancient cultures. Instead of the celebrating on the day of the Winter Solstice - Makar Sankranti is celebrated on January 14th. It is also the kite festival and people all over Northern India celebrate by flying kites. One can try ones kite-flying skills from the Mahal terraces. The skies come alive with kites of all shapes, sizes and colours and families spend their day on the roof-tops.

Maha Shivaratri falls on the 13th day of Krishana Paksha of Maagha Maasa (February-March). It is a night of fasting and prayer in honour of Lord Shiva. The night is called Shivamaya, i.e. a night to spend with thoughts of Lord Shiva.

As the legend goes, during Samudra Manthan (churning of the oceans) by the gods and demons, a highly toxic poison came out of the ocean. As per the advice of Lord Vishnu, the gods approached Lord Shiva and prayed to him to protect life by consuming this poison. Pleased with their prayers, out of compassion for living beings, Lord Shiva drank this poison and held it in his throat by binding it with a snake. The throat became blue due to the poison (Thus Lord Shiva is also know as Neelakantha) and Shiva remained unharmed. The wise men advised gods to keep Lord Shiva awake during the night. To keep him awake, the gods took turn performing various dances and playing music. A vigil was thus kept by the gods in contemplation of Shiva. As the day broke out, Shiva, pleased with their devotion blessed them all, and also said that whosoever worshipped and contemplated on him on this day shall be blessed with the fulfilment of his or her wishes. Since then, on this day and night devotees fast, keep vigil, sing glories of the Lord and meditate.
At the cave temple at Anjana, just 4 kilometres from Deogarh, one will find large groups of people coming to offer prayers and also those who sit all night long singing songs in praise of Lord Shiva.
Hence all the rooms symbolize a period/season of the year and the ladieswere kept busy with celebrations and prayers during times when peace reigned their kingdoms.