When our group arrived at the ticket counter for the Bundi Palace on that November morning in 2016, the sight before me took my breath away. A path ascended and disappeared seemingly into nowhere, while part of the Palace loomed up above me, soaring up to the skies. In the distance, walls of the Taragarh Fort snaked away, disappearing into the mountainside it was built on.
If I had been awed by that first sight of the Palace and Fort when I had arrived in Bundi, I was spellbound now. I couldn’t help but recall Rudyard Kipling’s words when he first saw the Fort and the Palace at Bundi in the winter of 1887.
such a Palace [is] … the work of goblins rather than of men. It is built into and out of the hillside, in gigantic terrace on terrace, and dominates the whole of the city.
Our group was at the palace to see the paintings within and our explorations weren’t too different from Kipling’s. Like him, we too walked up a steep, stone-paved path and entered the Bundi Palace Complex through the Hathipol, and then explored its many corridors, rooms, halls, etc. with a guide authorised to unlock the many closed areas and tell us stories about them. 
In 1916 or maybe 1917, the ruler of Jhalawar State of Rajasthan, Maharaj Rana Bhawani Singh visited the temple town of Nathdwara. There was nothing unusual about his visit; the rulers of Jhalawar followed the Pushtimarg tradition, and Nathdwara was the most important religious site for the followers of that tradition.
After the Maharaj Rana had his darshan of Shrinathji, the main deity at Nathdwara, he met with the Tilakayit or the head of the Nathdwara Temple and the foremost Pushtimarg leader. Once the usual pleasantries were over, Bhawani Singh asked the Tilakayit for the loan of some artists from Nathdwara to paint the Garh Mahal or Palace, the royal residence in Jhalawar. Bhawani Singh also wanted one artist in particular, Ghasiram Hardev Sharma, the mukhiya or head of Nathdwara’s painting department.
While a royal request for artists to decorate palaces was not unusual, asking for a specific artist definitely was, especially when he happened to be Ghasiram (more about him later on in this post!). The Tilakayit was not keen on sending Ghasiram and Bhawani Singh was not ready to take no for an answer. Eventually, Bhawani Singh managed to lure Ghasiram away from Nathdwara by offering him a monthly salary Rs.150/-, which was double of what he was earning at Nathdwara.
Ghasiram moved to Jhalawar as the Court Painter and therein began an association that lasted about 10-12 years and produced some extraordinary mural paintings, portraits and entire painted rooms at the Garh Mahal — something I was not aware of when I arrived in Jhalawar in November 2016.
It was Mahijit ji, my host in Jhalawar, who told me about the painted rooms at the Garh Mahal and also that they were not open to the public. That bit of information was disappointing, but my friend Niti and I decided to try our luck when we visited the Garh Mahal