Such an outburst of painting could hardly leave other areas unaffected and in the closing quarter of the seventeenth century, not only Bundi, the Rajput State immediately adjoining Udaipur to the east, but Malwa, the wild hilly area farther south east, witnessed a renaissance of painting. At Bundi, the style was obviously a direct development from that of Udaipur itself--the idioms for human figures and faces as well as the glowing colours being clearly based on Udaipur originals. At the same time, a kind of sumptuous luxuriance, a predilection for greens and oranges in brilliant juxtaposition, a delight in natural profusion and the use of recessions, shading and round volumes give each picture a distinctive aura.[81] In Malwa, on the other hand, the earlier tradition seems to have undergone a new resuscitation. Following various wars in Middle India, the former Muslim kingdom had been divided into fiefs--some being awarded to Rajput nobles of loyalty and valour. The result was yet another style of painting--comparable in certain ways to that of Bundi and Udaipur yet markedly original in its total effect. In place of tightly geometrical compositions, Malwa artists preferred a more fluid grouping, their straining luxuriant trees blending with swaying creepers to create a soft meandering rhythm and only the human figures, with their sharply cut veils and taut intense faces, expressing the prevailing cult of frenzied passion.[82] Such schools of painting reflected the Rajput need for passionate romance rather than any specially strong adhesion to Krishna, the divine lover. Although one copy of the _Rasika Priya_ and one of the _Bhagavata Purana_ were executed at both these centres, their chief subjects were the _ragas_ and _raginis_ (the thirty-six modes of Indian music) _nayakas_ and _nayikas_ (the ideal lovers) and _barahmasas_ (the twelve months) while in the case of Malwa, there was the added theme of Sanskrit love-poetry. Krishna the god was rarely celebrated and it was rather as 'the best of lovers' that he was sometimes introduced into pictures. In a Bundi series depicting the twelve months, courtly lovers are shown sitting in a balcony watching a series of rustic incidents proceeding below. The lover, however, is not an ordinary prince but Krishna himself, his blue skin and royal halo leaving no possible doubt as to his real identity.[83] Similarly in paintings illustrating the character and personality of musical modes, Krishna was often introduced as the perfect embodiment of passionate loving. None of the poems accompanying the modes make any allusion to him. Indeed, their prime purpose is to woo the presiding genius of the melody and suggest the visual scene most likely to evoke its spirit. The musical mode, _Bhairava Raga_, for example, was actually associated with Siva, yet because the character of the music suggested furious passion the central figure of the lover dallying with a lady was depicted as Krishna.[84] In _Hindola Raga_,