A lady who has been secretly unfaithful explains to her confidante that the love-marks on her breast were in fact scratches caused by the household cat as it chased a rat during the night. The cat and the rat appear on the pavilion roofer here is nothing here of the hybrid weakness sometimes found in Rajasthani work affected by Popular Mughal fluence. So confident was the Pahari artists' vision that Mugha portraiture could be reinterpreted with equal intensity. The Mankot raja with a rosary, huqqa and sword is not a psychological study of an individual but a celebration of the proud Rajput type silhouetted against a hot yellow background, orange bolster and white floorsprcad. Painting at the court of Kulu had a particular wildness and zest, Kuutala raga, from an extended ragamala series of the Pahari type, is depicted as a prince feeding pigeons; Akbar himself had been fond of the sport of pigeon-flying, which was known as ishq-bazi or love-play'.
From the beginning of the 19th century it became facile and sentimental. At the same time, Sansar Chand's power was lost first to Gurkha invaders and then to the Sikhs, who had won control of the Punjab plains and now began to annexe the Hill kingdoms. However, the British traveller William Moorcroft, who visited Sansar Chand in 1820, reports that, though living in reduced circumstances, he was still 'fond of drawing' and continued to support several artists as well as a zenana of three hundred ladies. His daily life was still passed in an orderly round of prayer, conversation, chess, viewing pictures and performances of music and dance.