The brief was the warmest scene in the set — the rasoi, where a grandmother and granddaughter cook together — told in the intimate Bundi nayika manner. Bundi fits because that school painted the lady in her chamber with such tender, close focus, and here the same focus falls on two women and a glowing chulha instead. We kept the cast to two figures and the props clean and readable — a rolling board, a tava, a brass pot, a shelf of gleaming vessels — so the kitchen feels lived-in rather than cluttered, and let the arched window onto the tulsi shrine and courtyard peacock open the room to air. The brass is rendered as flat ochre-gold, not shiny metal, keeping it honest to the idiom while still catching the kitchen's warmth.