But Jai and Shatrujeet saw more potential in Shabbir than he saw in himself. The brothers groomed him in hospitality. Not only did Shabbir pick up English and interpersonal skills rapidly, he even gained expertise in bird spotting from Shatrujeet. Today, he proudly carries an author-signed copy of Birds of the Indian Subcontinent under his armpit, as he gazes into the distance with a nifty pair of binoculars and identifies migratory wings faster than he can twirl his handlebar moustache. His paintings, meanwhile, sell themselves at the shop. Among other local artists, the Joshi family of Shahpura, reported to be the pioneers of Phad painting in the region, is also supported by the Singhs. Tourists to Shahpura Bagh are ferried to the modest home of the Joshis to witness the archaic form of painting done with colours that are extracted by grinding stones mined from the Aravallis. More often than not, they spend a few bucks to acquire these paintings as souvenirs. The Joshi family has been practising the craft for nine generations. Besides the colours they use, the figures they paint are the distinguishing trait of the art. Phad painters tell the folktales of a certain lokdevta&ndashcalled babaji in Jaipur and Jodhpur, and devnarayan in Shahpura and nearby Ajmer. The painting is usually done on khadi, but locals also order murals for their houses in times of weddings. The Joshis&rsquo most elaborate paintings are used by bhopas&ndashlocal artistes who sing and dance while narrating folktales with the aid of the paintings. The family&rsquos pièce de résistance is a 23-foot-long painting made on order. During a demonstration, Praveen Joshi paints a quick freehand portrait of a quirky folktale character named Ajab Ghazab&ndasha tiger&rsquos body and stripes with parakeet heads for feet, a camel&rsquos neck for tail, wings of a raptor, and a human head. There&rsquos no dearth of fantasy in this kingdom.