The Company School, often referred to as the “Company Style” or “Company Painting,” emerged in India during the 18th and 19th centuries as a unique confluence of indigenous Indian artistic traditions and European aesthetic influences. This school of painting developed in the context of the British East India Company's growing political and commercial presence across India. Its origins were closely tied to the demand for visual documentation by European patrons, including Company officials, merchants, and travelers, who sought accurate depictions of Indian landscapes, architecture, flora, fauna, and everyday life. Unlike purely traditional Indian art forms, which were often devotional or royal in nature, Company School paintings were primarily secular, aimed at satisfying the curiosity of Europeans about the social and natural environment of India. The genesis of Company School can be traced back to the decline of the Mughal Empire, when traditional royal patronage for miniature painting began to weaken. Local artists, trained in Mughal, Rajput, and Deccani miniature traditions, found new opportunities by adapting their skills to meet European tastes. The term “Company” signifies the East India Company, which acted as the primary patron for these works. Artists working in this style were often trained in the precise detailing characteristic of Mughal miniatures but gradually incorporated elements of European realism, perspective, and shading. This fusion resulted in a distinctive hybrid aesthetic that retained Indian compositional sensibilities while introducing a Western sense of naturalism and spatial depth. Company School paintings are characterized by their meticulous attention to detail and documentary approach. Artists employed fine brushwork to capture the texture of fabrics, architectural ornamentation, and the physical characteristics of plants and animals. Landscapes were often presented in a flat yet carefully structured composition, with a focus on clarity and accurate representation rather than dramatic or emotional expression. These paintings frequently served as visual records, illustrating the exoticism of India for European audiences. They documented a wide range of subjects, including portraits of Indian rulers and nobles, military scenes, urban life, markets, festivals, and various crafts. The depiction of Indian flora and fauna, often in illustrated natural history books, became especially prominent as British