Review: The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century

Book Review| September 01 2023 Review: The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century Dipti Khera The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century Princeton, N.J.: Princeton University Press, 2020, 232 pp., 159 color illus. $75 (cloth), ISBN 9780691201849 Mehreen Chida-Razvi Mehreen Chida-Razvi Khalili Collections, London Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2023) 82 (3): 341–342. https://doi.org/10.1525/jsah.2023.82.3.341 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Mehreen Chida-Razvi; Review: The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century. Journal of the Society of Architectural Historians 1 September 2023; 82 (3): 341–342. doi: https://doi.org/10.1525/jsah.2023.82.3.341 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search In 1559 Udaipur, known as the City of Lakes for the natural and human-made lakes and streams in and around the valley surrounding the city, became the capital of Mewar, one of the regional Rajput courts of northwest India. Mewar’s painting tradition originated in the fifteenth century, making it one of the earliest Rajasthani schools of painting. By the late seventeenth century, painters from Udaipur had moved beyond merely depicting people and places to experimenting with conveying sensory experiences of space and mood of place. This representation featured the locale, landscapes, urban layout, architecture, and topography of the cities of the ranas (rulers) of Mewar, particularly Udaipur. As a result, Udaipur’s court paintings began to be produced on a larger scale to maximize their affective impact. Created during the long eighteenth century, as centralized imperial Mughal power declined and as the British East India Company became a political entity and... You do not currently have access to this content.