Dipti Khera: In the Mood for Art in India’s Eighteenth Century

Dipti Khera: In the Mood for Art in India’s Eighteenth Century

Lecture
CWAC 157
Add to Calendar 2020-03-05 17:00:00 2020-03-05 17:00:00 Dipti Khera: In the Mood for Art in India’s Eighteenth Century The art of sensing moods mattered in precolonial South Asia. The eighteenth-century painters of Udaipur, a city of lakes in northwestern India, suggest that the moods of pleasure and prosperity mattered even more. The moods of grand-scale paintings, larger in size than manuscripts and portraits, which could be held in a single hand, emerged in the enchanting depictions of lime-washed palaces, reservoirs, temples, bazaars, and durbars. The painterly unfolding of stormy monsoons and scented springs, populated by the collectives of urbane men and women, enticed audiences to forge bonds of belonging to real locales in the present and of longing for ideal futures. These pioneering pictures sought to stir such emotions as love, awe, abundance, and wonder, emphasizing the senses, spaces, seasons, and sociability essential to the efficacy of objects and expressions of territoriality. In iterating exuberant and ephemeral atmospheres, painters viewed the moods of places as open to adaptation, admiration, and assimilation. Their memorialized moods confront the ways colonial histories have recounted Oriental decadence, shaping how a culture, art, and time are perceived. Free Presented by the Department of Art History as part of the 2019/20 Smart Lecture series supported by the Smart Family Foundation. This event is co-sponsored with the Committee on Southern Asian Studies from the Department of South Asian Languages & Civilizations. Photo Credit: Maharana Amar Singh II in Udaipur during a Monsoon Downpour, c. 1705, Udaipur. Opaque watercolor and gold on cloth, 109.2 × 175.2 cm. Freer Gallery of Art, Smithsonian Institution, Washington, DC; purchase and partial gift made in 2012 from the Catherine and Ralph Benkaim Collection, Charles Lang Freer Endowment, F2012.4.2. CWAC 157 Department of Art History drupal@seastar.uchicago.edu America/Chicago public
MaharanaAmarSinghIIinUdaipurduringaMonsoonDownpour, c. 1705, Udaipur. Opaque watercolor and gold on cloth, 109.2 × 175.2 cm. Freer Gallery of Art, Smithsonian Institution, Washington, DC; purchase and partial gift made in 2012 from the Catherine and Ralph Benkaim Collection, Charles Lang Freer Endowment, F2012.4.2.

The art of sensing moods mattered in precolonial South Asia. The eighteenth-century painters of Udaipur, a city of lakes in northwestern India, suggest that the moods of pleasure and prosperity mattered even more. The moods of grand-scale paintings, larger in size than manuscripts and portraits, which could be held in a single hand, emerged in the enchanting depictions of lime-washed palaces, reservoirs, temples, bazaars, and durbars. The painterly unfolding of stormy monsoons and scented springs, populated by the collectives of urbane men and women, enticed audiences to forge bonds of belonging to real locales in the present and of longing for ideal futures. These pioneering pictures sought to stir such emotions as love, awe, abundance, and wonder, emphasizing the senses, spaces, seasons, and sociability essential to the efficacy of objects and expressions of territoriality. In iterating exuberant and ephemeral atmospheres, painters viewed the moods of places as open to adaptation, admiration, and assimilation. Their memorialized moods confront the ways colonial histories have recounted Oriental decadence, shaping how a culture, art, and time are perceived.

Free

Presented by the Department of Art History as part of the 2019/20 Smart Lecture series supported by the Smart Family Foundation. This event is co-sponsored with the Committee on Southern Asian Studies from the Department of South Asian Languages & Civilizations.

Photo Credit: Maharana Amar Singh II in Udaipur during a Monsoon Downpour, c. 1705, Udaipur. Opaque watercolor and gold on cloth, 109.2 × 175.2 cm. Freer Gallery of Art, Smithsonian Institution, Washington, DC; purchase and partial gift made in 2012 from the Catherine and Ralph Benkaim Collection, Charles Lang Freer Endowment, F2012.4.2.