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The Place of Many Moods Udaipur's Painted Lands and India's Eighteenth Century /
"India retains one of the richest painting traditions in the history of global visual culture, one that both parallels aspects of European traditions and also diverges from it. While European artists venerated the landscape and landscape paintings, it is rare in the Indian tradition to find dep...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Princeton :
Princeton University Press,
2020.
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| Colección: | Book collections on Project MUSE.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
| LEADER | 00000cam a2200000Ma 4500 | ||
|---|---|---|---|
| 001 | JSTOR_on1190896612 | ||
| 003 | OCoLC | ||
| 005 | 20231005004200.0 | ||
| 006 | m o d | ||
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| 008 | 200117s2020 nju o 000 0 eng d | ||
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| 020 | |a 0691209111 | ||
| 020 | |a 9780691209111 |q (electronic bk.) | ||
| 020 | |z 9780691201849 | ||
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| 035 | |a (OCoLC)1190896612 | ||
| 037 | |a 22573/ctvz9zhr7 |b JSTOR | ||
| 043 | |a a-ii--- | ||
| 050 | 0 | 4 | |a ND1460.U33 |b K49 2020 |
| 072 | 7 | |a ART |x 019020 |2 bisacsh | |
| 072 | 7 | |a ART |x 015000 |2 bisacsh | |
| 072 | 7 | |a ART |x 050020 |2 bisacsh | |
| 072 | 7 | |a HIS |x 017000 |2 bisacsh | |
| 082 | 0 | 4 | |a 759.954/4 |2 23 |
| 049 | |a UAMI | ||
| 100 | 1 | |a Khera, Dipti, |e author. | |
| 245 | 1 | 4 | |a The Place of Many Moods |b Udaipur's Painted Lands and India's Eighteenth Century / |c Dipti Khera. |
| 264 | 1 | |a Princeton : |b Princeton University Press, |c 2020. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 0000 | |
| 264 | 4 | |c 2020. | |
| 300 | |a 1 online resource (pages cm) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 500 | |a Based on the author's thesis (Ph.D.)--Columbia University, 2013, under the title: Picturing India's "Land of Kings" between the Mughal and British empires : topographical imaginings of Udaipur and its environs. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a "India retains one of the richest painting traditions in the history of global visual culture, one that both parallels aspects of European traditions and also diverges from it. While European artists venerated the landscape and landscape paintings, it is rare in the Indian tradition to find depictions of landscapes for their sheer beauty and mood, without religious or courtly significance. There is one glorious exception: Painters from the city of Udaipur in Northwestern India specialized in depicting places, including the courtly worlds and cities of rajas, sacred landscapes of many gods, and bazaars bustling with merchants, pilgrims, and craftsmen. Their court paintings and painted invitation scrolls displayed rich geographic information, notions of territory, and the bhāva, or feel, emotion, and mood of a place. This is the first book to use artistic representations of place to trace the major aesthetic, intellectual, and political shifts in South Asia over the long eighteenth century. While James Tod, the first British colonial agent based in Udaipur, established the region's reputation as a principality in a state of political and cultural deterioration, author Dipti Khera uses these paintings to suggest a counter-narrative of a prosperous region with beautiful and bountiful cities, and plentiful rains and lakes. She explores the perspectives of courtly communities, merchants, pilgrims, monks, laypeople, and officers, and the British East India Company's officers, explorers, and artists. Throughout, she draws new conclusions about the region's intellectual and artistic practices, and its shifts in political authority, mobility, and urbanity"-- |c Provided by publisher. | ||
| 588 | |a Description based on print version record. | ||
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Acknowledgments -- |t Note on Transliteration -- |t Introduction. Medium of Moods and Picturing of Place -- |t Chapter 1. Enlarging Painted Places and Imagining Moods Anew -- |t Chapter 2. Passionate Monsoons and Monumental Paintings -- |t Chapter 3. Worlds of Pleasure and Politics of Connoisseurship -- |t Chapter 4. Modes of Knowing and Skills of Drawing -- |t Chapter 5. Charismatic Places and Colonial Spaces -- |t Conclusion. Memorializing Moods and Recovering Histories -- |t Appendix -- |t Notes -- |t Bibliography -- |t Index -- |t Image Credits |
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 651 | 0 | |a Udaipur (Rajasthan, India) |x Intellectual life |y 18th century. | |
| 651 | 0 | |a Udaipur (Rajasthan, India) |v In art. | |
| 650 | 0 | |a Art and society |z India |z Udaipur (Rajasthan) |x History |y 18th century. | |
| 650 | 0 | |a Painting |x Political aspects |z India |z Udaipur (Rajasthan) |x History |y 18th century. | |
| 650 | 6 | |a Art et société |z Inde |z Udaipur (Rājasthān) |x Histoire |y 18e siècle. | |
| 650 | 6 | |a Peinture |x Aspect politique |z Inde |z Udaipur (Rājasthān) |x Histoire |y 18e siècle. | |
| 650 | 7 | |a ART / Asian / Indian & South Asian. |2 bisacsh | |
| 650 | 7 | |a Art and society |2 fast |0 (OCoLC)fst00815432 | |
| 650 | 7 | |a Intellectual life |2 fast |0 (OCoLC)fst00975769 | |
| 650 | 7 | |a Painting |x Political aspects |2 fast |0 (OCoLC)fst01050604 | |
| 651 | 7 | |a India |z Udaipur (Rajasthan) |2 fast |0 (OCoLC)fst01322637 | |
| 648 | 7 | |a 1700-1799 |2 fast | |
| 653 | |a Agra. | ||
| 653 | |a Allison Busch. | ||
| 653 | |a AnaSagar Lake. | ||
| 653 | |a Andrew Topsfield. | ||
| 653 | |a Aurangzeb. | ||
| 653 | |a Barry Flood. | ||
| 653 | |a British East India Comapny. | ||
| 653 | |a British India. | ||
| 653 | |a Chanchal Dadlani. | ||
| 653 | |a Climate Change and the Art of Devotion. | ||
| 653 | |a Court Painting at Udaipur. | ||
| 653 | |a Cynthia Talbot. | ||
| 653 | |a David Dean Shulman. | ||
| 653 | |a Debra Diamond. | ||
| 653 | |a Francesca Orsini. | ||
| 653 | |a Frederic Church. | ||
| 653 | |a From Stone to Paper. | ||
| 653 | |a Garden and Cosmos. | ||
| 653 | |a Heidi Pauwels. | ||
| 653 | |a Imke Rajamani. | ||
| 653 | |a Indian aesthetics. | ||
| 653 | |a Indian artistic practices. | ||
| 653 | |a Indian painting. | ||
| 653 | |a Jagniwas lake palace. | ||
| 653 | |a James Tod. | ||
| 653 | |a Jennifer Raab. | ||
| 653 | |a Jodhpur. | ||
| 653 | |a Kai Singh. | ||
| 653 | |a Katherine Butler Schofield. | ||
| 653 | |a Krishna. | ||
| 653 | |a Lake Pichola. | ||
| 653 | |a Maharana Amar Singh. | ||
| 653 | |a Mapping an Empire. | ||
| 653 | |a Margrit Pernau. | ||
| 653 | |a Matthew Edney. | ||
| 653 | |a Mewar. | ||
| 653 | |a Mimesis across Empires. | ||
| 653 | |a Mobilizing Krishna's World. | ||
| 653 | |a Molly Emma Aitken. | ||
| 653 | |a Monsoon Feelings. | ||
| 653 | |a More than Real. | ||
| 653 | |a Mughal India. | ||
| 653 | |a Mughal empire. | ||
| 653 | |a Mughal. | ||
| 653 | |a Natasha Eaton. | ||
| 653 | |a Norbert Peabody. | ||
| 653 | |a Objects of Translation. | ||
| 653 | |a Poetry of Kings. | ||
| 653 | |a Princes and Painters in Mughal Delhi. | ||
| 653 | |a Raj Singh. | ||
| 653 | |a Rajasthan. | ||
| 653 | |a Rajput. | ||
| 653 | |a Rajsamand Lake. | ||
| 653 | |a Ramya Sreenivasan. | ||
| 653 | |a Romita Ray. | ||
| 653 | |a Salivahana. | ||
| 653 | |a Sangram Singh. | ||
| 653 | |a Shah Janan. | ||
| 653 | |a Shirine Hamadeh. | ||
| 653 | |a Sisodia Rajputs. | ||
| 653 | |a South Asian art. | ||
| 653 | |a South India. | ||
| 653 | |a Sugata Ray. | ||
| 653 | |a The City's Pleasures. | ||
| 653 | |a The Intelligence of Tradition in Rajput Court Painting. | ||
| 653 | |a Under the Banyan Tree. | ||
| 653 | |a Vittoria Di Palma. | ||
| 653 | |a Wasteland a History. | ||
| 653 | |a William Dalrymple. | ||
| 653 | |a William Hodges. | ||
| 653 | |a Yuthika Sharma. | ||
| 653 | |a aesthetics. | ||
| 653 | |a art and empire. | ||
| 653 | |a art and religion. | ||
| 653 | |a art history. | ||
| 653 | |a court painting. | ||
| 653 | |a early modern art. | ||
| 653 | |a eighteenth-century India. | ||
| 653 | |a global eighteenth century. | ||
| 653 | |a history of early modern South Asian art. | ||
| 653 | |a history of landscape. | ||
| 653 | |a land of kings. | ||
| 653 | |a late Mughal. | ||
| 653 | |a letter-scrolls. | ||
| 653 | |a long eighteenth century. | ||
| 653 | |a monsoons. | ||
| 653 | |a political imaginary. | ||
| 653 | |a precolonial South Asia. | ||
| 653 | |a sensory histories. | ||
| 653 | |a tamasa. | ||
| 653 | |a tamasha. | ||
| 653 | |a thakurs. | ||
| 655 | 7 | |a Art |2 fast |0 (OCoLC)fst01423702 | |
| 655 | 7 | |a History |2 fast |0 (OCoLC)fst01411628 | |
| 710 | 2 | |a Project Muse. |e distributor. | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.2307/j.ctvz938s7 |z Texto completo |
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