Grafted Arts: Art Making and Taking in the Struggle for Western India, 1760–1910, by Holly Shaffer; and The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century, by Dipti Khera

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Disclosure Statement

No potential conflict of interest was reported by the author.

Notes

1 See Jorrit Britschgi, “Mughal Afterglow and the Later Court Styles in the Pahari Region and Rajasthan, 1730–1825,” in John Guy and Britschgi, Wonder of the Age: Master Painters of India, 1100–1900, exh. cat. (New York: Metropolitan Museum of Art, 2011), 146–85.

2 See Ananda K. Coomaraswamy, “Rajput Paintings,” The Burlington Magazine 20, no. 108 (March 1912): 315–25.

3 Steven Kossak, Indian Court Painting, 16th–19th Century, exh. cat. (New York: Metropolitan Museum of Art, 1997). While there is considerable writing on art from the regional kingdoms, it is mostly descriptive and focuses on documenting private or institutional collections.

4 See B. N. Goswamy, Nainsukh of Guler: A Great Indian Painter from a Small Hill-State (New Delhi: Niyogi Books, 2011).

5 See Yael Rice, “Workshop as Network: A Case Study from Mughal South Asia,” Artl@s Bulletin 6, no. 3 (2017): 50–53.

6 Richard H. Davis, Lives of Indian Images (Princeton, NJ: Princeton University Press, 1997).

7 Sara Ahmed, “Not in the Mood,” New Formations: A Journal of Culture/ Theory/Politics 82 (2014): 13–28.

8 Kandice Chu, The Difference Aesthetics Makes: On the Humanities “after Man” (Durham, NC: Duke University Press, 2019).

9 Ibid.

10 See Kevin Hetherington, The Badlands of Modernity: Heterotopia and Social Ordering (London: Routledge, 1997).

Additional information

Notes on contributors

Santhi Kavuri-Bauer

Santhi Kavuri-Bauer is professor of art history at the School of Art, San Francisco State University [1600 Holloway Avenue, San Francisco, CA 94132].