Maps and Mappings: New Perspectives on Cartography
- Independent Ink
- Jul 10
- 6 min read
Vignettes from the just-released catalogue of 'Picturing Place: Painted and Printed Maps at the Udaipur Court'. The artistic traditions of Mewar demonstrate a profound understanding of architecture, a skill evident from the earliest genealogical paintings, or Vamshavalis, produced in Udaipur during the 17th century CE.
By Raju Mansukhani
‘Garhon ka garh hai Chittaurgarh’ is what the bards sang, poetically proclaiming Chittor in the region of Mewar, Rajasthan, to be the mightiest amongst all forts. When the exhibition titled 'Picturing Place: Painted and Printed Maps at the Udaipur Court' was inaugurated at The City Palace Museum, Udaipur, in July 2023, visitors had the chance to witness the glory of fort-cities like Chittorgarh through rare painted and printed maps and cartographic documents. Funded by The Getty Foundation, under The Paper Project, the exhibition brought together these archival treasures from the Mewar Royal Collection, preserved in the Mardana Mahal for over five centuries.
In June 2024, the global exhibition was hosted by Maharaja Fatesingh Museum in Vadodara where former royal families of Baroda and Udaipur inaugurated 'Picturing Place'. Rajmata Shubhanginiraje Gaekwad of Baroda, Maharaj Samarjitsinh Gaekwad of Baroda, and Maharaj Kumar Dr Lakshyaraj Singh Mewar of Udaipur did the honours, marking the collaboration between The City Palace Museum, Udaipur, and the Maharaja Fatesingh Museum Trust, Vadodara, with support of The Getty Foundation, USA.
Said Dr Shailka Mishra, the consultant-curator, "Picturing Place gives visitors fascinating insights into how places, landscapes, and the topography of the state of Mewar were produced on maps, paintings, and other related documents. The iconic architecture of Udaipur's palaces can also be seen in these objects, as depicted by cartographic printers and painters of the past."
In 2025, a comprehensive catalogue has been released by the Maharana of Mewar Charitable Foundation, Udaipur, which administers and manages The City Palace Museum. It is a delight not just for historians and heritage experts, but every museum-goer who wishes to read more into paintings and photographs, the hidden stories and different contexts that makes history so interesting.
Dimensions of Vamshavalis
Mishra pointed out, “The artistic traditions of Mewar have long demonstrated a profound understanding of architectural representation, a skill evident from the earliest genealogical paintings, or Vamshavalis, produced in Udaipur during the 17th century CE. These Vamshavalis not only trace the Sisodia clan's lineage back to the Sun God 'Surya', but also document significant events and courtly activities during the reigns of various Mewar rulers."
The paintings, large or small, are visual documents of the past -- detailed, authentic and stylistic at the same time.
As we read through the 'Picturing Place' catalogue and see how the Udaipur artists were visualizing the landscape, we discover that “they skillfully depicted the city's landscape and its environs, including paintings which depicted hunting grounds of Tikhliya Magra near the south-eastern edge of Lake Pichola. The shimmering waters of the lake can be seen at the bottom of the painting. The city wall of Udaipur is prominently featured on the left. The artist, familiar with the location, highlights the newly constructed Kala Odi or black hunting tower. These landscape paintings meticulously portray the local flora and fauna. Observe the artists' faithful representation of mango, neem and mahua trees adorning the water edge, along with the thorny cactus-like shrubs known as thuhar, scattered throughout the composition."
It is the ‘Genealogical Scroll of the Rulers of Mewar’ 1730-40, Udaipur (New York Public Library, Spencer Coll, MS 80), which is undoubtedly one of the highlights of the catalogue. It states: "The representations of Chittor Fort, the ancient political centre of Mewar, across various periods, underscore the contrast between indigenous cartographic practices and British map-making traditions. Three notable depictions of the fort exemplify its historical and cultural importance. For the Sisodia rulers of Mewar, Chittorgarh holds profound sentimental value, as royal cities are believed to possess spiritual potency, empowering their ruling dynasties.”
In this earliest depiction of Chittorgarh, the fort is distinctly depicted, rising dramatically on a plateau that spans 5 kilometres and covers 700 acres. “Dominating the landscape at over 500 feet, the fort exudes a formidable presence. In the painting, the fort is strategically positioned on a hill, arranged diagonally across the composition, with multiple defensive walls that accentuate its strength. Conversely the maps convey the terrain through closely placed contour lines, meticulously marking temples, living quarters, tanks and palaces.”
The museum’s curatorial team, led by Dr Hansmukh Seth and Swati Jain, along with conservators Anuja Mukherjee, Bhasha Shah and Swati Jain, worked for several years on the maps’ project. Major restoration work was undertaken by the team before the archival material could be exhibition-ready.
They explain for the lay-visitor how the artist is able to animate the fort, “by depicting daily activities and social interactions. The scenes include people welcoming returning warriors, engaging in business transactions, praying at temples, listening to sermons and bathing in ponds. These details highlight the vibrant community that once thrived within the fort and symbolize the kingdom's prosperity. These visual representations constitute a cultural landscape defined as 'places that evolved and accrued meaning through human use'. In contrast, British maps prioritize documenting the terrain, topography and structural features of the area”.
At the Udaipur gallery
For the exhibition at The City Palace Museum in Udaipur, Mishra said, "It was curated along different themes. We showcased some 53 objects, including a diverse array of maps meticulously commissioned and collected by the Maharanas of Mewar. On display are seven paintings, 31 maps, one architectural drawing, 12 photographs, one photo album and one Bahida (court record). There were details of topographical maps, landscape paintings, the cartographic works of British painters on Mewar and Udaipur, besides the early printed maps of India, world maps, and local district maps created for revenue administration were on display."
To engage the visitors, there were interactive kiosks and tours provided in the gallery. Through these informative displays, the exhibition highlighted the cultural significance of maps, photographs, and paintings, emphasizing their role in governance, exploration, and cultural expression. It showed how maps were used to navigate, document, and interpret the world, reflecting the intellectual and artistic endeavors of Udaipur’s court.
For visitors there is much to learn, new stories and perspectives about the history of Mewar and Udaipur through these maps, paintings and cartographic material.
"In the mid-19th century CE, the British initiated topographical mapping of Rajputana and Central India, including the region of Mewar. These surveys employed modern techniques and were useful for military, administrative and economic purposes. Accurate topographical maps enabled boundary depiction, assessment of land use, and resource distribution analysis. The surveys meticulously measured topography, geology, hydrography, and vegetation. They also examined tanks, water courses and cultivated areas,” states the catalogue.
“While these maps aided revenue collection and the planning of roads, canals and railways, their primary focus was colonial interests rather than community benefit or historical preservation. Nevertheless, the changing technological landscape led to the transformation of maps in Udaipur. By the early 20th century CE, regional maps of Udaipur began to reflect a growing interest in regional histories, cultural identities and linguistic movements in India."
Said Dr Lakshyaraj Singh Mewar, chairman and managing trustee of Maharana of Mewar Charitable Foundation, "I heartily congratulate the curatorial and research teams of our museum and the Getty Foundation for creating and curating yet another landmark exhibition. It is a fine example of how the living heritage of Mewar is being preserved, shared with young and global audiences alike in India and overseas. In the years ahead, we hope to build on these platforms of sharing authentic knowledge and our legacies."
Dr Mayank Gupta, CEO of the foundation, said “From the 1970s through 2000, MMCF trustees took several significant steps not only to develop the museum, but also to establish a long-term vision for heritage management, partnering with like-minded individuals and organisations. In 2005, MMCF was ready to take a major step forward, submitting an application to the Getty Foundation in USA for assistance in architectural conservation of The City Palace Museum, Udaipur.”
It has been a long journey of creative partnership between MMCF and the Getty Foundation. Indeed, 'Picturing Place: Painted and Printed Maps at the Udaipur Court' is a milestone in a fascinating rediscovery of maps, landscapes, topography and the aesthetic, cultural and political life of the times, a journey that began two decades ago.
Based in Gurgaon, and travelling frequently, Raju Mansukhani is a researcher-writer on history and heritage issues. He contributes columns and features in leading Indian and foreign newspapers and portals.
Photos Courtesy: Raju Mansukhani