The monsoon in Delhi paints a scene of waterlogged streets, overflowing drains, power cuts, waterfalls cascading from flyovers, breezy winds, and lush greenery. It evokes a mix of pure joy and pleasure, often tempered by the frustrations of failing infrastructure. In contrast, the mediaeval period in Udaipur presents a distinct perspective on the monsoon, moving beyond the popular themes of love and longing that have come to define the season in Indian aesthetics.
In the book The Place of Many Moods by art historian Dipti Khera, a verse by the Jain monk Jaichand Saiki from A History of Hundred Years, spanning from 1658 to 1723, captures this beautifully, offering an ecological history and a detailed account of rainfall and its impact on the economy and politics. It goes as,“In 1761, extensive rains began in the months of Jyestha (May–June). Lakes filled up in Sravana (July–August), rivers and streams swelled in Bhadon (August–September).
In the months of Asad (June–July), hopes bloomed further, and grains were abundant. Corn, bajra, udad — all the crops thrived. There was abundance throughout the land; inexpensive crops brought happiness to all.
Jaichand says, ‘Do enjoy, for even the thieves and thugs have withdrawn!’” Khera, a seasoned art historian and Associate Professor of Art History at New York University— who has been in the city for a series of lectures on Indian paintings — has made incisive contributions to understanding how Udaipur’s artwork.