Empires and kingdoms needed maps. In times of peace and war, the importance of maps was always underscored; the accuracy of maps in marking out frontiers was highlighted; and those who contributed to the creation of maps were acknowledged for their meticulous work, for pushing the boundaries of knowledge. Maps, whether in the ancient, pre-modern or modern world, are clearly termed as ‘knowledge products’ whose worth continues to be recognised by Kings and Heads of State.

At the Maharaja Fatesingh Museum in Vadodara, a selection of rare archival maps and paintings is driving home the significance of these artefacts, painstakingly restored and exhibited as ‘Picturing Place: Painted and Printed Maps at the Udaipur Court’. It is a collaborative effort of The Getty Paper Project and The City Palace Museum, Udaipur which has made possible the building of these bridges with the past, adding another dimension to our understanding of how our history was mapped, as it was shaped. Launched in 2018, before the pandemic stopped the physical world in its tracks, the Getty Paper Project was focussed not only on funding professional development of curators around the world, it was designed to bring prints and drawings on to the centre stage of museums and collections.

For far too long paintings, sculpture, textiles, arms and armouries, architecture took pride of place in museums, big and small. Through the Paper Project, it was books, documents, prints and drawings which assumed rightful significance as interest in these collections grew with 21st century audiences. The Getty reached out to museums for experimental projects to challenge the creativity of their curators, besides providing opportunity to proactively restore archival materials. Many may not be aware that the US-based Getty is a leading global arts organization committed to the exhibition, conservation, and understanding of the world’s artistic and cultural heritage. Working collaboratively with partners around the globe, the Getty Foundation, Getty Conservation Institute, Getty Museum and Getty Research Institute are dedicated to greater understanding of relationships between the world’s many cultures, bringing together people, professionals, and institutions in meaningful ways.

It was in 2021 that the Udaipur-based Maharana of Mewar Charitable Foundation (MMCF) received the grant from the Getty Foundation. The objective was to research, restore and plan exhibitions of rare, never-seen-before array of maps and cartographyrelated documents. The curatorial and research teams of the City Palace Museum were working on preserving the cartographic materials in its archives, many of which dated back to the 1700s. Digging into archives of Maharana Mewar Research Insitute (MMRI), it was clear that historical documentation in the premodern era, whether in Mewar or in other Princely States, was second to none. The myth, propagated by the British colonial authorities, that Indian ‘natives’ had neither any sense of history nor the ability to maintain records, lies shattered.

Court records of Princely States provide details of daily events, visits, letters received and despatched, accou nts and payments, as sets and inventories; in today’s parlance these would be MIS reports, while Court records as in the State of Udaipur-Mewar are referred to as ‘Bahidas’. At MMRI, for instance, records of the last 400 years are available, awaiting digitization while several bahidas have been published. ‘Picturing Place: Painted and Printed Maps at the Udaipur Court’ was initially exhibited at the City Palace Museum, and cerator Dr Shailka Mishra explaied “it has been curated in different themes. We have 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 from the MMRI.” 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 have been presented. The exhibition 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 and temples can also be seen in these artefacts, as depicted by cartographic printers and painters of the past. Once again, a myth-shattering moment: it had been assumed that map-making and collection of topographic details began with the coming of the British, especially after the British imperial authorities began their subjugation and rule over India.

The vast collection, of over 500 maps, architectural drawings and blueprints preserved at the MMRI, bring to light the brilliance of painted maps. “In pre-modern, or pre-colonial times, these painted maps were the visual means to tell stories,” curator Dr Mishra pointed out. The pride of place is taken by the Chittorgarh maps; Chittor being acknowledged since the 8th-9th centuries CE as the ‘fort among all forts’. Presented are fascinating details of Chittorgarh: its history, genealogical charts of its ru lers, and most significantly, the public spaces have been highlighted, the landscape and waterbodies marked, the till-date famous temples can be seen on the maps.

No wonder these painted maps, some very large in size, remain historical documents providing an over view of the social and cultural life within the fort-city of Chittorgarh, once the capital-city of Mewar before the Maharanas established Udaipur and moved to the ‘city of lakes’ in the middle of the 16 century CE. While the Court of Udaipur was famous for its writings on history and literature, exhibitions like ‘Picturing Place’ have put the spotlight on these maps, as part of a vibrant intellectual culture belonging not just to Rajasthan but the entire nation. Through this exhibition, Dr Mishra highlighted the multifaceted purposes and interpretations of maps, from political and cultural motivations to imperialistic ambitions. “Seen together, it provides an opportunity to examine the visualization of architecture, landscape and topography in different mediums over two centuries,” said the curator.

Moreover, the exhibition, as it moves across India, provides avenues for further research on this unique collection and elaborates on the agency of court artists within the challenging field of cartographic knowledge. Reading the map titled ‘Mewar State’, published by Hiteshi Pustak Prakashan, 1945, (Accession No.: 2020.42.0050) is an interesting exercise in seeing resurgent identities through maps in regional languages, Hindi in this case. The late 19th and early 20th century CE were a period of cultural resurgence and linguistic movements in India. These maps of Mewar in Hindi and English reflect the growing interest in regional histories and cultural identities.

During this era, historians delved on regional histories, exploring local narratives, dynasties, and cultural developments within specific regions, challenging colonial narratives, and celebrating indigenous histories. Maps of historical kingdoms like Mewar with its boundaries, landmarks, and cultural sites gained popularity, reflecting the region’s rich legacy. Hindi emerged as a prominent language during India’s independence movement, and the demand for maps in Hindi soared.

By 1937, Hindi maps were locally available in Udaipur, emphasizing Mewar’s identity within Rajasthan and India. Several maps showcased administrative units, physical features, local produce, economy, infrastructure, colleges, population, and mines, offering fascinating insights into the vibrant past of Princely State of Udaipur-Mewar. For those keen on military his tory, maps of the ‘Western campaign of World War I’ are displayed. The map, printed by W & AK Johnston, highlights the German Empire’s western front during 1914-1918, marked by a bold red line. Maps in the inset provide detailed views of Paris and Berlin, key cities in the campaign. “The British relied heavily on Indian contribution to the war effort,” said Dr Lakshyaraj Singh Mewar, trustee of MMCF. “Our illustrious great-great grandfather Maharana Fateh Singh extended generous financial aid including a loan of Rs 5 lakhs, troops and resources to the British.

Mind you, he was the only invitee among the Indian Princes who, on a matter of principle, did not attend the Delhi Durbars of 1903 and 1911.” Maharana Fateh Singh had steadfastly refused to offer obeisance to the British Monarch or to admit a subservient sovereign status. In 1911, he made the journey to Delhi by a special train but did not attend the Durbar. His chair, made for the occasion, was never sat upon. King George V came to Salimgarh railway station to meet him, thus making Maharana Fateh Singh the first Indian ruler to meet the KingEm peror in private audience. Maps have an extraordinary power to unfold stories, making us proud of our history and exemplary personalities.

(The writer is an authorresearcher on history and heritage issues and a former deputy curator of Pradhanmantri Sangrahalaya)