Udaipur’s eighteenth-century painters, more so than their earlier counterparts, exponentially stretched the affective potential of pictorial moods. They circulated images and ideas about flourishing places beyond and between objects commissioned within courts and bazaars. In the wake of British colonial ambitions, their pictures suggest counterfactual realities within moods of plenty that work against narratives of scarcity and inadequacy. Raising questions on the methods of sensing and making sense of monumental monsoon moods, this talk discusses how we construct our archives, circumscribe artworks and architecture; how claims of territoriality and infrastructure surface in art and vice versa; and how we tell histories of the entanglement of emotions, ecology, and place in South Asia and beyond.