This paper puts forward a broadly postcolonial method for engaging with landscapes in South Asia, in this case southern Sri Lanka. It argues that, as valuable as the familiar theoretical and conceptual languages of Euro-American landscape geography are, they also risk concealing a range of different aesthetics, social formations, and experiences that unfold in the non-Euro-American landscape. They risk dissimulating the politics of places as they are produced and lived contextually. In the paper I work this argument through a critical engagement of the landscape architecture of Sri Lanka's most famous tropical—modernist architect, Geoffrey Bawa; I specifically focus on his favorite, intensely choreographed, view at the estate Lunuganga on Sri Lanka's south coast. As I show, while tools from the new cultural geography and beyond can help us to read this view as a classically modernist and apolitical landscape, a work of ‘art for art's sake’, it is only a radically contextual familiarization with Sri Lankan society, politics, and history that can also reveal the landscape's more subtle instantiation of a spatializing Sinhala—Buddhist hegemony. Indeed, I show how some of the familiar (Eurocentric) concept-metaphors that we might intuitively bring to a reading of this landscape—namely ‘nature’, ‘religion’, and ‘ksubjectivity’—hold at arm's length particular kinds of landscape politics that emerge from differently textualized human relationships with the environment. The paper charts a method responsive to this particular landscape, and by doing so insists on the difficult task of retaining the singularity of landscapes positioned beyond the Euro-American staging grounds of the conceptual debates current within contemporary cultural geography.
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