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In the last couple of decades, there has been a resurgence in studying the history of South Asian urbanism with a wide range of monographs and articles being published.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
In Room 145 of the Ceramics Galleries of the Victoria & Albert Museum, at the top of case 50, you can see an ‘architectural fragment’, which, according to its label, ‘once ornamented a palace in Yuanmingyuan or “garden of perfect clarity”’.
In this history of representations and knowledge formation Sanjay Subrahmanyam turns a historian’s gaze to the problems both implicitly and explicitly embedded in all histories of the early modern and modern world: why did Europeans represent and construct India and by extension, the non-European world in the ways that they did? Why and how did these constructs evolve?
Knowledge is power. Over the last three decades this old aphorism of political philosophy has been central to the study of colonialism in history, anthropology, and literary and cultural post-colonial studies. Revised and re-launched in social theory by Michel Foucault, the theme gained momentum after the publication of Edward Said’s highly influential book, Orientalism, in 1978.
Bangladesh today is the only nation-state in the Indian subcontinent with levels of ethnic homogeneity similar to Western or Central Europe.
With contemporary Japanese-Korean relations so inextricably entrenched within contentious politics of national identity and divergent expressions of historical consciousness, Jun Uchida’s Brokers of Empire could not be a more welcome addition to the field of modern East Asian history.
Although photography was introduced to India soon after its 1839 European invention, it was not until 1857 that the new technology proliferated in the subcontinent. In Zahid R. Chaudhary’s heavily illustrated study, focused on colonial photographic practices following the Sepoy Revolt by Indian recruits (1857–8), this proliferation is central.
This book uses the story of one family and its legal battles to uncover relationships between religion, race, gender, identity, and personal law in south India in the first half of the 19th century. Matthew Abrahams was an Indian Roman Catholic of lowly background but increasing wealth.
Some years ago, in the midst of a conversation about tourism and travelling, a friend from one of Britain’s former colonies remarked how shocked she had been to see ‘white people begging’ during her first trip abroad to Australia.