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.
Jessica Hanser, in her book Mr. Smith Goes to China, tells a tale of 18th-century globalisation involving three international actors–Britain, China and India–through the lives of three British (more precisely, Scottish) merchants. All of them bore the name of George Smith, an extremely common name at the time. And all of them were ‘private traders’” (i.e.
Historians of the British Empire have long recognized the hunger strike—famously embraced by suffragettes in Britain, and by nationalists in Ireland and India—as a transnational tactic of democratic, anti-colonial resistance.
Missionaries are no strangers to students and researchers of the British Empire. The hackneyed image of the rough-hewn Anglican vicar preaching salvation, Christ, and colonialism to legions of natives is one of the enduring archetypes of British colonialism. This image, like so many similar ones, is not without basis in historical fact.