Ivory And The Aesthetics Of Modernity In Meiji Japan

The opening of the ports of Japan in 1859 brought a flood of Japanese craft products to the world marketplace. For ivory it was a golden age. This book examines the role that ivory and ivory carvers played in the expression of nationalism and the development of sculpture in the later nineteenth and early twentieth century.

Mediated by Gifts is a collection of essays by top scholars on gifts, giving and the social and political forces that shaped these practices in medieval and early modern Japan.

Blessed with numerous safe harbours, accessible ports, and a rich hinterland, Gujarat has been central to the history of Indian Ocean maritime exchange that involved not only goods, but also people and ideas. This volume maps the trajectory of the extra-continental interactions of Gujarat and how it shaped the history of the Indian Ocean. Chronologically, the volume spans two millennia, and geographically, it ranges from the Red Sea to Southeast Asia The book focuses on specific groups of Gujarati traders, and their accessibility and trading activities with maritime merchants from Africa, Arabia, Southeast Asia, China, and Europe. It not only analyses the complex process of commodity circulation, involving a host of players, huge investments, and numerous commercial operations, but also engages with questions of migration and diaspora. Paying close attention to current historiographical debates, the contributors make serious efforts to challenge the neat regional boundaries that are often drawn around the trading history of Gujarat.

Global goods were central to the material culture of eighteenth-century country houses. Across Europe, mahogany furniture, Chinese wallpapers and Indian textiles formed the backdrop to genteel practices of drinking sweetened coffee, tea and chocolate from Chinese porcelain. They tied these houses and their wealthy owners into global systems of supply and the processes of colonialism and empire. Global Goods and the Country House builds on these narratives, and then challenges them by decentring our perspective. It offers a comparative framework that explores the definition, ownership and meaning of global goods outside the usual context of European imperial powers. What were global goods and what did they mean for wealthy landowners in places at the ‘periphery’ of Europe (Sweden and Wallachia), in the British colonies of North America and the Caribbean, or in the extra-colonial context (Japan or Rajasthan)? By addressing these questions, this volume offers fresh insights into the multi-directional flow of goods and cultures that enmeshed the eighteenth-century world. And by placing these goods in their specific material context - from the English country house to the princely palaces of Rajasthan - we gain a better understanding of their use and meaning, and of their role in linking the global and the local.

Correspondence, travel writing, diary writing, painting, scrapbooking, curating, collecting and house interiors allowed British women scope to express their responses to imperial sites and experiences in the 18th, 19th and 20th centuries. Taking these productions as its archive, British Women and Cultural Practices of Empire, 1775-1930 includes a collection of essays from different disciplines that consider the role of British women's cultural practices and productions in conceptualising empire. While such productions have started to receive greater scholarly attention, this volume uses a more self-conscious lens of gender to question whether female cultural work demonstrates that colonial women engaged with the spaces and places of empire in distinctive ways. By working across disciplines, centuries and different colonial geographies, the volume makes an exciting and important contribution to the field by demonstrating the diverse ways in which European women shaped constructions of empire in the modern period.

This volume looks into the ways Indian Ocean routes shaped the culture and contours of early modern India. IT shows how these and other historical processes saw India rebuilt and reshaped during late medieval times after a long age of relative ‘stagnation’, ‘isolation’ and ‘backwardness’. The various papers deal with such themes including interconnectedness between Africa and India, trade and urbanity in Golconda, the changing meanings of urbanization in Bengal, commercial and cultural contact between Aceh and India, changing techniques of warfare, representation of early modern rulers of India in contemporary European paintings, the impact of the Indian Ocean on the foreign policies of the Mughals, the meanings of piracy, labour process in the textile sector, Indo-Ottoman trade, Maratha-French relations, Bible translations and religious polemics, weapon making and the uses of elephants. The book will be of interest to students and scholars of early modern Indian history in general and those working on aspects of connected histories in particular.

This is an insightful and intelligent re-thinking of Japanese art history & its Western influences. This broad-ranging and profoundly influential analysis describes how Western art institutions and vocabulary were transplanted to Japan in the late nineteenth century. In the 1870-80s, artists and government administrators in Japan encountered the Western 'system of the arts' for the first time. Under pressure to exhibit and sell its artistic products abroad, Japan's new Meiji government came face-to-face with the need to create European-style art schools and museums - and even to establish Japanese words for art, painting, artist, and sculpture. "Modern Japanese Art" is a full re-conceptualization of the field of Japanese art history, exposing the politics through which the words, categories, and values that structure our understanding of the field came to be while revealing the historicity of Western and non-Western art history.

"Examines how the "beautiful woman" (bijin) emerged as a symbol of Japanese culture during the Meiji period and the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art"-