A vital new perspective on British history from award-winning broadcaster Fatima Manji "This is such an important, brave book that sheds a calm, bright light on the complexity of history at a time when simplistic assumptions have become the norm. It is truly brilliant" Elif Shafak Why was there a Turkish mosque adorning Britain's most famous botanic garden in in the eighteenth century? And more importantly, why is it no longer there? How did one of the great symbols of an Indian king's power, a pair of Persian-inscribed cannon, end up in rural Wales? And who is the Moroccan man that stole British hearts depicted in a long forgotten portrait hanging in a west London stately home? Throughout Britain's galleries and museums, civic buildings and stately homes, relics can be found that beg these questions and more. They point to a more complex national history than is commonly remembered. These objects, lost, concealed or simply overlooked, expose the diversity of pre-twentieth-century Britain and the misconceptions around modern immigration narratives. Hidden Heritage powerfully recontextualises the relationship between Britain and the people and societies of the Orient. In her journey across Britain exploring cultural landmarks, Fatima Manji searches for a richer and more honest story of a nation struggling with identity and the legacy of empire. "A timely, brilliant and very brave book" Jerry Brotton, author of This Orient Isle: Elizabethan England and the Islamic World "A compelling read about a history of Britain rarely cited and one that enriches an understanding of our complex, intriguing and wonderful past" Daljit Nagra

This exciting new investigation explores the rich variety of indigenous arts in the US and Canada from the early pre-contact period to the present day. It shows the importance of the visual arts in maintaining the integrity of spiritual, social, political, and economic systems within Native North American societies and examines such issues as gender, representation, the colonial encounter, and contemporary arts. Basketry, wood and rock carvings, dance masks, and beadwork, are discussed alongside the paintings and installations of modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier.

Attracted to the rich ceremonial life and unique architecture of the New Mexico pueblos, many early-twentieth-century artists depicted Pueblo peoples, places, and culture in paintings. These artists' encounters with Pueblo Indians fostered their awareness of Native political struggles and led them to join with Pueblo communities to champion Indian rights. In this book, art historian Sascha T. Scott examines the ways in which non-Pueblo and Pueblo artists advocated for American Indian cultures by confronting some of the cultural, legal, and political issues of the day. Scott closely examines the work of five diverse artists, exploring how their art was shaped by and helped to shape Indian politics. She places the art within the context of the interwar period, 1915-30, a time when federal Indian policy shifted away from forced assimilation and toward preservation of Native cultures. Through careful analysis of paintings by Ernest L. Blumenschein, John Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott shows how their depictions of thriving Pueblo life and rituals promoted cultural preservation and challenged the pervasive romanticizing theme of the ""vanishing Indian."" Georgia O'Keeffe's images of Pueblo dances, which connect abstraction with lived experience, testify to the legacy of these political and aesthetic transformations. Scott makes use of anthropology, history, and indigenous studies in her art historical narrative. She is one of the first scholars to address varied responses to issues of cultural preservation by aesthetically and culturally diverse artists, including Pueblo painters. Beautifully designed, this book features nearly sixty artworks reproduced in full color.

Analyzing the modernist art movement that arose in Cairo and Alexandria from the late nineteenth century through the 1960s, Alex Dika Seggerman reveals how the visual arts were part of a multifaceted transnational modernism. While the work of diverse, major Egyptian artists during this era may have appeared to be secular, she argues, it reflected the subtle but essential inflection of Islam, as a faith, history, and lived experience, in the overarching development of Middle Eastern modernity. Challenging typical views of modernism in art history as solely Euro-American, and expanding the conventional periodization of Islamic art history, Seggerman theorizes a "constellational modernism" for the emerging field of global modernism. Rather than seeing modernism in a generalized, hyperconnected network, she finds that art and artists circulated in distinct constellations that encompassed finite local and transnational relations. Such constellations, which could engage visual systems both along and beyond the Nile, from Los Angeles to Delhi, were materialized in visual culture that ranged from oil paintings and sculpture to photography and prints. Based on extensive research in Egypt, Europe, and the United States, this richly illustrated book poses a compelling argument for the importance of Muslim networks to global modernism.

The series of Collection of Ancient Calligraphy and Painting Handscrolls: Paintings has a large time span, rich themes and diverse styles. It selects 10 paintings from the last five dynasties of ancient China (Tang, Song, Yuan, Ming and Qing Dynasties), including vivid portraits, exquisite landscape paintings, and meticulous paintings of flowers and birds. The artworks are presented in the traditional format of a handscroll, which can be extended indefinitely, so that the postscripts and observations of later generations can be directly followed by the end of the works.