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This book — written by Dr John Bastin, a leading authority on the study of Sir Stamford Raffles — offers an alternative biographical account of Raffles, as seen through his relationship with some of his closest friends and contemporaries.The people featured include the naturalists Joseph Arnold, Thomas Horsfield and Nathaniel Wallich, who received support from Raffles in carrying on their scientific research, and the orientalist John Leyden, who influenced Raffles's study of Malay and Malay customs.Examining Raffles and his social circle presents an original perspective of the man and of the colonial world in which he lived, and his correspondence with his friends and scientific colleagues reflects his attitude and opinions on a range of issues, including his desire to extend the benefits of education. The book is a highly original contribution to the study of Raffles in the bicentenary year of his founding of Singapore.
Colonel William Farquhar (1774-1839) was a British Colonial Officer who became Commandant of Malacca in 1803, a post through which he was able o indulge his interest in natural history, sending men to collect various plant and animal specimens, which he then commissioned artists to paint.
Sir Stamford Raffles was a British colonial trader who, in 1819, founded the island city-state of Singapore. Today, Singapore is a world alpha city ranked alongside London, New York, and Tokyo. In this intriguing book - part history, part travelogue - the author revisits the places that were important in the life of Raffles and evaluates his legacy, both good and bad, in present-day Singapore. Previously published by Penguin, this is a fully updated edition.
Early Views of Indonesia is a catalog of the most important watercolor and pencil drawings from the British Library's superb collection of more than 1,500 drawings of Indonesia dating from the early nineteenth century, most of which have never been published before.
Beneath the modern skyscrapers of Singapore lie the remains of a much older trading port, prosperous and cosmopolitan and a key node in the maritime Silk Road. This book synthesizes 25 years of archaeological research to reconstruct the 14th-century port of Singapore in greater detail than is possible for any other early Southeast Asian city. The picture that emerges is of a port where people processed raw materials, used money, and had specialized occupations. Within its defensive wall, the city was well organized and prosperous, with a cosmopolitan population that included residents from China, other parts of Southeast Asia, and the Indian Ocean. Fully illustrated, with more than 300 maps and colour photos, Singapore and the Silk Road of the Sea presents Singapore's history in the context of Asia's long-distance maritime trade in the years between 1300 and 1800: it amounts to a dramatic new understanding of Singapore's pre-colonial past.
For much of the eighteenth and nineteenth centuries, the British East India Company consolidated its rule over India, evolving from a trading venture to a colonial administrative force. Yet its territorial gains far outpaced its understanding of the region and the people who lived there, and its desperate efforts to gain knowledge of the area led to the 1815 appointment of army officer Colin Mackenzie as the first Surveyor General of India. This volume carefully reconstructs the life and career of Mackenzie, showing how the massive survey of India that he undertook became one of the most spectacular and wide-ranging knowledge production initiatives in British colonial history.
This book is a study of the history, role and significance of copying art. Copies have enjoyed a different status from authentic artworks and though often acknowledged, very rarely have they been considered collectively as a genre in their own right. This volume showcases a variety of examples—from copies of famous artworks made and used as props in movies to those made innocently by student artists as part of their training. Examining the motivations for making copies, and reflecting on the reception of copies, is central to this book. Copies have historically filled voids in collections, where some sadly languish, and have become a curatorial burden. In other cases, having a copy assists in conservation projects and fills the place of a lost work. Ultimately by interrogating a copy’s role and intent we might ask ourselves if viewing a copy changes our experience and perception of an artwork.