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Early history of photography in Sri Lanka.
Covers the period, 1796-1948.
According to one of Julia Margaret Cameron’s great-nieces, “we never knew what Aunt Julia was going to do next, nor did anyone else.” This is an accurate summation of the life of the British photographer (1815–1879), who took up the camera at age forty-eight and made more than twelve hundred images during a fourteen-year career. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her own art though exhibition and sale, and pursuing the eminent personalities of her age—Alfred Tennyson, Charles Darwin, Thomas Carlyle, and others—as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné. In addition to a complete catalogue of Cameron’s photographs, there is information on her life and times, initial experiments, artistic aspirations, techniques, small-format images, albums, commercial strategies, sitters, and sources of inspiration. Also provided are a selected bibliography of publications on Cameron, a list of exhibitions of her work held both in her time as well as our own, and a summary of important collections where her pictures can be found.
A carefully crafted selection of essays from international experts, this book explores the effect of colonial architecture and space on the societies involved – both the colonizer and the colonized. Focusing on British India and Ceylon, the essays explore the discursive tensions between the various different scales and dimensions of such 'empire-building' practices and constructions. Providing a thorough exploration of these tensions, Colonial Modernities challenges the traditional literature on the architecture and infrastructure of the former European empires, not least that of the British Indian 'Raj'. Illustrated with seventy-five halftone images, it is a fascinating and thoroughly grounded exposition of the societal impact of colonial architecture and engineering.
This reference for collectors, dealers, and scholars discusses colonial Indian furniture and the material culture of British India, in which local craftsmen used their skills to adapt to Western styles, producing a hybrid form which is in some ways typically English but unmistakably Indian. The four chapters by Jaffer (research fellow, Victoria and Albert Museum) provide a contextual background and discuss life in early British India, furnishings and the domestic interior, the availability and acquisition of furniture, and the Indian consumption of Western furniture and decorative articles. The catalogue contains color and b & w illustrations of 200 pieces from the collections of the Victoria and Albert Museum and the Peabody Essex Museum, accompanied by descriptions, historical details, and notes on provenance, literature, exhibitions, and other relevant facts. Oversize: 9.5x11.25". Annotation copyrighted by Book News, Inc., Portland, OR
Leonard Woolf was born in London in 1880 and spent five years at Trinity College, Cambridge where he began lasting friendships with men such as Lytton Strachey, E. M. Forster and John Maynard Keynes. In 1904 Woolf applied to join the home civil service but failed the exam. Instead, he was sent to Ceylon (now Sri Lanka) as a cadet in the Ceylon civil service, joining the small group of white administrators who ruled the colony. He remained there for nearly seven years. In Woolf in Ceylon Christopher Ondaatje, who was himself born and brought up on the island, follows in the footsteps of Woolf. Drawing on his personal experience of Ceylon and empire, he compares the way of life during imperial days with that of the post-colonial era. We learn as much about the country, its people and their transformation of the country during the past century as we do about the man who used his colonial career to become one of the leading English men of letters of the twentieth century. Ondaatje s sensitive descriptions, illustrated with period and modern photographs, tell the compelling story of Woolf s sojourn in Ceylon and his developing disillusionment with the British colonial system. The result is a unique evocation of both a vanished imperial world and a colonial servant s enduring legacy in the contemporary culture of an enchanted but troubled island.
How did the British come to conquer South Asia in the late eighteenth and early nineteenth centuries? Answers to this question usually start in northern India, neglecting the dramatic events that marked Britain’s contemporaneous subjugation of the island of Sri Lanka. In Islanded, Sujit Sivasundaram reconsiders the arrival of British rule in South Asia as a dynamic and unfinished process of territorialization and state building, revealing that the British colonial project was framed by the island’s traditions and maritime placement and built in part on the model they provided. Using palm-leaf manuscripts from Sri Lanka to read the official colonial archive, Sivasundaram tells the story of two sets of islanders in combat and collaboration. He explores how the British organized the process of “islanding”: they aimed to create a separable unit of colonial governance and trade in keeping with conceptions of ethnology, culture, and geography. But rather than serving as a radical rupture, he reveals, islanding recycled traditions the British learned from Kandy, a kingdom in the Sri Lankan highlands whose customs—from strategies of war to views of nature—fascinated the British. Picking up a range of unusual themes, from migration, orientalism, and ethnography to botany, medicine, and education, Islanded is an engaging retelling of the advent of British rule.