Japanese art was a breath of fresh air to the citizens of 19th-century France, whose country was being overwhelmed with rapid modernization and industrialism. The focus on individual craftsmanship and quality stood in stark contrast with mass production, and the simple utilitarian designs were the antithesis of perceived contrivances in European schools of art. Japanese aesthetics quickly permeated all aspects of popular culture, from fashion to theatre to home decor, and assembling collections of Japanese imports became a common pastime for the wealthy elite. This enthusiastic reception and emulation of Japanese art was called japonisme.

Biographies have much to offer as a way into the past. Lives are messy, and avoid neat conclusions about history—frustrating things, they refuse to fit a preconception. Human lives have a complexity that can keep history-writing honest. To navigate subjectivities keeps us alive to the truth that the work of history, too, is subjective. 

The Hijaz, that part of the Arabian Peninsula which contains the holy cities of Mecca and Medina, was long subject to imperialism, but not of Western variety: it was instead subject to the Ottomans. Although nominally under Ottoman suzerainty for centuries, it was ironically 19th-century British imperialism that forced Istanbul to attempt to consolidate its control over the region.

The volcanic Jeju Island is now a popular honeymoon destination in South Korea, but has a darker history that has only relatively recently begun to be openly discussed: a little over seventy years ago it was the scene of a massacre. Residents of Jeju had been some of the most ardent resisters of Japanese rule and supporters of an independent Korea. In April 1948, violence broke out when the regime in Seoul started an anti-communist purge in Jeju. In The Mermaid from Jeju, Sumi Hahn has written a novel centered around the massacre and a community of haenyeo, or female deep-sea pearl divers who begin their work as young as age eleven.

In 1480, the Ottoman Sultan Mehmed II, who had conquered Constantinople fewer than three decades earlier, sat for a portrait by the Venetian painter Gentile Bellini. Bellini had been sent to Istanbul to fulfill a request for a “un bon depentor que sapia retrazer”—“a good painter who knows how to paint portraits”. The Sultan apparently wanted his portrait done.

Withdrawal of Kashmir’s autonomous status, legislative restrictions on interreligious matrimony and a new citizenship law marked 2020 as a year of heightened tension between Islam and Hinduism in India. In addition to these political tensions, a cancel culture is sweeping India, aiming to delete centuries of Indo-Muslim culture from public spaces. 

The Hindi film industry also known as Bollywood, or B-grade Hollywood, has an interesting history intertwined with economy, much of which remains unknown. The early years of the talkies as they unfolded in Bombay inform Bombay Hustle: Making Movies in a Colonial City, a recent book by Debashree Mukherjee. The author’s first-hand experience in Mumbai as a freelance assistant director makes her well-placed to write about the past of the film and the city.