Art through the Ages in Afghanistan, written in two volumes is a major work. It is the product of many years of research, including frequents visits to Kabul Museum and important archeological sites in Afghanistan, as well as visits to major museums in Europe and America housing important artifacts from Afghanistan. In completing his work Hamid Naweed has also made use of numerous interviews with Afghan and international scholars, local artist and local people living in the vicinity of historical sites. The second volume covering the art of Afghanistan from the advent of Islam through present time is expected to be published shortly after the publication of the first volume.

Art through the Ages in Afghanistan, written in two volumes is a major work. It is the product of many years of research, including frequents visits to Kabul Museum and important archeological sites in Afghanistan, as well as visits to major museums in Europe and America housing important artifacts from Afghanistan. In completing his work Hamid Naweed has also made use of numerous interviews with Afghan and international scholars, local artist and local people living in the vicinity of historical sites. The second volume covering the art of Afghanistan from the advent of Islam through present time is expected to be published shortly after the publication of the first volume.

Afghanistan, standing at the crossroads of major trade routes, has a long and complex history. Its rich cultural heritage bears the imprint of many traditions, from Greece and Iran to the nomadic world of the Eurasian steppes and China. The essays in this volume concentrate on periods of great artistic development: the Bactrian Bronze Age and the eras following the conquests of Alexander the Great, with a special focus on the sites of Ai Khanum, Begram, and Tillya Tepe. These contributions -- in response to the reappearance of the magnificent hidden treasures from Afghanistan and their exhibition -- have shed new light on the significance of these works and have reinvigorated the discussion of the arts and culture of Central Asia. -- Publisher description.

Ferozkoh: Tradition and Continuity in Afghan Art represents a partnership between the Museum of Islamic Art, Doha and the students and teachers of the Institute for Afghan Arts and Architecture in Kabul. The unifying theme of the exhibition is the preservation of the traditional arts of the Islamic world - in both themes and materials - in the modern world, and the role of education in its transmission and translation. Half of the objects featured in the exhibition are historical objectsmasterpieces from the Museum of Islamic Art's collection, from four great dynasties with connections to Afghanistan: the Ghaznavids, Timurids, Mughals and Safavids.The other half of the exhibition presents works created specifically for the exhibition by Turquoise Mountain students in response to, and in conversation with, the historical objects. Featuring exquisite photography and unique research, this catalogue is a visually stunning representation of the exhibition and a valuable record of an extraordinary endeavour.

As war raged across the jagged Afghan countryside, the staff of the Afghan National Museum spirited away, piece by piece, to hiding places all over the Kabul region, each time risking their lives, sworn to silence, it was a secret they kept until the fall of the Taliban--almost thirty years of deadly danger, courage, and fierce honor.

Rory Stewart recounts the experiences he had walking across Afghanistan in 2002, describing how the country and its people have been impacted by the Taliban and the American military's involvement in the region.

Rugged, remote, riven by tribal rivalries and religious violence, Afghanistan seems to many a country frozen in time and forsaken by the world. Afghan Modern presents a bold challenge to these misperceptions, revealing how Afghans, over the course of their history, have engaged and connected with a wider world and come to share in our modern globalized age. Always a mobile people, Afghan travelers, traders, pilgrims, scholars, and artists have ventured abroad for centuries, their cosmopolitan sensibilities providing a compass for navigating a constantly changing world. Robert Crews traces the roots of Afghan globalism to the early modern period, when, as the subjects of sprawling empires, the residents of Kabul, Kandahar, and other urban centers forged linkages with far-flung imperial centers throughout the Middle East and Asia. Focusing on the emergence of an Afghan state out of this imperial milieu, he shows how Afghan nation-making was part of a series of global processes, refuting the usual portrayal of Afghans as pawns in the “Great Game” of European powers and of Afghanistan as a “hermit kingdom.” In the twentieth century, the pace of Afghan interaction with the rest of the world dramatically increased, and many Afghan men and women came to see themselves at the center of ideological struggles that spanned the globe. Through revolution, war, and foreign occupations, Afghanistan became even more enmeshed in the global circulation of modern politics, occupying a pivotal position in the Cold War and the tumultuous decades that followed.