Imperial Boundaries is a study of imperial expansion and local transformation on Russia's Don Steppe frontier during the age of Peter the Great. Brian Boeck connects the rivalry of the Russian and Ottoman empires in the northern Black Sea basin to the social history of the Don Cossacks, who were transformed from an open, democratic, multiethnic, male fraternity dedicated to frontier raiding into a closed, ethnic community devoted to defending and advancing the boundaries of the Russian state. He shows how by promoting border patrol, migration control, bureaucratic regulation of cross-border contacts and deportation of dissidents, Peter I destroyed the world of the old steppe and created a new imperial Cossack order in its place. In examining this transformation, Imperial Boundaries addresses key historical issues of imperial expansion, the delegitimization of non-state violence, the construction of borders, and the encroaching boundaries of state authority in the lives of local communities.

In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China’s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas. In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of “scenic illusion paintings” (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong’s world. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/imperial-illusions

It is commonly believed that international law originated in respectful relations among free and equal European states. But as Jennifer Pitts shows, international law was forged as much through Europeans' domineering relations with non-European states and empires, leaving a legacy visible in the unequal structures of today's international order.

Using the concept of boundaries, physical and cultural, to understand the development of China’s maritime southeast in late Imperial times, and its interactions across maritime East Asia and the broader Asian Seas, these linked essays by a senior scholar in the field challenge the usual readings of Chinese history from the centre. After an opening essay which positions China’s southeastern coast within a broader view of maritime Asia, the first section of the book looks at boundaries, between “us” and “them”, Chinese and other, during this period. The second section looks at the challenges to such rigid demarcations posed by the state and existed in the status quo. The third section discusses movements of people, goods and ideas across national borders and cultural boundaries, seeing tradition and innovation as two contesting forces in a constant state of interaction, compromise and reconciliation. This approach underpins a fresh understanding of China’s boundaries and the distinctions that separate China from the rest of the world. In developing this theme, Ng Chin-keong draws on many years of writing and research in Chinese and European archives. Of interest to students of migration, of Chinese history, and of the long term perspective on relations between China and its region, Ng’s analysis provides a crucial background to the historical shared experience of the people in Asian maritime zones. The result is a novel way of approaching Chinese history, argued from the perspective of a fresh understanding of China’s relations with neighbouring territories and the populations residing there, and of the nature of tradition and its persistence in the face of changing circumstances.

After the Treaty of Paris ended the Seven Years’ War in 1763, British America stretched from Hudson Bay to the Florida Keys, from the Atlantic coast to the Mississippi River, and across new islands in the West Indies. To better rule these vast dominions, Britain set out to map its new territories with unprecedented rigor and precision. Max Edelson’s The New Map of Empire pictures the contested geography of the British Atlantic world and offers new explanations of the causes and consequences of Britain’s imperial ambitions in the generation before the American Revolution. Under orders from King George III to reform the colonies, the Board of Trade dispatched surveyors to map far-flung frontiers, chart coastlines in the Gulf of St. Lawrence, sound Florida’s rivers, parcel tropical islands into plantation tracts, and mark boundaries with indigenous nations across the continental interior. Scaled to military standards of resolution, the maps they produced sought to capture the essential attributes of colonial spaces—their natural capacities for agriculture, navigation, and commerce—and give British officials the knowledge they needed to take command over colonization from across the Atlantic. Britain’s vision of imperial control threatened to displace colonists as meaningful agents of empire and diminished what they viewed as their greatest historical accomplishment: settling the New World. As London’s mapmakers published these images of order in breathtaking American atlases, Continental and British forces were already engaged in a violent contest over who would control the real spaces they represented. Accompanying Edelson’s innovative spatial history of British America are online visualizations of more than 250 original maps, plans, and charts.

Maps from virtually every culture and period convey our tendency to see our communities as the centre of the world (if not the universe) and, by implication, as superior to anything beyond our boundaries. This study examines how cartography has been used to prop up a variety of imperialist enterprises.