On the top floor of the Aq Saray or the White Palace hotel in Ürümchi is a massive reproduction of Napoleon Crossing the Alps by Jacques-Louis David. He is flanked on his left by a reproduction of Ivan Kramskoi’s Portrait of an Unknown Woman (which everyone associates with Anna Karenina). Across the expansive red room, otherwise decorated in the style of a Russian tea room, gigantic reproductions of Venetian canals and cityscapes fill out the walls. Overhead murals of clouds, star constellations, and pheasants in flight glow against the ornate heavy white archways that surround them. The paintings are the works of Dilmurat Abdukadir– who was hired by the owner of the restaurant to produce life-sized images of paintings the owner had found on the Internet. The space is fascinating. Not only does it unapologetically embrace an amalgam of European aesthetics, but it is symptomatic of larger trends in Uyghur restaurant politics and aesthetics. Somewhere around 2008, scholars began to notice that Turkish imports were on the rise in Xinjiang. Suddenly chocolates from the massive …