Asia and African Studies at the British Library is pleased to announce an exciting line-up of talks from June to September 2018. The 'South Asia Series'  is based around the British Library’s ‘Two Centuries of Indian Print’  and our South Asian collections. These presentations will take place on Mondays unless otherwise stated in the Foyle Learning Centre at the British Library, between 5.30-7.00pm.

Uday and Amala: a scene from Kalpana (1948) (BL YD.2010.a.14968)

On 4^th June, Prof. Urmimala Sarkar from the School of Arts and Aesthetics, Jawaharlal Nehru University (New Delhi) begins the series with a talk entitled Amala Shankar: Documenting a Dance Legacy which discusses the place of Amala Shankar within dance history as a dancer, choreographer and teacher, particularly in the context of her illustrious husband the dance maestro Uday Shankar and the Sitarist Pandit Ravi Shankar. Focussing on the Uday Shankar India Culture Centre this talk will bring out Amala Shankar’s contribution to dance pedagogy as part of Uday Shankar’s dance making process.

Glimpse of a Sermon Gathering in Bangladesh, 2014 (Photo: Max Stille)

On 18^th June 2018, Max Stille, a researcher at the Center for the History of Emotions at the Max Planck Institute for Human Development in Berlin, will present some aspects of his research on contemporary sermon gatherings in Bangladesh. In his talk Poetics of Popular Preaching: Islamic Sermons in Contemporary Bangladesh, he will focus on the issues of language employed in the sermons and how listeners identify themselves with inner-narrative heroes. This talk will also explore the musical competencies of the preachers in dramatic narrations to find out how they serve to change emotional and political meanings subtly yet effectively.

Harischandra A. Talcherkar, Lord Curzon in Indian Caricature (Bombay 1903) (BL 10815.dd.19)

On 9th July, Aniket De, a doctoral candidate in history at Harvard University, will discuss how political economic shifts, nationalist ideologies and itineraries such as pilgrimages shaped popular notions of boundaries in South Asia in an age of empire and nationalism (c. 1880-1950). Boundaries of Belonging: Territorial Demands in Colonial India will analyse the vast corpus of petitions sent by people from all corners of India to the colonial state during Lord Curzon's Partition of Bengal (1905), voicing opinions on how provincial borders in India should be delineated.

On Tuesday 17^th July,  Anish Vanaik, Associate Professor of History at the Jindal Global Law School will speak on the history of Delhi’s housing question in his talk Lineages of the Housing Question in Colonial Delhi, 1920-1940s. The shift of the Imperial capital to Delhi in 1911 led to a rapid rise in the value of house property and rent. These escalations led in turn to calls for the provision of housing through mechanisms that curbed the excesses of the market. This talk tracks the more variegated 'lineages’ of the housing question in caste struggles, Gandhian ideals, rent control, state employment and sanitation discourse.

Korāṇa Śaripha (1907) by Bhāi Girīśacandra Sena (BL 14123.h.39)

On July 30^th July, Epsita Halder, Assistant Professor in the Department of Comparative Literature, Jadavpur University will speak on  translations of the Qur’an from Arabic to Bangla in her talk Allah/Ishwar: Translating the Qur’an in Bangla. She begins by looking at the first Bengali prose translation of the Qur’an by Bhai Girishchandra Sen between 1881 and 1886 which had repercussions within the Muslim community with various versions being produced by the Muslim ulama. It shows how anxiety over semantic transfer of the Islamic sacred text into Sankritized Bangla, structured by the Hindu intelligentsia, played out in the diverse and conflicting arena of Christian, Brahmo and Islamic ideologies.

Menu for and list of events at a dinner in honour of Hermon Ould, 6 Mar 1946 (designed by Mervyn Peake) (BL Add MS 88962/2/8)

We begin our talks in August on Wednesday 1st with A History of the P.E.N. in Pre-Independence India by Tariq Sheikh, Assistant Professor of Japanese Studies at the English and Foreign Languages University, Hyderabad. P.E.N. International, the international organisation of writers established in London in 1921, established its branch in India in 1932. Unlike organisations such as the Progressive Writers’ Association, P.E.N. in India was aligned to the mainstream nationalist movement, with top office bearers of the Indian National Congress like Nehru and Sarojini Naidu playing important roles. This talk will present a short history of the early days of this important yet forgotten organisation.

On 20^th August, Debanjali Biswas, doctoral candidate at King’s College London will talk on Dance History and Dancing Through History: Manipuri in Colonial India. In the 1920s dances of Manipur—a form that was deemed worthy of being part of state pageantry—had steadily garnered social and cultural currency in Bengal. By 1947, Manipuri had the rare distinction of being the subject of India’s first trilingual film produced from Bombay. Drawing on photographs available within personal collections of Gourlay, Haig and Knapik in conjunction with films of Woods-Taylor and ethnographic research in Manipur, this talk explores possibilities of constructing a history of Manipuri dance through material archives.

Ram Gopal on tour, commissioned by NAAFI and ENSA India’ (BL YK.2017.a.3804)

We have another interesting talk on dance on 3^rd September by Prof. Ann R. David, Roehampton University: Ram Gopal, Indian Dancer: Histories of Cultural Interweaving. The Indian dancer, Ram Gopal (1912-2003) played a crucial role in bringing Indian dance to international audiences from the 1930s to the late 1960s. Using interviews with Gopal’s remaining family, his costume-makers, close friends, and dance partners, coupled with archival evidence from the British Library collections, this talk discusses the lineage from which he came and the legacy he left, and addresses how the dancing body may be laden with colonialist, nationalist and orientalist discourses. 

Shah Jahan and his four sons, Deccan, c.1680-1700 (after a Mughal original) (BL Johnson 25, 2)

On 17^th September, Anaïs Da Fonseca, Adjunct Researcher at the Tate Research Centre: Asia will speak on Deccani scroll paintings in her talk Beyond Temple Paintings: Towards an Alternative History of the Deccani Scroll Paintings. In the southern Indian state of Telangana, itinerant storytellers narrate genealogies of local castes using scroll paintings on cloth as a visual aid to their performance. This talk proposes an alternative methodology to understand the history of these paintings by looking at much less documented folk art forms that developed at the same time in the region. It also introduces folk art forms that might have equally informed the development of the Deccani scroll painting tradition such as Kalamkari hangings from Andhra Pradesh, leather puppets from Maharashtra, and so on.

We end our summer talks on 24 September 2018 with Debojyoti Das from the University of Bristol speaking on Visual Representation and Reportage of 19th Century: South Asian Earthquakes from Colonial Archive. In nineteenth century India, British colonial officials and geologists created a legacy of private and official archives of major earthquake disasters, including newspaper clippings, geometrical measurements and photographs. This talk examines the metaphors, symbolisms and representations that photographs carried in the aftermath of a disaster by examining colonial photo collections kept in British and Indian archives, while considering the ways that photographs were produced, organised and catalogued. It shows that photographs were crucial to substantiate colonial state and Indian nationalist (Indian National Congress) political appeal for relief and reconstruction in the colony.

No advance booking is required, and the sessions are free to attend. For further information , please contact Dr. Priyanka Basu, Project Cataloguer of ‘Two Centuries of Indian Print’ at [email protected]. Please do come along, listen and participate!

 

In traditional Vietnamese society people were divided into four classes, similar to those found in Chinese and other East Asian Confucian societies. The tứ dân, or four social hierarchical classes, were scholars (sĩ), farmers (nông), craftsmen (công) and merchants (thương).

At the top of the social hierarchy were the scholars or intellectuals, who led relatively comfortable lives in respected occupations such as doctors, mandarins and teachers. Commoners who were not born into this class but wanted to climb the social ladder to enter it were able to do so by studying very hard and sitting civil service examinations, supported financially by their own families. If they were successful, they brought great honour upon themselves and their families, and even their villages, and they might be welcomed back to their villages with parties paid for by their neighbours (Woodside: 1981, p.170). The royal court would award them special costumes which distinguished them from common folk, and they could even be appointed as local mandarins.

Costume of the first grade military mandarin, adorned with the ‘four mythical creatures’ pattern (Trần Đinh Sơn 2013: 127). British Library OIJ 391.009597.

Vietnamese mandarins, both civil and military, were divided into nine grades and each grade was further subdivided into senior and junior levels. High ranking mandarins were distinguished by their official robes in purple or red, colours reserved for their class, while lower ranking officials wore blue robes. Commoners could only wear black, brown or white dyed costumes, as Harry A. Franck, an American travel writer, observed in Tonkin in 1923: “the Tonkinese were dressed in a cinnamon or tobacco-juice colour that suddenly became as universal as black had been further south … the country women, then their men, and finally all the hand-labouring class, took to wearing long cotton cloaks of this reddish brown hue” (Franck 1926: 191).

A mandarin accompanied by his servants; only the mandarin wears shoes. Oger [1909]: f. 4. British Library, Or. TC 4

Below the class of scholars was the largest social grouping in Vietnamese society: farmers, primarily rice farmers, who could be further sub-divided into three different groups according to land ownership: trung nông, bần nông and cố nông. Trung nông were farmers who owned land and farming tools. This was the most well-off group economically and socially, as they could produce enough rice or other agricultural products to support themselves, and therefore did not have to labour for the state in lieu of taxation. Bần nông were farmers who owned a small amount of land, albeit not large enough to yield sufficient rice to support their families. They therefore had to work on land belonging to landlords, and also had to rent their farming tools. Cố nông or tenants were farmers who owned no land or farming tools at all and had to till the land for landlords to earn their living. They were the poorest people in the society and were frequently subject to exploitation.

The third class was craftsmen, whose numbers were relatively small compared to farmers. Some were actually farmers who had developed skills in crafts such as carpentry, weaving or blacksmithing. At the village level their scale of production was very small and did not have significant economic impact, but in larger towns they formed their own guilds to protect their interests and to support each other. Those who were highly skilled could be recruited to work for the court, but the court did not support them to develop their production into an industrial scale.

At the bottom of the social hieracy were merchants. From a modern perspective it may come as a surprise to find that in a traditional self-sufficient economy merchants actually played a very insignificant role, since farmers were able to produce most of their daily necessities and could barter goods with each other, rather than relying on tradesmen. Traditional Confucian society also disapproved of the mercantile practice of “buying cheap, selling dear”.

A peasant farmer in his raincoat made of grass. Oger [1909]: f. 302. British Library, Or. TC 4

Towards the end of the 19th century, Vietnamese hierachical society was still very much intact. Even though French colonial rule brought about some social and economic changes, these were not powerful enough to uproot entirely the traditional system of four social classes. Newly emerging social groups, such as the French-educated literati or colonial employees, still fitted into the scholar class (sĩ) despite the different ideological basis. The number of poor farmers and landless peasants increased, and their plight may even have been exacerbated through colonial land ownership and tax policies.

A bride in a western-style costume. Oger [1909]: f. 315. British Library, Or. TC 4

Traditionally, Vietnamese women wore both skirts and trousers. In the 17th century Emperor Lê Hyuền Tông issued a decree forbidding women to wear trousers, but this decision was reversed during the reign of Emperor Minh Mang (r.1820-1841) who instead forbade the wearing of skirts (Ngô Đức Thịnh 2009: 2). In the 1820s, George Finlayson wrote of the Vietnamese: “…though living not only in a mild, but warm climate, the partiality for dress is universal. There is no one, however mean, but is clothed at least from head to the knee, and if their dress is not always of the smartest, it is owing more to their poverty than to their want of taste … the principal and most expensive article in their dress is the turban ... A loose jacket, somewhat resembling a large shirt, but with wide sleeves, reaching nearly to the knee, and buttoning on the right side, constitutes the principal covering of the body. Two of these, the under one of the white silk, are generally worn, and they increase the number according to their circumstances and the state of the weather. Women wear a dress but little different from this, though lighter, and both wear a pair of wide pantaloons, of various colours. The dress of the poorer class is made of coarse cotton, but this not very common, coarse silks being more in vogue. Those of China or Tonquin are worn by the more opulent classes. Shoes are also worn only by the wealthy, and of Chinese manufacture, clogs, in fact, rather than shoes” (Finlayson 1988: 378-9).

A Vietnamese gentleman wearing a western-style cap rather than a traditional turban. Oger [1909]: f. 32. British Library, Or. TC 4

Almost a century after Finlayson’s account, almost no major changes in the costumes of Vietnamese commoners could be observed. Henri Oger’s pictorial records of daily life in and around Hanoi at the turn of the nineteenth century illustrate the slow rate of change in social class in this French colony. One might argue that some changes in fashion can be noticed reflecting western influence, but these mainly affect the elite and wealthy classes. As for the poor, Oger’s drawings suggest that they barely benefitted from the social and economic changes brought about by the new ruler.

Harry A. Franck reports on the clothing of the period: “Among the coolie class these overcoats of both sexes were of thin cotton. The well-to-do men in towns and in autobuses wore jet-black ones, thin as gauze … with flowered designs of the same hue woven in them, … and fastened together down the side with little gold buttons … A black cloth carelessly wound about the head distinguished most coolies, but all men above that class wore the most unique item of the Annamese costume, a black band-turban permanently arranged in many little folds … At least along this main route of the French railway and autobus highway both men and women of the well-to-do class wore gold and other valuable ornaments openly. Long necklaces of grains of gold of the size of peas are the favourite adornment”(Franck 1926: 106).

Westerners mingling with locals during the colonial era. Oger [1909]: f. 263. British Library, Or. TC 4

Further reading:

George Finlayson. The mission to Siam, and Hué, the capital of Cochin China, in the years 1821-2. Singapore: Oxford University Press, 1988.
Harry A. Franck. East of Siam: Ramblings in the five divisions of French Indo-China. London: T. Fisher Unwin, ltd., 1926.
Ngô Đức Thịnh. Traditional costumes of Viet Nam. Thế giới, 2009.
Henri Oger. Introduction générale a l’étude de la technique du peuple annamite. Paris: Geuthner Librarie-Éditeur, [1909].
Trần Đinh Sơn. Đại lễ phục Việt Nam thaời Nguyễn 1802-1945. Hà Nội : Nhà xuất bản hồng Đức, 2013.
A.B. Woodside. Vietnam and the Chinese model. Cambridge, Massachusetts: Harvard University Press, 1971.

Sud Chonchirdsin, Curator for Vietnamese

A follow up on the history of printing in China by guest blogger Emily Mokros, Assistant Professor of History at the University of Kentucky and Postdoctoral Fellow at the Center for Chinese Studies, University of California, Berkeley.

One of the highlights of the British Library collection is that it includes many examples of gazettes published outside of Beijing. At provincial capitals, gazette publishers typically used capital editions supplied by couriers to reprint runs of the gazette on local paper. Before the Treaty of Tianjin in 1858, which allowed representatives of Western countries access to the imperial capital, most British trade and diplomatic activity happened in port cities, especially Guangzhou (Canton) and the treaty ports that had been opened in 1842. For this reason, many of the British Library Peking Gazettes dating to earlier than 1860 are in fact reprints, mainly originating from Canton and Suzhou, a city not far from Shanghai.

A page from an 1853 Suzhou gazette reprint (British Library 15440 – 1853, 2nd month pt. 2)

Provincial reprints are not identical to their capital cousins, and they have much to tell us about the material culture of publishing in nineteenth-century China. Most Suzhou reprints appeared in pamphlets of a standard size, typically eight columns in width and twenty columns in length. These were roughly the same proportions as a compact book. This format may have appealed to subscribers who obtained gazettes in monthly packets (and thus easily bound into a book format), rather than the daily pamphlets available in the capital.

Canton reprints and manuscript editions evoke the commercial networks that supported print culture in South China and maritime Southeast Asia. Canton was a major urban market for the rural papermaking enterprises located in hinterland Guangdong and especially in its provincial neighbor, Fujian. In Canton, paper firms (zhihang 紙行) controlled by natives of nearby Foshan sold a wide range of paper products transported by waterways from the mountainous interior. Through the entrepreneurship of Foshan merchants, southern paper was sold and used throughout the Qing Empire. Both papermakers and these intermediate suppliers often left their mark on the page, in the form of stamps that served advertising and branding purposes, and some gazettes bear theses stamps.

The print quality of these reprints is strikingly different from the movable type editions produced in Beijing later in the 19th century. By contrast with the fairly wobbly columns of movable type in the Beijing editions, the columns of Suzhou reprints are far more uniform. There are still markers of individual types (see the last three characters of the second column from the right on the below page, where the borders of the individual characters are clearly visible). On the whole, this page – and other Suzhou reprints – exhibits a smudgy quality, which suggests that local gazette publishers went about the printing process in a different manner than their capital counterparts, in ways that we still do not fully understand. One working hypothesis is that they may have used an intermediate medium, perhaps a wax mixture, to create a stereotype as the basis for an imprint, rather than printing directly from the assembled wooden blocks.

   
Papermakers’ stamps on Canton gazette copies (British Library 15440 – Left: 1832, 3rd month. Right: 1846, 3rd month)

The stamps that I found on gazettes in the British Library collection include the name of the craftsman or brand, and advertise the quality and characteristics of the paper. While many book publishers likely trimmed off the margins and stamps, gazette purveyors were evidently less discerning. Notably, all of the stamped gazettes are manuscript editions, and may have been copied by scribes on paper purchased separately from paper suppliers.

Another tiny stamp, this one found on an 1849 gazette reprint tells that it was sold from the Jinyu lu shop (金裕祿全堂), located on Datang street. Datang street was the site of the local administrative offices and civil examination yards, and was therefore the center of government life in Canton. Both local administration and the imperial examinations were important markets for local printers and paper suppliers.

Jinyu lu shop stamp on the cover of Jingbao (British Library 15440, 1849 vol. 2, daily edition)

The port city of Canton served as the hub of a maritime trade in paper that extended far beyond its shores. The paper trade left its marks on the city streets. Even today, there is a ‘Paper Merchants’ Street’ (zhihang lu 紙行路) in central Guangzhou. The antecedent of this street can be found on 19th century maps of the city, as seen below. A previous contribution to this blog, Malay Manuscripts on Chinese Paper (February 2014), describes the seal of a Chinese paper supplier, based outside the Taiping Gate in Canton (not far from that street), found on a Javanese manuscript from the early 19th century. Chinese merchant seals have also been found on texts in the Philippines and Japan (see examples collected by Devin Fitzgerald and Guillermo Ruiz-Stovel, highlighted in Devin Fitzgerald’s blog entry).

Map of central Guangzhou (Canton) with sites including Taiping Gate, Zhihang jie, and Datang jie. From: Guangzhou fu zhi [Guangzhou Prefecture Gazetteer] (Guangzhou: Yuexiu shuyuan, 1879, juan 8). Image courtesy of the C. V. Starr East Asian Library, University of California, Berkeley

Details like flipped and smudgy characters and incidental stamps may seem like trivial matters in the history of Chinese print culture, and indeed in the history of the Peking Gazette. However, our knowledge of Chinese book history is so dominated by elite tastes and collecting practices that these elements of commercial production and exchange remain virtually unknown. These fragmentary impressions on the page are hints at a complex history that encompassed a larger variety of materials, techniques, and geographical spaces than we previously thought possible.

Further Reading
Rutherford Alcock, “The Peking Gazette,” Fraser’s Magazine (1873): 245-256; 341-357.
Devin Fitzgerald, “Chinese Paper Stamps,” Books and the Early Modern World blog post, 26 March 2017.
David Helliwell, “Papermarks,” Serica blogpost, 26 April 2017.

Thank you to Devin Fitzgerald and Guillermo Ruiz-Stovel for sharing their research in Chinese paper stamps.

Emily Mokros, Assistant Professor of History at the University of Kentucky and Postdoctoral Fellow at the Center for Chinese Studies, University of California, Berkeley
[email protected]

 

Today we  welcome back guest blogger Emily Mokros, Assistant Professor of History at the University of Kentucky and Postdoctoral Fellow at the Center for Chinese Studies, University of California, Berkeley. This is the first of two posts on printing and moveable type in East Asia.

Representation of movable type at the Beijing Olympics Opening Ceremony. Wikimedia Commons

In 2008, the Beijing Olympics opened with a demonstration of four great inventions from China’s long history: the compass, gunpowder, paper, and printing. In particular, you might remember the dramatic representation of movable type: 897 performers manipulated movable type blocks representing the character he (harmony) in a series of historical script styles. The display spoke to the important role that this innovation played in Chinese, and indeed world, history. Readers with a knowledge of Chinese book history, however, are probably more familiar with books printed with solid woodblocks rather than movable type.

The British Library is home to a significant collection of texts printed using wooden movable type – this is the Peking Gazette collection. The Peking Gazette was a periodical record of government communications for the Qing dynasty (1644-1911) in China. The British Library collection includes a wide variety of editions from the nineteenth century. In my last post I described the significance of the Peking Gazette as a source for understanding the political and diplomatic history of China in the nineteenth century. In this, the first of two posts, I’ll highlight the ways these material sources shed light on little known aspects of the history of print in China. Peking Gazettes contain valuable clues as to the everyday applications of wooden movable type, the diversity of premodern print techniques employed by urban publishers, and even the routes by which print and paper were made, bought, and distributed in Qing China and maritime East Asia.

Xylography, or printing from wood, enabled a vibrant print culture to emerge in premodern Chinese empires. The fine detail of the British Library’s Diamond Sutra from AD 868, the oldest dated woodblock print example, makes it clear that woodblock carving and printing techniques were already very sophisticated in the Tang Dynasty (618-907). In later centuries, woodblock printed books became increasingly common, especially after an explosion of commercial publishing activity in the sixteenth and seventeenth centuries. To print books from woodblocks, manuscript pages were commonly laid onto prepared blocks of hardwood, on which a block-cutter carved the text, columns, and other features in relief. After carving, a printer applied ink to the block, laid paper on the surface, and pounded the paper evenly with a special brush, producing an imprint. Depending on the quality of the block, thousands of imprints could be taken from a single woodblock before it required repair. The flexibility of this technology was a key factor in the flourishing book culture of early modern China.

The woodblock is darkened by the use of black ink for printing. On the upper right side, the original colour of the wood is visible in a hole made for replacing a character (British Library Or. 14251)

Despite its apparent rarity, movable type came into use quite early in the history of print in East Asia. In the eleventh century, the polymath scholar Shen Kuo wrote of a contemporary named Bi Sheng, who had invented an ingenious method of using fired clay to form movable types (huo zi 活字) for printing. According to Shen, Bi laid the clay type into a frame, the bottom of which had been painted with a mixture of ash and wax. After laying the type, the bottom of the frame was heated to fix the type in place, allowing the printing process to proceed in the same way as in traditional xylography. According to surviving descriptions, movable types of fired clay, wood, and metal (predominantly copper) were used in succeeding centuries to print both Chinese and non-Chinese script. Such editions are extremely rare today.

Today, the most prevalent examples of premodern wooden movable type printing in China come from two commercial enterprises: the printing of lineage genealogies, and of government gazettes. In genealogical printing, traveling printers carried a type supply and carved new types on a per-job basis. By contrast, gazette printing took place in cities, typically adjacent to government offices or the examination yards. Still, on the level of texts, these two seemingly disparate industries shared some important qualities. Both used a limited subset of the vast corpus of characters in the Chinese written language. Genealogies used a fairly circumscribed vocabulary, focusing on names, generational and familial terms (which could be recycled between jobs); gazettes contained summaries of official correspondence and employed the constrained vocabulary of bureaucratic language. In both cases, the producers did not have any use for retaining stores of carved woodblocks—instead, they wanted to produce a fixed and limited set of copies on a quick basis. In addition, while block-cutting labor was growing increasingly cheaper in early modern China, natural resources were limited. In particular, the durable and large-format hardwoods used for woodblock printing grew increasingly rare with the pressures of population expansion, urbanization, and wartime destruction. By using movable types, often carved from relatively soft woods, printers minimized their expenses. As a result, gazettes were cheaply available in urban markets.

Jingbao pages printed in movable type (British Library 15440 – 1872 vol.1, pt. 1)

These gazettes exhibit the visual markers of movable type printing. A low “shoulder” on carved wooden types allows us to see the imprint of square borders around characters. The occasional mistake in type-setting resulted in a flipped character. Most types were of individual characters, but printers also produced “double characters,” that held common two-character combinations. Daily gazettes typically numbered about ten leaves of paper (thus twenty pages), each containing up to seven columns of text. However, movable-type techniques freed the printer to create a wider page if needed. In the case of a long memorial, printers could fill a wider page and simply fold the page within the gazette.

Beijing, as the seat of the imperial government, was naturally the main hub for gazette publishing. At least ten publishers operated in late Qing (1860-1911) Beijing, clustering in the southern commercial districts of the city, close to Liulichang, Beijing’s lively market for books and antiques. Together, the publishers produced between one and two thousand gazettes per day. Of these, about two hundred were carried by government couriers to officeholders around the empire, but the majority were sold to capital residents. Rutherford Alcock (1809-1897) called this district “the Paternoster Row of the capital” (Alcock, p. 252), in reference to London’s news district, and described the cabinets of wooden type that lined the walls of the shops in a widely reprinted account in the English periodical press. Wang Zhonglin (1818-1878), a Chinese minor official, once wrote in his diary about an idle afternoon spent watching printers “hunting for characters to fill their blocks.”[1]

 
Jingbao daily edition covers, in long octavo format , showing shop names on the lower part of the page. (British Library 15440,  1861 1st to 4th month)

The publishers typically included their shop names on an opening page or the issue cover. The names of some of these publishers and these names attest to the use of movable types (as in juxing 聚興 “assembled prosperity,” in which the use of the character ju 聚 often refers to assembled types); more commonly they simply summoned auspicious themes, with recurring terms as in the recurrence of terms like “prosperity,” (xing 興) “advance,” (sheng 升), and “success” (cheng 成).

In my next post I'll be writing about some provincial gazettes published outside the capital.

Further Reading
Rutherford Alcock, “The Peking Gazette,” Fraser’s Magazine (1873): 245-256; 341-357.
Devin Fitzgerald, “Chinese Paper Stamps,” Books and the Early Modern World blog post, 26 March 2017.
David Helliwell, “Papermarks,” Serica blogpost, 26 April 2017.

Thank you to Devin Fitzgerald and Guillermo Ruiz-Stovel for sharing their research in Chinese paper stamps.

Emily Mokros, Assistant Professor of History at the University of Kentucky and Postdoctoral Fellow at the Center for Chinese Studies, University of California, Berkeley
[email protected]

---------
[1] Wang Zhonglin riji 王鍾霖日記, in Lidai riji congchao (Beijing: Xueyuan chubanshe, 2006), vol. 59: 483.

Sultan Baybars’ Qur’an is one of the most magnificent Qur’ans in the British Library. This seven-volume Qur’an produced in Cairo between 704-5 AH/1304-6 AD is the earliest dated Qur’an of the Mamluk period. 

The Sūrat al-Fātiḥah at the beginning of Sultan Baybars’ seven-volume Qurʼan (BL Add MS 22406, ff. 2v-3r)

In 2002 selected pages of this Qurʼan were made available online as a ‘virtual’ manuscript in our ‘Turning the Pages’ Project (Sultan Baybars’ Qurʼan). We have now had the opportunity to digitise all seven volumes cover-to-cover and present them in our new Universal Viewer (Add MS 22406; Add MS 22407; Add MS 22408; Add MS 22409; Add MS 22410; Add MS 22411; Add MS 22412). Well-known to art historians and exhibition visitors, these amazing volumes can now be appreciated by anyone, anywhere with an internet connection!

Digitisation in progress with Senior Imaging Technician Elizabeth Hunter

Sultan Baybars’ Qur’an was commissioned by Rukn al-Din Baybars al-Jashnagir, who at that time was a high-ranking official in the court of Nasir Muhammad. Only later, between 1309 and 1310, did he acquire the title al-Muzaffar Baybars, or Sultan Baybars II.


Colophon page of volume seven with the date 705 AH/1305-6 AD in the last line (BL Add MS 22412, f. 166v)

Though the Arabic historical sources make reference to this Qur’an, the purpose of Sultan Baybarsʼ patronage is unclear. It is not known whether the Qur’an was intended either as a pious gift to the mosque of al-Hakim in Cairo (built 990-1013), for whose restoration he was responsible after it was severely damaged by an earthquake in 1303, or as a donation to the building of a religious foundation. The subsequent history of the Qur’an is rather vague, but it was purchased by the British Museum from the antiquarian booksellers T & W Boone on 12 June 1858.

The beginning of  Sūrat Āl ʻImrān. Text page written in gold thuluth script outlined in black, with the chapter heading overlayed in red ink (BL Add MS 22406, ff. 86v-87r)

The physical size of this Qur’an, measuring 47.5 x 32 cm., enabled the calligrapher, Muhammad ibn al-Wahid, together with a team of three illuminators, Muhammad ibn Mubadir, Abu Bakr Sandal and Aydughdi ibn ‘Abdallah, to work not only with a large script and extensive decoration but also within a spacious page layout. Its 1,094 folios (2,188 pages) written in gold thuluth script spread over seven volumes give an indication of its monumental stature.

The calligrapher Muhammad ibn al-Wahid, mentioned in all the colophons, was born in Damascus in the mid-thirteenth century though he lived most of his life in Cairo. This Qur’an is the only known surviving example of his work.  His choice of thuluth is rather strange, for by the Mamluk period this cursive script was generally considered ornamental, being used primarily for chapter headings and not for the body of the text. The gold thuluth script is outlined in black, with vowels marked in red and other spelling signs in blue. The layout of the calligraphy is also of special interest. Unlike many Qur’ans which have an odd number of lines per page, each page of the Baybars Qur’an carries six lines of text. Of interest, too, is the fact that the text layout is continuous, without large illuminated panels to indicate the beginning of a chapter, as in many other Qur’ans of the period. In this Qur’an, chapter headings are merely indicated by a change of colour, with red ink overlaying the gold, with no additional spacing between the lines. Ornamentation in the margins include illuminated medallions to indicate the end of a tenth verse; pear-shaped medallions to mark the end of a fifth verse; and illuminated oval markers for the sajdah, instructing the reader when to prostrate during the recitation of the Qur’an.


Detail of an illuminated medallion containing the word  ‘ashr in gold kufic script  indicating the end of a tenth verse (BL Add MS 22409, f. 92r)

Detail of an illuminated pear-shaped medallion containing the word khams in gold kufic script indicating the end of a fifth verse (BL Add MS 22412, f. 156v)

Detail of an illuminated oval marker containing the word sajdah instructing the reader to prostrate at this point during the recitation of the Qur’an (BL Add MS 22412, f. 156r)

Each volume of Sultan Baybars’ Qur’an has a magnificent double frontispiece or carpet page indicating the volume number in its central design. The illuminators worked on specific volumes: the colophon of volume one is signed by Muhammad ibn Mubadir and volume three by Abu Bakr Sandal, the master illuminator in charge of the team.

Volume one signed by Muhammad ibn Mubadir in the marginal ornaments (BL Add Ms 22406, f. 155v) 



Volume three signed by Sandal in the ornamental semi-circles (BL Add MS 22408, f. 154v)

The style of ornamentation of volumes two, four, and six makes it more than likely that these volumes, though unsigned, were illuminated by Muhammad ibn Mubadir, and that volumes five and seven, also unsigned, were illuminated by Abu Bakr Sandal. Aydughdi ibn ‘Abdallah worked on all the volumes. According to the inscription in volume seven, his role was to paint-in “either the gold or polychrome areas”. This accords with David James’s interpretation of the Arabic verb zammaka in the inscription (James, Qur’ans of the Mamluks, p.67).

The inscriptions in the top and bottom panels describing the role carried out by Aydughdi ibn ‘Abdallah in all seven volumes (BL Add MS 22412, f. 2v)

Below the seven opening frontispieces are shown together for the first time:

Frontispiece to the first volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22406, ff. 1v-2r)

Frontispiece to the second volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22407, ff. 1v-2r)

Frontispiece to the third volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22408, ff. 1v-2r)

Frontispiece to the fourth volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22409, ff. 1v-2r)

Frontispiece to the fifth volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22410, ff. 1v-2r)

Frontispiece to the sixth volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22411, ff. 1v-2r)

Frontispiece to the seventh and final volume of Sultan Baybars' monumental Qurʼan. Cairo, 1304-6  (BL Add MS 22412, ff. 1v-2r)

Further reading
Baker, Colin F., Qur'an manuscripts: Calligraphy, Illumination, Design, London, 2007, pp.43-56.
James, David, Qur’ans of the Mamluks, London, 1980, pp. 34-75.

Colin F. Baker, Head of Middle Eastern and Central Asian Collections

 

On Wednesday 7 March, the British Library welcomed members of the local Somali community to the Learning Centre for the first ever ‘show and tell’ of the Library’s Somali collections. Further to the success of the opening event of the Somali Week Festival, which the Library hosted last October, ‘Soo Dhawoow’ , meaning ‘welcome’ , invited artists, students, poets and historians from the Somali Community to participate in a proactive archiving engagement.

Photo credit: Venetia Menzies

The Somali collections at the British Library, which range from archives and sound recordings to photographs and printed books, contain vital cultural and historical information on Somalia and Somalis, both at home and as part of the diaspora. The collections in the Somali language include books, periodicals, sound recordings, microfilms, maps and newspapers. There are also bibliographies of writings in Somali. In addition to this, the British Library holds a wide variety of relevant published materials in other languages such as English, Arabic, Italian, French, German, Russian, Dutch and Swedish.

Attendees were shown the highlights of the Library’s Somali collections, including two 20th century wooden Qur’an boards, ritually used for rote learning of the Holy Scripture, as well as printed books in languages such as Somali, English and German.

Qurʼan board BL Or.16442. Photo credit: Venetia Menzies

The British Library also holds historic manuscripts and archives relating to Somalia and Somalis including correspondence about Somalia and Somaliland in the India Office Records and the India Office Private Papers. During the colonial period, the British Raj, the UK’s authority in India, managed the Empire’s holdings in the Horn of Africa and East Africa. To find archives and manuscripts, go to our catalogue Explore Archives and Manuscripts. These collections are currently being digitised and are available in the Qatar Digital Library. Photographic collections include studio portraits of members of the Somali diaspora in Aden which were published in an 1877 publication An Account of the British Settlement at Aden in Arabia compiled by Captain Frederick Mercer Hunter.

Representation of the Somali community was a key theme explored in the discussion at the engagement event, specifically the legacies of colonial photography.

‘Male Somali’ from An Account of the British Settlement of Aden in Arabia, London, 1877, compiled by Captain F.M. Hunter (Printed collections T.11308)

Given the need to expand existing heritage collections and open discussion, the Library’s Somali Collections Project Officer Mahamed Ali worked with visual artist Venetia Menzies to develop a unique programme for this community event. ‘Soo Dhawoow’ not only provided an insight into the Library’s Somali collections but asked the participants to produce heritage archives of their own.

In response to the artefacts, written books and poetry in the Somali collections, participants later contributed artistic responses that expressed their own snapshot of Somali culture as members of the diaspora. The results were wide-ranging, including an array of mediums such as photography, poetry, paintings and graphic designs. These were exhibited at London Gallery West from March 27th to April 3rd.

One of the participants, Huda Hassan, a graphic designer, depicted Somali idioms such as ‘cagta wax ka dey’, which literally means ‘search feet’ and is a metaphor for ‘run’. Huda said that the engagement event was ‘informative’, and ‘very promising’, but noted that the scope of the collections could be developed. The British Library welcomes suggestions for this collection, specifically from those publishing books in Somali from around the world.

Artist Credit: Huda Hassan

Anab Aided, a painter, produced colourful paintings of Somali staple goods, as well as common onomatopoeia in the Somali language. Anab, an art teacher working with Somali children with the Galbur Foundation, also encouraged her students to contribute. They produced a colourful selection of pictures and drawings depicting aspects of Somali culture.

Photo Credit: Anab Aided and Venetia Menzies

The youngest attendee, Khadar Mahi, contributed a poem depicting the Somali landscape that was eloquent in both English and Somali. Khadar’s main interests are physics and poetry, which he claims are one and the same.

All the livestock
within your sight
whichever way you look,
grazing near the homestead.

The herding youth
in their white sheets
resting in the shade,
passing time with games,
chatting without a care.
(Poetry: Khadar Mahi)

Photographer Abdul Aziz Ismail contributed photographs depicting his journey by sea from Yemen to Somalia, as well as from Bosaso in Puntland.

Photo Credit: Abdul Aziz Ismail

Mohamed Mohamud, founder of the project Somali Sideways, contributed portraits from his ongoing body of work. Somali Sideways collates portraits of Somalis from around the world standing sideways, aiming to highlight that there are always two sides to an individual. It provides a platform for representations of the success, determination and entrepreneurship that characterise the Somali diaspora. These works were exhibited alongside portraits of the participants.

The British Library’s Somali collections exist for the public to view. A reader pass for the Library is free, and offers everyone the opportunity to experience these collections for themselves. The British Library is always seeking to expand its outreach with regard to its collections, so individuals within the Somali community in the UK are encouraged to engage with the collection. The British Library also has a growing number of printed books in the Somali language, which offer an indispensable source of information for older members as well as young people in the Somali community to use for their own comprehension.

To find out more about our collections, you can search our main catalogue Explore. For more information on the British Library’s holdings see our subject guide to African collections.

Mahamed Ali, Somali Collections Project Officer