Asian and African studies blog

Following the recent cyber-attack on the British Library, the Library has now implemented an interim service which will enable existing Registered Readers to access some of our printed books and serials and a significant portion of our manuscripts. This service will be expanded further in the coming weeks. 

We understand how frustrating this recent period has been for everyone wishing to access our Asian and African Collections and we would like to thank you for your patience. We are continuing to work to restore our services, and you can read more about these activities in our Chief Executive's post to the Knowledge Matters blog. 

The Using the Library page on our temporary website provides general information on current Library services, and advice for those without an existing Reader Pass. Please read on for information about the availability of specific Asian and African collections. 

Printed books and serials 

You can now search for printed items using a searchable online version of our main catalogue of books and other printed material. Online and advance ordering is unavailable, so Registered Readers will need to collect a paper order form from staff in the Asian and African Studies Reading Room and fill in the required details. Please write the shelfmark exactly as it appears in the online catalogue. 

Only a small portion of the printed books and serials in the Asian and African Collection will be available for consultation in the Reading Room. Unfortunately, we cannot guarantee availability of any printed items. Materials stored in Boston Spa are current unavailable, and items stored in our St. Pancras location might be in use by another Reader or restricted for other reasons. If you wish to gain greater assurance on the availability of a particular item before you visit us, please contact our Reference Services Team by emailing [email protected].

Manuscripts and archival documents 

Although the Library’s online catalogue of archives and manuscripts is not currently available, the Reference Services Team can assist with queries about these collections, checking paper catalogues and other sources. Please speak to the team in the Asian and African Studies Reading Room or email [email protected].  Some of our older printed catalogues have been digitised and made available online without charge. For quick access to the digitised catalogues of manuscript and archival material, or to online repositories of images, please make use of the links below:

Africa 

• Catalogue of the Ethiopic manuscripts in the British museum acquired since the year 1847 
• A guide to manuscripts and documents in the British Isles relating to Africa 

East Asia 

Chinese 

• Union catalogue of Chinese rare books, including basic records for the pre-1912 printed holdings 
• UK Union catalogue of Chinese books, including the British Library holdings for Chinese material collected between approximately 1993 and 2014. The old interface can be found at a website maintained by Oxford University.  
• Catalogue of Chinese printed books, manuscripts and drawings in the library of the British Museum, with a print version containing shelfmarks found in the Asian and African Studies Reading Room 
• Supplementary catalogue of Chinese books and manuscripts in the British Museum 
• The British Library has also digitised some of its card catalogues of Chinese-language printed books. These can be downloaded as a Zip file comprised of PDF scans of the cards using the Wade-Giles Romanization scheme (pre-1966 acquisitions) or using the Pinyin Romanization scheme (acquisitions from 1966 until 1993). 

Japanese 

• CiNii Books - National Institute of Informatics (NII), a bibliographic database service for material in Japanese academic libraries including 43,000+ British Library books and periodicals. Please use FA012954 in the Library ID field 

Korean 

• Korean Old and Rare Collection Information System, including information on and images of 92 of the Library’s Korean titles. 

Middle East and Central Asia 

• FIHRIST (Largely Persian, but also includes some Kurdish, Pashto, and Turkic materials) 

 Arabic 

• Catalogus Codicum Manuscriptorum Orientalium Qui In Museo Britannico Asservantur (1838) Pars Secunda (Arabic) 
• Catalogue of Arabic books in the British Museum: Volume 1 Volume 2 Indexes  
• A descriptive list of the Arabic manuscripts acquired by the Trustees of the British Museum since 1894 
• Supplement to the catalogue of the Arabic manuscripts in the British Museum 
• A catalogue of the Arabic manuscripts in the Library of the India Office (Loth) 
• Catalogue of two collections of Persian and Arabic manuscripts preserved in the India office library 
• The Arabic Papyrology Database (search under Inventory Number “Lond.”) 
• Catalogue of the Arabic manuscripts in the Library of the India Office. (Vol. II). Fasc 2: Sufism and ethics; Fasc 3: Fiqh 

Armenian 

• A catalogue of the Armenian manuscripts in the British Museum 

Coptic 

• Catalogue of the Coptic manuscripts in the British Museum 
• PATHs, an ERC-funded project that includes information on British Library Coptic literary manuscripts, interspersed with information about manuscripts in other collections 

Hebrew  

• Catalogue of the Hebrew and Samaritan manuscripts in the British museum Volume 1 Volume 2 Volume 3 

Persian 

• Rieu’s Catalogue of the Persian Manuscripts in the British Museum Volume 1 Volume 2 Volume 3 
• Catalogue of two collections of Persian and Arabic manuscripts preserved in the India office library 
• Catalogue of Persian manuscripts in the India Office Library (1903) 
• Storey’s Catalogue of Persian Manuscripts Volume III (Qur’anic Manuscripts) along with Guidance on usage   
• Catalogue of the library of the India Office. Vol. 2, Pt. 6, Persian books 
• Ursula Sims-Williams' Handlist of Islamic manuscripts acquired by the India Office Library 1938-1985 

Syriac  

• Catalogue of Syriac manuscripts in the British museum acquired since the year 1838 Volume 1 Volume 2 Volume 3   
• Catalogus Codicum Manuscriptorum Orientalium Qui In Museo Britannico Asservantur (1838) Pars Prima (Syriac and Garshuni) 
• Handlist of Syriac manuscripts in the British Museum Acquired since 1899 

Turkish and Turkic  

• Catalogue of the Turkish manuscripts in the British Museum 

South Asia 

Early printed books:

• Full list of catalogues on South Asian printed books in the Library of the British Museum hosted by the Digital South Asia Library 
• Catalogue of 19th century publications in the Oriental and India Office Library 
• South Asia Union catalogue 
• Catalogue of the Library of the India Office, vol. 2, part 1: Sanskrit books Section 1 (A-G) Section 2 (H-K) Section 3 (K-R) Section 4 (S-Z) 
• Publications proscribed by the Government of India: a catalogue of the collections in the India Office Library and Records and the Department of Oriental Manuscripts and Printed Books, British Library Reference Division. Shaw, Graham and Lloyd, Mary, 1985.
• Catalogue of the Pali printed books in the India Office Library, Raper, T. C. H., 1983. 

South Asian language manuscript catalogues:

Bengali and Assamese 

• Catalogue of the Bengali and Assamese manuscripts in the Library of the India Office 

Hindi, Panjabi and Hindustani

• Catalogue of the Hindi, Panjabi and Hindustani manuscripts in the library of the British Museum 

Marathi, Gujrati, Bengali, Assamese, Oriya, Pushtu and Sindhi 

• Catalogue of the Marathi, Gujarati, Bengali, Assamese, Oriya, Pushtu and Sindhi manuscripts in the library of the British Museum 

Oriya 

• Catalogue of the Oriya manuscripts in the Library of the India Office 

Pali 

• Pali manuscripts in the India Office Library 

Sanskrit and Prakrit 

• Catalogue of the Sanskrit manuscripts in the British Museum (1902) 
• Catalogue of the Sanskrit and Prakrit manuscripts in the Library of the India Office Parts 1-4 (1-2636) Parts 5-8 (2637-4203) 
• Catalogue of two collections of Sanskrit manuscripts preserved in the India Office Library (1903) 

Sinhalese 

• Catalogue of the Sinhalese manuscripts in the British Museum 

 Tibetan 

• Catalogue of the Tibetan manuscripts from Tun-huang in the India Office Library 

South-East Asia 

• Southeast Asia Library Group Newsletter, archive 2008-2023 

Burmese 

• A catalogue of the Burmese books in the British Museum, L. D. Barrett, 1913 
• Catalogue of Burmese printed books in the India Office Library, Kenneth Whitbread, 1969
• A hand-list of the manuscripts in Burmese collection in the British Library San San May, 2011
• India Office Library Burmese manuscripts in the British Library, San San May, 2019 
• Catalogue of the Burney Parabaiks in the India Office Library, Thaung Blackmore, 1985
• Catalogue of the Mandalay manuscripts in the India Office Library, Fausboll, 1897  
• Pali manuscripts in the India Office Library, 1882 
• Catalogue of the Pali printed books in the India Office Library, Raper, T. C. H., 1983. 

Indonesian

• Indonesian Manuscripts in Great Britain, including British Library's collections

Thai 

• ‘Henry D. Ginsburg and the Thai Manuscripts Collection at the British Library and Beyond' 
• A guardian of Thai treasures: Henry Ginsburg (1940-2007) on the Asian and African Studies Blog 

Access to some archival and manuscript material is still restricted, but the majority of special collections held at St Pancras are now once again available. Our specialist archive and manuscripts catalogue is not online at the moment so you will need to come on-site to our Reading Rooms, where Reading Room staff will be able to help you search for what you need, and advise on its availability.

To place a request to see a manuscript or archival document, Registered Readers need to collect a paper order form from staff in the Asian and African Studies Reading Room and fill in the required details, including the shelfmark (manuscript number). The Library has created an instructional video on finding shelfmarks.  

Visual Arts 

The Print Room, located in the Asian and African Reading Room, is open by appointment only on Monday and Friday between 10.00 am-12.30 pm. Prints, drawings, photographs and related visual material in the Visual Arts collection can be consulted by appointment. Please contact the Visual Arts team via email (apac[email protected]) to check the availability of required items and to book an appointment. Please note that advanced booking is required. Restricted items including the Kodak Historical Collection, Fay Godwin Collection, William Henry Fox Talbot Collection are not currently available to Readers. 

• Mildred Archer’s Company Drawings in the India Office Library 
• Mildred Archer’s British Drawings in the India Office Library, Vol. 2: Official and Professional Artists 
• Mildred Archer’s Indian Popular Paintings in the India Office Library 

Microfilms 

The Reference Services Team in the Asian and African Studies Reading Room has a list of microfilms of printed and manuscript materials. 

Digital resources 

A number of our early printed books are available on Google Books. 

We regret that our digitised manuscripts and electronic research resources are currently unavailable. Nevertheless, some of our digitised manuscripts are available on external platforms: 

East Asia 

• Academica Sinica’s Digital Atlas, including 120 antiquarian Chinese maps from the British Library
• EFEO’s collection of Chinese rubbings, including some of the British Library’s holdings 
• The Union Catalogue Database of Japanese Texts, including 56 digitised items from the British Library 
• Or.59.aa.1, Images of the Amakusa edition of the Heike Monogatari, Isoho Monogatari and Kinkushū
• The Japan Center for Asian Historical Records (JACAR), which includes 235 Japanese and Chinese prints of the Sino-Japanese War from the British Library 

Middle East 

• Digital Edition of the Coptic Old Testament, including leaves of British Library Coptic papyri interwoven with images from other institutions  
• Ktiv (Manuscript Database of the National Library of Israel), including all digitised Hebrew manuscripts from the British Library
• Qatar Digital Library, including digitised Arabic manuscripts from the British Library

South Asia 

• Jainpedia, including digitised Jain manuscripts from the British Library

South-East Asia 

• South East Asia Digital Library, including a collection of digitised rare books from South East Asia held at the British Library 
• National Library Board, Singapore, digitised Malay manuscripts and Qur'ans, papers of Sir Stamford Raffles, and the accounts by Colin Mackenzie on Java held at the British Library
• Or 14844, Truyện Kiều (The tale of Kiều) by Nguyễn Du (1765-1820), the most significant poem in Vietnamese literature 
• Or 15227, an illuminated Qurʼan,19th century, from the east coast of the Malay Peninsula
• Or 16126, Letter from Engku Temenggung Seri Maharaja (Daing Ibrahim), Ruler of Johor, to Napoleon III, Emperor of France, dated 1857
• Mss Jav 89, Serat Damar Wulan with illustrations depicting Javanese society in the late 18th century
• Or 14734, Sejarah Melayu (Malay annals), dated 1873
• Or 13681, Burmese manuscript showing seven scenes of King Mindon's donations at various places during the first four years of his reign (1853-57) 
• Or 14178, Burmese parabaik (folding book) from around 1870 with 16 painted scenes of the Ramayana story with captions in Burmese 
• Or 13922, Thai massage treatise with illustrations, 19th century 
• Or 16101, Buddhist Texts, including the Legend of Phra Malai, with Illustrations of The Ten Birth Tales, dated 1894 
• Or 16797, Cat treatise from Thailand, with illustrations, 19th century 
• Or 4736, Khmer alphabet, handwritten by Henri Mouhot, c.1860-1 

• Images from Thai manuscripts on BL Images Online  
• Images from Burmese manuscripts and photographs on BL Images Online  

Visual Arts 

• ArtUK, which includes a subset for the British Library's collections including India Office oil paintings and sculptures
• Photographs including Archaeological Survey of India on BL Images Online
• Indian miniatures including the Johnson Collection on BL Images Online
• Natural History Drawings from South and South East Asia on BL Images Online
• Fay Godwin photographs on BL Images Online
• William Henry Fox Talbot Catalogue Raisonné, which includes digitised early photographs from the British Library and other institutions 

We thank you, once again, for your patience as we continue to work to restore our services. Please do check this blog and the temporary British Library website for further updates. 

Classic literature often brings us the most surprising storylines. We are fascinated by the things which people in the past imagined, and which gave rise to highly entertaining stories as a result. We have previously looked at a story which could be said to be the earliest example of Science Fiction - The Tale of Bamboo Cutter, in a 2014 blog post.

Today, we are going to talk about another story with a Science Fiction flavour, about an inventor who was a master craftsman and who produced some ingenious and astonishing devices.

An illustration showing some examples of the craftsman’s devices. The movable house, the portable bridge, and the automated boat.
(Ishikawa Masamochi (石川雅望) and Katsushika Hokusai (葛飾北斎), Shinpan Hida no takumi monogatari (新板飛弾匠物語). Woodblock print, 衆星閣蔵版c. 1840s. 16055.a.7)

The first edition of the Story of a Hida Craftsman (飛騨匠物語, Hida no Takumi monogatari) was published in 1808, written by Ishikawa Masamochi (石川雅望 1754-1830) and illustrated by Katsushika Hokusai (葛飾北斎 1760-1849). The very well-known names of these two creators most probably gave readers of the time considerable expectation of an enjoyable read.

There is no doubt that Hokusai was a master artist of Ukiyoe (浮世絵), who could capture anything from humorous moments to the wonders of nature. Ishikawa Masamochi was well-known under the name Yadoya no Meshimori (宿屋飯盛), literally ‘a person serving meals at inns’, as a professional composer of kyōka (狂歌), a form of short poem which contains a twisted sense of humour. His most famous kyōka was a pun on a line in the preface of the Kokin wakashū (古今和歌集), an early classic imperial anthology of waka (i.e. poetry written in Japanese rather than Chinese).

Preface of Kokin wakashū (古今和歌集) by Ki no Tomonori (紀友則) et al. (Manuscript, c. 1600-1650. Or 892)

The preface was written by Ki no Turayuki (紀貫之, fl. 866-872), one of the most respected literary figures in Japanese history. He defined the quintessence of poems composed and written in the Japanese language. It opens with the line やまとうたは、人の心を種として、万の言の葉とぞなれりける ‘Japanese poetry has the human heart as seed and myriads of words as leaves’. The lines continue, 力をも入れずして天地を動かし ‘the sprits of Japanese poems could stir even Heaven and Earth’.

Ishikawa’s pun on this line is:

歌よみは下手こそよけれ天地の動き出してはたまるものかは

Poets here, Poets there,
When worst I love them most,
The least stirs Heaven and Earth I swear
The versifying host.

(Original English translation by Frederick Victor Dickins, 1838-1915)

Suminawa has just finished work on a wooden crane. His tools are placed on his right, and his toolbox is behind him.
(Ishikawa Masamochi (石川雅望) and Katsushika Hokusai (葛飾北斎), Shinpan Hida no takumi monogatari (新板飛弾匠物語). wood block prints, 衆星閣蔵版c. 1840s. 16055.a.7)

The opening of the Story of a Hida Craftsman is a short poem dedicated to the hero Inabe no Suminawa (猪名部墨縄):

Precious scion of Inabé,
Rarest, daintiest craftsman wert thou,
Suminawa!
Long descent thou didst not vaunt thou,
But the load of craftsmen wert thou,
Suminawa!

(Translation by Frederick Victor Dickins, 1838-1915)

This is the story of a particularly skilled craftsman, Suminawa, already famous for his distinguished talent at the start of the book. His woodwork is very life-like: for example, a live rooster cannot stop challenging his carved one to a fight. He is also an inventor of fascinating devices.

Suminawa sets off on a journey to Mount Hōrai, believed to be the mystical mountain in East Asia where the immortal Daoist sages dwell. He receives tuition from them in the arcane art of crafting to further heighten his already considerable skills. After leaving Mount Hōrai, he gets to know a young man who is unable to win his love because, as a mere commoner, he cannot consort with a princess of high social rank. Suminawa successfully fosters true love between the young couple by the subtle use of his ingenious devices. Eventually the three of them become immortal sages of Mount Hōrai.

Now the question is, why does the hero need to be a craftsman from Hida and why is his name Suminawa?

Perhaps the author of the story, Ishikawa Masamochi based his homage on a poem in the Man’yōshū (万葉集 literally the ‘Collection of Ten Thousand Leaves’) the oldest anthology of Japanese waka poetry, believed to be have been compiled towards the end of the Nara Period (710-794 CE).

Man’yōshū book XI 2648

云々物者不念 斐太人乃 打墨縄之 直一道二 [in Manyōgana script]
かにかくに物は思はじ飛騨人の打つ墨縄のただ一道に [in modern Japanese script]

Unwandering, my thoughts, like the line-markers of the Hida craftsmen, run straight to you.

Hida province, nowadays, part of Gifu prefecture, is perhaps the most mountainous area in Japan with extremely limited flat spaces. Geographically, it is thickly covered with forest, not suitable for rice farming. Therefore, it was a traditional choice for people in Hida province to become woodworkers, such as carpenters, architects, etc. Hida craftsmen, and they were only men, have a long history and pride in their work, and it is likely that the author intended his hero to be one of these Hida craftsmen to convince readers he was already famous for his skills before his training on Mount Hōrai. The Hida craftsmen were exempted from taxes in the more conventional form of rice or textiles, and instead sent some of their number to the capital to build city buildings, temples, streets and the palace for the emperor.

Title page image (facsimile inserted into The Story of a Hida Craftsman), has an illustration of a sumitsubo, indicating the hero Suminawa’s name.
(Dickins, Frederick Victor, and Katsushika, Hokusai. The Story of a Hida Craftsman. Hida No Takumi Monogatari. Translated from the Original Japanese with Some Annotations by Frederick Victor Dickins. 1912. 11100.c.23)

The name of the hero, Suminawa (墨縄) appears in this particular waka from the Man’yōshū. A suminawa is an ink dipped cord attached to an ink pot called a sumitsubo (墨壺). The sumitsubo was an essential piece of equipment for craftspeople to mark a straight line. The sumitsubo had an ink pot with a reel attached through which a cord was threaded. A straight line was drawn by paying out the ink-soaked cord across a length of wood and snapping it to leave an inked line across the desired section.

Ishikawa Masamochi did not make it clear in the preface of the book whether he had drawn his inspiration from the waka in the Man’yōshū. However, we can note that, at the opening of the story, the short poem praising Suminawa was written in Manyōgana, the script that Japanese wrote in during the Nara period and which is used in the Man’yōshū.

The spirit and highly accomplished skills of Hida craftsmen continue throughout history, from ancient times when Nara was the Japanese capital, through the Edo Period, up to the present day, and will undoubtedly continue into the future.

The talents and living traditions of the craftspeople of Hida are highlighted in the exhibition The Carpenters’ Line: Woodworking Heritage in Hida Takayama being held at  Japan House London, 01-111 Kensington High Street, London, W8 5SA, 29 September 2022 – 29 January 2023.

With special thanks to Mr Stephen Cullis, Lecturer at Nagasaki University of Foreign Studies, for his English translation of Man’yōshū book XI 2648.

Yasuyo Ohtsuka
Curator, Japanese Collections

References

Manyoshu [Book 11] Japanese Text Initiative, University of Virginia Library.

Ishikawa, Masamochi, and Inada, Atsunobu. Ishikawa Masamochi Shū 石川雅望集. 東京: 国書刊行会, 1993. Print. Sōsho Edo Bunko ; 28. (JPN.1994.a.26)

McCullough, Helen Craig. Kokin Wakashū : The First Imperial Anthology of Japanese Poetry : With Tosa Nikki and Shinsen Waka / Translated and Annotated by Helen Craig McCullough. Stanford, Calif.: Stanford U, 1985. (88/23844)

Amongst the many gilded books and manuscripts in the British Library’s Gold exhibition is one item which tells the story of some of those who, across the centuries and around the world, have laboured under harsh conditions to produce this prized material.

Scenes inside the gold mine. In the centre is a circular mechanical fan to remove foul air and smoke from oil lamps and fires. Below workers remove water by a hand-operated system of buckets and pulleys. British Library, Or 920. 

On display is an illustrated Japanese scroll (Or 920) which gives a glimpse into the workings of a gold mine on the island of Sado in the 18th century. The manuscript bears the title Kinginzan shikinaioka kasegikata no zu 金銀山敷内岡稼方之図 (Illustrations of working methods inside the gold and silver mines) and is one of a set of three scrolls (with Or 918, Or 919) in the Library’s collection which give detailed representations of mine workings - from the miners toiling underground to the smelting process and the manufacture of coins on the surface.

Gold miners toiling at the rock face. Wearing only loincloths and with just the light from small oil lamps, they worked for up to eight hours in dark, hot and cramped conditions. British Library, Or 920 (detail). 

Sado Island lies 35 kilometres off the north-west coast of Japan. Today it is well known as the home of the Kōdō drummers but in the past its claims to fame were as a place of exile for disgraced notables and as a source of gold and other precious metals.

The earliest reference to gold from Sado is found in the 12th century anthology Konjaku monogatarishū 今昔物語集 (Collection of tales of things now past). One of the stories describes how the Governor of Noto, hearing of the abundance of gold on Sado, sends iron-workers to the island to bring some back. This story is thought to refer to gold panning rather than mining and for many centuries it was alluvial gold, dug from the sands of the seashore, which was the source of Sado’s riches.

Panning for gold on the seashore. On the left is an Archimedes screw for pumping out excess water. British Library, Or 919 (detail). 

During the 16th century, mining of gold and silver from the rock in underground workings allowed the island's full potential to be developed. An enterprising merchant called Toyama Mouemon 外山茂右衛門 opened the first mine at Tsurushi 鶴子 in 1542. Then in 1589 the warlord Toyotomi Hideyoshi 豊臣秀吉 (1537-1598) seized control of the mine and sent experts to speed up production.

After the establishment of the Tokugawa Shogunate in 1603, the island was placed under direct government control with an official called the Sado daikan 佐渡代官 (Deputy for Sado) and later the Sado bugyō 佐渡奉行 (Commissioner for Sado) in charge of operations. In the years that followed, technological and administrative changes improved the profitability for the government and during the peak years of 1615-1645 Sado’s mines yielded around 400 kilograms of gold per annum. Production declined during the 18th century but enjoyed a brief revival in the 19th century following the introduction of Western mining technology. The last working mine on the island closed in 1985.

Women, known as ishierime 石撰女, remove waste material from the ore by washing it in sieves and chipping away the unwanted lode with hammers under the watchful eye of supervisors. British Library, Or 920 (detail). 

The British Library’s scrolls, acquired as part of the collection of Philipp Franz von Siebold in 1868, belong to a genre commonly known as Kinzan emaki 金山絵巻 (Illustrated scrolls of gold mines) or Kinginzan emaki 金銀山絵巻 (Illustrated scrolls of gold and silver mines). Their primary purpose was to provide an accurate representation of the complicated workings of the mines, both below and above ground for the benefit of the government officials appointed every few years. Since their function was to explain the current state of operations it was necessary to have a new scroll prepared when changes in working methods or administrative procedures occurred. Scrolls were also sent back to the government in Edo to keep it informed of developments and officials may have received copies as keepsakes when their term of appointment ended.

 
Brocade wrapper and gilded title slip of Or 920. British Library. 

The three scrolls constitute a single manuscript which record in detail the processes involved in the extraction and processing of the ore as well as the administrative and commercial activities associated with the mines. Each scroll has a gold paper slip glued to its outer cover bearing an individual title taken from the caption accompanying the first scene. Thus Or 918 is Kobandokoro nite sujigane tamabuki no zu 小判所ニテ筋金玉吹之図 (Illustrations showing the smelting of gold balls in the Mint), Or 919 is Dōtokoya no zu 銅床屋之図 (Illustrations of the copper smeltery) and Or 920 is Kinginzan shikinaioka kasegikata no zu 金銀山敷内岡稼方之図 (Illustrations of working methods inside the gold and silver mines). Comparison with other scrolls of this type shows that Or 920 is actually the first part of the manuscript, Or 919 the second and Or 918 the third.

Inspectors watch closely as gold strips are cut up and weighed ready to be made into coins. British Library, Or 918 (detail). 

Each scroll consists of a number of silk panels, backed with mica-embossed Japanese paper, and glued together. A white silk edging has been added to the top and bottom of each panel. A brown brocade cover with gold floral designs is attached at the beginning of the scroll while the end is fixed to a wooden roller. The width of the scrolls is consistently 23.5 cm for the painted portion with a further 1 cm edge top and bottom making a total width of 25.5 cm. However, it is clear that the scrolls have been trimmed at some time since in places the captions to the illustrations are cut off at the edge. The length of the individual panels varies considerably, averaging around 120 cm. Or 920 has seven panels, Or 919 and Or 918 each have six. The overall lengths are 822 cm for Or 920, 714 cm for Or 919 and 752 cm for Or 918 giving a grand total of 2,288 cm.

Very few examples of Kinzan emaki bear a date or indication of the artist so dating has to be based on internal evidence, taking into account developments in technology, buildings, changes in management and administration of the mines and even the costumes and hairstyles of the people shown. For example, the Yoseseriba 寄勝場, the building where grading of the ore took place, was constructed in 1759. It is shown in the second of the Library's scrolls so, the manuscript must have been drawn after this date.

Furnaces in the smeltery. The box-like structures at the back are the bellows operated by pulling on a wooden handle. British Library, Or 919 (detail). 

Another aid to dating is the type of bellows used to heat the furnaces in the smithies and smelting workshops. Originally each furnace had its own set of bellows operated by one man but from the Kansei Era (1789-1801) a decline in productivity and a need to reduce the workforce led to the introduction of a system where one set of bellows was placed between two furnaces, halving the number of operatives required. The Library's scrolls show the former arrangement so must depict activities before 1789. While the manuscript, therefore, represents the appearance of the mines between 1759 and 1789, it does not follow that this is when the scrolls were painted.

One of the few examples of Sado kinzan emaki whose artist can be identified is the work of Ishii Natsumi 石井夏海 (1782-1848). Its content and artistic style are very similar to the Library’s copy and while no proof exists that it is also by Ishii Natsumi, it is certainly plausible. Comparison with other similar scrolls suggest that they were painted in the early decades of the 19th century.

The British Library's three Sado kinzan emaki are a fascinating resource for the study of the complex world of mining in pre-modern Japan. They also allow us to gain an understanding of the hard, and often dangerous, lives of the men, women and children who worked in the mines.

Hamish Todd, Head of East Asian Collections

Further reading:

For a more detailed account of the British Library’s scrolls see: Hamish Todd, 'The British Library's Sado mining scrolls', The British Library Journal, 24.1 (Spring 1998), pp. 130-143.
Trevor D. Ford and Ivor J. Brown, 'Early Gold Mining in Japan: the Sado Scrolls', Bulletin of the Peak District Mines Historical Society, xii, no. 6 (Winter 1995)
Hasegawa Riheiji, Sado kinginzanshi no kenkyū 佐渡金銀山史の研究 (Tokyo, 1991).
TEM Research Institute (ed), Zusetsu Sado kinzan 図説佐渡金山 (Tokyo, 1985).

The exhibition Gold: 50 spectacular manuscripts from around the world runs at the British Library until 2 October 2022.  Book your tickets here.

An accompanying book, Gold, presenting 21 highlights from the exhibition, is available from the British Library shop.

Supported by:

The exhibition is supported by the Goldhammer Foundation and the American Trust for the British Library, with thanks to The John S Cohen Foundation, The Finnis Scott Foundation, the Owen Family Trust and all supporters who wish to remain anonymous.

This occasional series of blog posts will highlight the work of Japanese women artists, whose achievements have often been overshadowed by their male contemporaries. The previous post looked at the artist Katsushika Ōi, daughter of the celebrated Katsushika Hokusai.  This time we will look at a fictional character who was also an accomplished artist.

Another female artist emerges from history in the form of a talented noblewoman in the Heian period literary classic the Tale of Genji. This story is often described as the oldest novel in the world. The author was Murasaki Shikibu (紫式部), a lady-in- waiting at the court of the Empress Shōshi (藤原彰子) in 11th-century Japan. The hero is Prince Genji and the main story line describes his life and relationships with various court ladies of the time. 

Lady Akikonomu is not as widely known as other famous female characters in the Tale of Genji, such as her mother Lady Rokujō, but she is the only one who paints and draws illustrations in the story.

Lady Rokujō is well known throughout the story for her charisma and beauty, and her tragic love affair with Genji. Her loving devotion does not bring joy to her life, but she manages to keep her dignity supported by her sophisticated intelligence and the outstanding beauty of her calligraphy.

Fig. 1. Genji bids an emotional farewell to Lady Rokujō at Nonomiya shrine, as she prepares to set off to Ise with her daughter who has been appointed Grand Custodian of the Great Shrine. Chapter 10 of 'The Tale of the Genji' (Genji monogatari ekotoba源氏物語繪詞,), Manuscript, ca. 1665. British Library, Or.1287, f.11  

Her daughter, Lady Akikonomu is a noble but does not have a strong enough supporter to elevate her position in Heian court society when she loses her mother and becomes an orphan. At the Heian court, writing beautifully is a must-have skill. She writes gracefully but lacks the elegance of her mother who  never had any equals in calligraphy. So how does she eventually become the Empress Akikonomu? The secret to her success lies in her own special talent for drawing. 

Genji, who is a distant relative of Akikonomu, takes her under his wing and arranges for her to marry the boy-emperor Reisei. This is partially Genji’s atonement for his sin of destroying Lady Rokujo’s love for him. At the same time Genji expects Akikonomu to protect the boy emperor, who is nine years younger than her, while he still has much to learn before becoming an adult and fulfilling his duty as emperor. In the end, she is educated by her outstandingly intellectual mother, with a superb noble bloodline; in this way she becomes an ideal governess figure to him. 

Fig. 2. A scene at the Imperial Court where an intellectual contest was held to compare illustrated stories. Chapter 17 of 'The Tale of the Genji' (Genji monogatari ekotoba源氏物語繪詞), Manuscript, ca. 1665. British Library, Or.1287, f.18  

It must have caused Genji some surprise when she caught the attention of this boy-emperor by her skills in drawing. The boy happens to be keen on drawing and he discovers that Akikonomu is so elegant when she produces her illustrations. Initially, he is attracted by her talent and intellectually stimulating conversation. As he spends time with her drawing, he discovers her gentle nature and her beauty. Gradually, a fondness between them matures and eventually he makes her his empress. 

Akikonomu successfully reveals her own identity to overcome the disadvantage of being a daughter of a legendary mother and Genji’s expectations to be an ideal figure to guide a young boy’s upbringing. She is a woman with own talent and grace, enhanced by her creative drawing and painting skills.

In these two blogs, we have looked at two women who were very different; one was a commoner who lived in the city of Edo who refused to meet expectations of a woman’s role, the other was a fictional Kyōto court lady who personified female elegance. The similarity is that both were daughters of highly charismatic people and probably they would never have questioned that the fame of their family members forced them to stay in the shadows. Nevertheless, they managed to move into the light by their own artistic talents and gained a place where they could shine as individuals, no longer just daughters of someone famous.

By Yasuyo Ohtsuka, Curator of Japanese Studies 

This is the first in an occasional series of blog posts which will highlight the work of Japanese women artists, whose achievements have often been overshadowed by their male contemporaries.

What helps us to choose a good story to read? Could it be an advertising strapline?  Or the headline in a book review? Or perhaps a hash-tag on Twitter? Of course, the author’s storyline itself is the core stimulus of our curiosity and feeds our imagination. But what about illustrations? Illustrations are unlikely to be produced by the author of the text but they definitely have an influence in attracting people to take a book from the shelves. 

Traditionally in Japan stories for entertainment were accompanied with illustrations to enhance their appeal to readers, and there is no doubt that they also acted functionally as visual aids for instructional books. In the same way, we tend to add images of illustrated pages to our blog posts to assist our readers who are not always familiar with the topics.

Fig.1 The interplay of text and illustration. Two court ladies looking at an illustrated scroll while a third reads to them. Chapter 50 of 'The Tale of the Genji' (源氏物語繪詞, Genji monogatari ekotoba), Manuscript, ca. 1665. British Library, Or.1287, f.62r.

The majority of known Japanese artists are male, as in other areas of the creative arts throughout history, such as playwrights, novelists, travel writers and so on. However, there are a few exceptions where we find women illustrators and artists who seem to emerge from the shadows of history.

This article will focus on Katsushika Ōi or Eijo (葛飾応為 or 栄女),  a talented artist who depicted the ‘The Floating World’ (Ukiyo) of geisha and actors, and who happened to be a woman. However, she is better known as the third daughter of the great Ukiyoe master, Katsushika Hokusai 葛飾北斎 (1760-1849), whom she cared for in his workshop in his later years, spending most of her life in close company with him. Hokusai produced a huge quantity of Ukiyoe prints, illustrated books and paintings throughout his artistic life and Ōi is believed to have assisted his creations from her youth by adding figures in his illustrations or colouring his paintings. It was common for artists of that time to establish their own studios, collaborate with their co-workers and produce artworks under the name of famous artists.

Fig.2. ‘Sailboats voyaging in the mist’. An illustration by Katsushika Ōi as Eijo (栄女). From Kyōka kunizukushi 狂歌国尽 , an athology of Kyōka poetry illustrated by Hokusai and his followers ca 1818. British Museum, [1979,0305,0.411] (CC BY-NC-SA 4.0) 

Ōi was  rather good at drawing from a very young age. As the daughter of Hokusai, her environment must have given her impetus to develop her skills and career in art.  She married once but found the artist's life far more interesting than that of a doting housewife. In fact, she did not conform to the typical image of feminine virtue that women of her time were expected to live up to within the context of domestic life. She much preferred to dedicate her time and passion to art by assisting her father’s work as well as creating her own paintings and drawings. Although she was not keen on life as an ordinary woman, she depicted attractive female figures in her works with a remarkably high level of skill.

Fig.3 Cover of Eiri nichiyō onna chōhōki  with text Takai Ranzan and illustrations by Katsushika Ōi. 1847. British Library, 16124.d.21

Only two printed books have been attributed to Katsushika Ōi as the sole illustrator.  One of them is Eiri nichiyō onna chōhōki 絵入日用女重宝記, ‘An illustrated handbook on daily life for women’, with text byTakai Ranzan 高井蘭山, published in Kōwa 4 [1847].

Fig.4. Colophon of Eiri nichiyō Onna chōhōki which records Ōi Eijo (応為栄女) as the artist. 1847. British Library, 16124.d.21

Fig. 5. Illustration by Ōi Eijo from Eiri nichiyō Onna chōhōki . Women are depicted in traditional female roles, such as playing the Koto, writing, sewing, spinning, and weaving. British Library 16124.d.21

Many of the details of Ōi’s life, including even her birth and death dates are unclear. The total number of works attributed solely to her, as opposed to collaborative works with her father, is a mere ten.  It is as if she was hidden behind her world-famous artist father.  However, she was certainly recognised as an independent artist during her lifetime and has recently been rediscovered by art historians, allowing her to emerge from her father’s shadow.

Reference:

Julie Nelson Davis, Hokusai and Ōi: art runs in the family https://blog.britishmuseum.org/hokusai-and-oi-keeping-it-in-the-family/

By Yasuyo Ohtsuka, Curator of Japanese Studies

The Japanese Collection of the British Library includes around 50 Japanese pattern and design books.  Thanks to a grant from the Great Britain Sasakawa Foundation, the Library is digitising many of these and making them available online.  This series of blog posts features some of the items in the collection, the artists who created them and the publishers who produced them.  In this post Teruko Hayamitsu, Curator at the fine art publisher Unsōdō, explains the company’s origins and its significance in the development of Japanese design.

Unsōdō is a Japanese publishing company, specialising in art books, which was founded in Kyoto in 1891 and is still in operation today.  Established in the late Meiji Period (1868-1912) when Japan was rapidly modernising, Unsōdō sought through its publication of art books to educate Japanese society on design in the new age, and to highlight the direction of art publishing and the modernisation of the textile industry.

Unsōdō’s premises in Teramachi, Kyoto c. 1929. Image courtesy of UNSODO CO., LTD

Unsōdō was able to develop against a backdrop of change in Japanese society.  Key contributory factors were the rise of the textile industry, modernisation of crafts, establishment of department stores, systematisation of the art world.  The emergence of a middle class with an interest in culture and a willingness to buy created a growing market for Unsōdō’s publications. In this article I would like to give a brief outline of the history of Unsōdō, the changes in Japanese society, arts and crafts in Kyoto, and the expansion of Unsōdō’s achievements.

First, let us look at the history of Unsōdō. The firm was founded in 1891 in the Teramachi Nijō district of Kyoto by Yamada Naosaburō 山田直三郎 (1866-1932). He gained his knowledge of the workings of the book trade from Tanaka Jihei 田中治兵衛, proprietor of the Kyoto bookshop Bunkyūdō 文求堂, before setting up his own independent store specialising in art books. He asked the literati painter Tomioka Tessai 富岡鐡斎 to create a name for the new enterprise. The name he chose, Unsōdō 芸艸堂, was inspired by ‘unsō’ 芸艸, a Japanese name for the herb rue (Latin: Ruta graveolens). This strong-smelling plant, traditionally believed to be an effective insect repellant, was used to make bookmarks and was thus a fitting name for a bookshop.

Yamada Naosaburō (1866-1932), founder of Unsōdō. Image courtesy of UNSODO CO., LTD

Unsōdō’s store of over 10,000 original woodblocks, still used to produce reprints. Image courtesy of UNSODO CO., LTD.

Yamada Naosaburō was born into the Honda family, proprietors of a book-binding business. Alongside book-binding, the eldest son Honda Ichijirō 本田市次郎 (1863-1944) and third son Honda Kinnosuke 本田金之助 (1868-1930), began to publish kimono pattern books which were very much in vogue at the time. From around 1889 the company was known as Honda Unkindō本田雲錦堂. Large numbers of kimono-related books were being published in Kyoto at that time and there was intense competition between Unsōdō and Unkindō, a rivalry which stimulated the creation of a great many design books. However, as they were brothers first and foremost, Naosaburŏ, Ichijirō and Kinnosuke eventually merged the two companies in 1906 under the name Unsōdō. From then on, all three brothers worked together in the publishing business. They focussed on works for the kimono industry, producing lavish publications which used not only traditional colour woodblock printing but also cutting-edge technology of the day such as collotype-printed photographic plates and heliotype colour plates. These luxurious books were expensive but proved profitable and were published in rapid succession. This momentum continued and in 1918 Unsōdō opened a branch in Yushima in Tokyo. 

 
Two woodblocks for printing Kairo (One hundred patterns of waves) by Kamisaka Sekka.1902. Left: Image courtesy of UNSODO CO., LTD. Right: equivalent page from the British Library copy of Kairo ORB.40/838

Unsōdō also managed to acquire woodblocks for art books from other publishers in Kyoto, Osaka and Tokyo and to republish the works as Unsōdō imprints.

Reprint of Hokusai manga from original blocks acquired by Unsōdō. Image courtesy of UNSODO CO., LTD

Despite the occasional periods of economic depression, Japanese society continued to develop, thanks to official campaigns to encourage new industries and also to the special demands of times of war. The textile industry was one of the first to attract the attention of business entrepreneurs. Modern textile factories were set up across Japan, long-established kimono dealers became department stores, textile wholesalers and brokerage businesses were established and a skilled workforce developed. Traditional local textiles came to be distributed through kimono dealers and department stores. The successful, affluent classes became art collectors and ordinary people were able to see works of art in museums or the art galleries of department stores. 

Modern edition of Kairo from original woodblocks. Image courtesy of UNSODO CO., LTD

Kyoto’s replacement by Tokyo as the national capital in 1869 and the resultant departure of the Emperor, Imperial Family and upper aristocracy, led to a period of uncertainty for the city. Yet this sense of crisis acted as a catalyst to the modernisation of the arts and crafts industry, taking advantage of a local population with a deep connection to traditional culture and the existence of large numbers of artisans skilled in various crafts. Descendants of court painters set up painting academies, and art schools were founded to promote the modernisation of art education. Cooperative associations were established for many industries including lacquer manufacturing, ceramics, dyeing and weaving. These organisations worked to improve standards and modernise designs in their respective industries, to stabilise distribution networks throughout Japan and to use the high levels of expertise developed over centuries to produce art objects for export. This was an important means of acquiring foreign currency for Japan at that time and was actively supported by the government.

Key reasons for the expansion of Unsōdō’s business were the appearance of “art books born from social change” and the increase in the number of “people who need art books”. An example of the former would be catalogues for displays of new works that were held in kimono dealers and department stores, or for exhibitions in the painting academies. “People who need art books” included those involved in the creation of art and craft objects as well as those selling them – artists, designers, craftspeople and teachers, and also merchants. Painting manuals, pattern books and picture albums had existed in the Edo Period (1600-1868), but in the later 19^th century new publications were needed that took into account new tastes and Western influences. Art schools and industrial technology institutes across Japan needed textbooks and reference works. Then, as now, art books tended to be large format and require elaborate binding and printing techniques, resulting in higher prices. The reason these books ‘flew off the shelves’ was that they were not only bought for personal interest and pleasure but were used for work and were provided in the work place.

 
‘Yellow hollyhock’ and ‘Wisteria’ from Jakuchu gafu, a collection of designs by Itō Jakuchū (1716-1800), published by Unsōdō in 1908. British Library ORB.40/1080

In other words, art books were an inseparable part of industrial development. As a Kyoto publisher, Unsōdō, played its part in disseminating the essence of Japanese history – the aristocratic culture with the emperor at its summit, the millennium of craftsmanship that produced ‘guides to traditional customs’ (yūsoku kojitsu), patterns and designs, cultural properties, handicrafts, collectables, and even the foreign art works and designs that were incorporated over the centuries.

In recent years, woodblock-printed design books of the late Meiji Period have been attracting growing attention. It was a time when Kyoto, the centre of Japan’s publishing culture since the Middle Ages, was full of skilled craftspeople. Although in terms of cost, print run and finish, woodblock printing was the only practical method of colour printing available, during the late 19^th and early 20^th centuries woodblock printing technology developed markedly. It is characterised by what can be called ‘high quality art printing’ and its ‘human touch’. Moreover, we still marvel at the creativity of the designers of the time. As well as the professional designers, artists who specialised in Japanese and Western-style painting also created designs as a side-line to their main careers. Today we cannot easily tell how many people were involved in the world of design at the time. This is because the modernisation of Japanese art has brought a division into ‘artists’, who created fine art, and ‘craftspeople’, who created practical wares. Designers themselves have not yet been appraised, and often artists’ design work has not been considered in an assessment of their careers.

Teruko Hayamitsu, Curator, UNSODO CO., LTD

(translation: Hamish Todd, Head of East Asian Collection, British Library)

Further reading

Hillier, Jack, The Art of the Japanese Book. London: Sotheby’s, 1987.

Johnson, Scott, “New Colours, a New Profession & a New Idea: Zuan Enrich Kyoto Design”. Andon 97, 2014.

Johnson, Scott, “Zuan Pattern Books: The Glory Years”. Andon 100, 2015.

Yokoya, Ken’ichiro, Fischbach, Becky (ed.), Zuancho in Kyoto: Textile Design Books for the Kimono Trade. Stanford: Stanford University, 2007 (exhibition catalogue)

The Star Festival 七夕, the night when many of us in Eastern Asia wish upon a star and celebrate romance, is on the 7^th day of the 7^th lunar month, and this year it falls on the 25th of August 2020. As we have mentioned in previous blog posts, this annual summer event has been a tradition since time immemorial. This year, we are focussing on a simple question: why do Japanese call the Star Festival 七夕 Tanabata? In China, it has been known as Qixi (qi = 七 and xi=夕), literally meaning seven evenings or the seventh evening. If Japanese followed the Chinese convention, it would become Shichiseki (shichi = 七 and seki=夕). But the Japanese have written the Star Festival as 七夕, and read it as Tanabata in this unusual way for a long time. We may see reasons for this in a key motif of the Star Festival - the weaver maidens who are called Tanabata or Tanabatatsume.

A depiction of a loom as used in Kureha (呉服) from the collection of theatre settings of Noh plays. (Yamaguchi Ryōshū 山口蓼州, Nōgu taikan 能具大観 (Kyōtō: Unsōdō京都 : 芸艸堂, 1924). ORB.40/1069 (Vol.3))

The Star lovers’ story originated in China and deals with the weaver girl and the cowherd boy, a couple who are separated by the Milky Way in the night sky. They can only see each other once a year by crossing the magpie bridge. The weaver girl’s name is written 織女 Shokujo or 織姫 Orihime both meaning ‘the weaver maiden’, and is a traditional name in modern popular Japanese culture. However, it is likely that ancient Japanese people, who were directly influenced by the arrival of Chinese fairy tales, might have not read 織女 as Shokujo as we currently do, but as Tanabata or Tanabatatsume.

This unique Japanese reading of the name of the weaver maiden appears in The Tales of Ise (伊勢物語, Ise monogatari), a very famous work of Japanese literature which is thought to have been written and collected together sometime during the Heian period (794-1185 CE). The hero of the tale is never clearly named, but all readers assume it is Ariwara no Narihira (在原業平 825-880 CE). In the real world, he was a grandson of one of previous emperors but not a member of the imperial family. He was a notable Heian courtier and left his name as a great waka poet.

Prince Koretaka, Ariwara no Narihira and other hunting members resting at the river bank of Amano. (Chapter 82 of The Tale of the Ise (伊勢物語圖會, Ise monogatari zue), Naraehon manuscript, mid-16th century, Or 904, f.98r)

In Chapter 82 of the Tale of Ise, Prince Koretaka and his followers, including Narihira, are out enjoying a day's hunting. The group come to the river bank of Amano (天野) and decide to have refreshments after their hunt. Prince Koretaka orders Narihira to compose a fitting waka for this occasion.

狩り暮らし七夕に宿からむ天の河原にわれは来にけり

Let us rest from this day’s hunt and pass the night with the Weaver maiden
as we have come to the fields of the Celestial River.

Above left is the page featuring the Tanabata waka composed by Narihira, which starts by the vertical yellow lines on the right-hand image. (Chapter 82 of The Tale of the Ise (伊勢物語圖會, Ise monogatari zue), Naraehon manuscript, mid-16th century, Or 904, f.97r)

This waka poem contains references to the motif of the star lovers. They come to the bank of the Amano River – in Japanese, it is pronounced Amanogawa (天野川), the same as the Milky Way (天の川) in Japanese. Narihira elegantly composes his waka as if they were approaching the bank of the Milky Way in the night sky, so naturally, there should also be Tanabatatsume, who is the Heavenly Weaver maiden. Interestingly, Tanabata (七夕 the seventh evening) in this waka indicates the Heavenly Weaver maiden in person. Also, his waka shows us that by the zenith of Heian court culture, the Star Lovers had already been popular among the Japanese.

The oldest anthology of Japanese waka poetry books, the Man’yōshū ( 万葉集 literally the Collection of Ten Thousand Leaves) is estimated to be have been compiled towards the end of the Nara period (710-794 CE), at a time when the court and capital was situated in Nara. Donald Keen (1922-2019), who was one of the most remarkable Japanese scholars in modern times, counted the number of the Seventh Night poems, which number more than 120 in the Man’yōshū. He commented that it was about this time that the Chinese legend was absorbed into Japanese folklore, and the number of related waka in Man’yōshū helped us to judge how deeply this romantic story was widely cherished by the Japanese people.

Waka 2027

為我登織女之其屋戸尓織白布織弖兼鴨
The waka in the Man’yōshū are notoriously difficult to interpret but basically in Waka 2027 , someone (typically a man or noble) is wondering aloud to himself when his lover will finish the garment which she has been weaving for their next meeting.

In this waka, the Heavenly Weaver maiden is written as 織女, as we do in the 21^st century, but it is pronounced as Tanabatatsume, not Shokujo.

Waka 2034

棚機之五百機立而織布之秋去衣孰取見
The Heavenly Weaver maiden is working on many looms – who shall look upon and receive the cloth she is making?

Interestingly, in this waka, the Heavenly Weaver maiden is written as 棚機, and the script matches the pronunciation ‘Tanabata’. Even though there is no explicit mention of the 7th day of the 7th lunar month and she is one of the star lovers in the lines, both waka undoubtedly refer to the love of the celestial couple.

It's possible that 棚機 could represent the advanced loom brought into Japan by oversea weavers. A Noh play, ‘Kureha (呉服)’, inspired by a legend of skilled artisan weavers who were invited to Japan to train the Japanese. Among them, were two foreign sisters Kurehatori 呉服織 and Ayahatori 漢服織. They wove for the Emperor Ōjin 応神 who considered to have reigned in the late 3^rd century CE.

Kureha from the collection of 200 illustrations of characters from Noh plays. (Tsukioka, Kōgyo 月岡耕漁, and Matsuno Sōfū松野奏風, Nōga taikan : nōga nihyakuban ōzoroe 能畫大鑑 : 能畫貮百番大揃 (Tōkyō: Seibi Shoin 東京 : 精美書院, 1936). Revised edition of the work originally published in 1934.) (ORB.45/153)

We can find possibly the oldest Tanabatatsume motif in the Chronicles of Japan (日本書紀 Nihon Shoki), completed in 720 CE. The earlier chapters of Nihon Shoki describe a Shintō myth of how the land of Japanese islands are created by Shintō gods and goddesses and their activities as deities in their land, the Upper Heaven.

In the chapter which deals with the reign of Ashihara no Nakatsukuni 葦原中国, which literally means ‘The middle country of reed beds’ and which represents the physical land of Japan, the name of a sister of a god is known as Tanabata 多奈婆多 who is the Heavenly Weaver maiden in the Upper Heaven.

Above left is the page showing a part of the waka dealing with Tanabata, 多奈婆多indicated by a vertical blue line on the right-hand image. (Prince Toneri 舎人親王(676-735) [editor], Chronicles of Japan. Chapters on the Age of Kami (日本書紀神代巻, Nihon shoki. Jindai no maki), Movable type print edition published by command of Emperor Go-Yōzei 後陽成天皇 (慶長勅版, Keichō chokuhan), 1599, Or.59.bb.5, f 057r)

Weaving cloth dedicated for Shintō deities have been treated as an important activity since the very early legends of the Upper Heaven. There is an earlier famous episode in the Upper Heaven, in which the Sun Goddess, Amaterasu, hides herself in the Heavenly Rock cave (Ama no iwado 天の岩戸) so that the all of the worlds lose her rays of light. She is extremely upset by her brother who has disturbed her or her weaver maiden. He throws a dead horse into the special workshop where the ladies are weaving. His action not only destroys the building but also injures the ladies and stains their clothes. Amaterasu rages at her brother and goes into the cave to hide herself.

Above left is the page showing the episode of ladies weaving in the special workshop. The keywords ‘weaving for gods at the special holy workshop’ (織神衣居斎服殿) is indicated by a blue line on the right-hand image. (Prince Toneri 舎人親王(676-735) [editor], Chronicles of Japan. Chapters on the Age of Kami (日本書紀神代巻, Nihon shoki. Jindai no maki), Movable type print edition published by command of Emperor Go-Yōzei 後陽成天皇 (慶長勅版, Keichō chokuhan), 1599, Or.59.bb.5, f 031v)

The legend of the heavenly weaver maidens has passed their ancient name as Tanabata down through the ages to the Star Festival. This occurred long after the Star Lover’s story became very popular and their romance was celebrated annually on the 7^th day of 7^th lunar month. In this way, their curious legacy remains just barely visible beneath the surface of later traditions.

Yasuyo Ohtsuka, Curator, Japanese Collections

References

Keene, Donald, and McMillan, Peter, Translator, Writer of Added Commentary, The Tales of Ise, (UK : Penguin Classics, 2016). (YKL.2018.a.8090)

Keene, Donald, The Manyoshu : The Nippon Gakujutsu Shinkokai Translation of One Thousand Poems, with the Texts in Romaji . Records of Civilization, Sources and Studies ; 70. (New York: Columbia University Press, 1965). (Ac.2688/45.(70.))

Manyoshu [Book 10] Japanese Text Initiative, University of Virginia Library

Related blogs

The Star Lovers

‘Tanabata (七夕) Star Festival’ - is it 7 July or 2 August 2014? (1)

‘Tanabata (七夕) Star Festival’ - is it 7 July or 2 August 2014? (2)

With special thanks to Mr Stephen Cullis, Lecturer at Nagasaki University of Foreign Studies, for providing the summarised interpretations of the waka in the Ise Monogatari and the Man’yōshū.

The Japanese Collection of the British Library includes around 50 Japanese pattern and design books. Thanks to a grant from the Great Britain Sasakawa Foundation, the Library is digitising many of these and making them available online. For a list of what is currently available see Japanese manuscripts and woodblock-printed books relating to design arranged by theme. This series of blog posts features some of the items in the collection, the artists who created them and the publishers who produced them.

The first blog looked at the origins and development of Japanese textile pattern books, hinagata-bon, in the 17th and 18th centuries. These were mainly practical in nature, serving as manuals for kimono makers or catalogues for merchants and their customers. In this blog we will focus on the end of 19th and beginning of the 20th centuries when enterprising publishers and inventive artists collaborated to produce superb design books, or zuan-chō 図案帳, intended to be appreciated and enjoyed for their own sake, as much as for any practical application.

Fig. 1. ‘Dew on the plains of Musashi’ by Mizuta Shizuhiro from Sono no kaori ‘Scents of the Garden’. Unkindō, Kyoto, 1903 (British Library, ORB.30/6166)

The Meiji Period (1868-1912) saw Japan emerge from centuries of self-imposed isolation and take its place on the international stage. Exposure to Western ideas and technology had brought profound changes to many aspects of Japanese society and culture and this,in turn, led to a fascination with ‘the new’ and a re-evaluation of ‘the old’ as traditions were adapted, preserved or discarded.

In late 19th century Kyoto, traditional centre of Japan’s textile industry, technological developments in dyeing and weaving led to large-scale production of goods, and a growing demand for new textile designs (zuan). The modernisation of education led to the establishment of arts schools such as the Kyoto Prefectural School of Painting 京都府画学校 (forerunner of today’s Kyoto City University of the Arts京都市立芸術大学), founded in 1880, where design was taught as a formal subject for the first time. By the 1890s professional zuanka or designers appeared, creating large number of designs which could be used not only for textiles but also for ceramics, lacquerware, screens or other craft products.

Fig. 2. ‘Peacocks’ from Kōgei shinzu by Tanaka Yūhō. Unsōdō, Kyoto, 1892 (British Library, ORB.30/8098)

One of the first design albums was Kōgei shinzu 工芸新図 (New Designs for Crafts) by Tanaka Yūhō 田中幽峰. It was published in 1892 by Yamada Naosaburō 山田直三郎, son of a family of Kyoto bookbinders, who had set up his own the publishing house the previous year under the name Unsōdō 芸艸堂.

Yamada Naosaburō was the younger brother of Honda Ichijirō 本田市次郎, proprietor of Unkindō 雲錦堂, another leading publisher of design books in the first years of the 20^th century. The siblings were influential in nurturing the talent of many young designers. By employing exceptionally skilled block-carvers and printers, and pursuing the highest standards of book design and production, Unsōdō and Unkindō raised the zuan-chō to the status of an art object in its own right.

Unsōdō launched a number of influential design periodicals including Bijutsukai 美術海 (Oceans of Art), which ran from 1896 to 1902 and was succeeded by Shin Bjitsukai 新美術海 (New Oceans of Art) (1902-1906), and Seiei 精英 (Elite) which appeared in 15 issues from 1902 to 1907. Together these innovative publications featured hundreds of designs by dozens of different artists, giving them the opportunity to explore new styles and themes as they honed their skills.

Fig. 3. ‘Bicycles’ by Mōri Ennen 毛利延年 from Seiei no. 2. Unsōdō, Kyoto, 1903 (British Library, ORB.30/697(2))

Fig. 4. ‘Pine, bamboo and plum’ by Sawatari Kensai 沢渡乾斎 from Seiei no. 4. Unsōdō, Kyoto, 1904 (British Library, ORB.30/697(4))

Many of the artists who contributed to these periodicals also collaborated with Unsōdō and Unkindō to produce albums of their own designs. One of the most celebrated was Kamisaka Sekka 神坂雪佳 (1866-1942). Visiting Europe for the Glasgow International Exhibition in 1901, he was inspired by Art Nouveau and Japonisme. He was also profoundly influenced by the Rinpa painting style originally founded in the 17^th century by Hon’ami Kōetsu and later developed by brothers Ogata Kōrin and Ogata Kenzan.

Sekka collaborated with Unsōdō on some of its most successful publications. For example, in 1902 they published Kairo 海路 ‘One Hundred Patterns of Waves’. As its English title suggests, in this work Sekka explored ‘variations on a theme’, experimenting with colours, styles and layouts.

Fig. 5. Kairo (One Hundred Patterns of Waves) by Kamisaka Sekka. Unsōdō, Kyoto, 1902 (British Library, ORB.40/838)

This proved a very popular concept and led to the publication in 1904 of Chō senshu 蝶千種 ‘One Thousand Butterflies’. Its two volumes contain a total of 49 double-page designs of butterflies, ranging from more or less lifelike depictions to near geometric forms as Sekka explored his theme to its limits.

Figs. 6a and 6b. ‘One Thousand Butterflies’ Chō senshu by Kamisaka Sekka. Unsōdō, Kyoto, 1904 (British Library, ORB.30/6437)

Between these two publications, Sekka showed his versatility by also producing a series of humorous designs which appeared as Kokkei zuan 滑稽図案 in 1903 with themes ranging from the signs of the Chinese zodiac to the absurdities of contemporary life.

Fig. 7a. Front cover and fig. 7b. Fashionable hairdos and ‘dogs being dogs’!

Fig. 7c. Zodiac animals  and Fig. 7d. Slurping noodles
Fig.7a-7d Kokkei zuan by Kamisaka Sekka. Unsōdō, Kyoto, 1903 (British Library ORB.30/6436)

As a lecturer at what is now Kyoto City University of the Arts, Sekka inspired many talented young designers. Perhaps his most accomplished pupil was Furuya Kōrin 古谷紅麟 (1875-1910) who, while pursuing a distinguished artistic career, also went on to teach alongside his former mentor at Kyoto City School of Arts and Crafts. Like Sekka, he was strongly influenced by the art of the Rinpa School, and even changed his name from Fujitarō 藤太郎 to Kōrin in homage to one the school’s greatest exponents Ogata Kōrin,

Furuya Kōrin contributed a number of designs to the periodicals Shin bijutsukai and Seiei and subsequently worked with Unsōdō to create a series of spectacular zuan-chō. Like Sekka, he explored the ‘variations on a theme’ concept, for example, in his 1902 two-volume publication Unkashū which contains around 80 sinuous designs inspired by clouds and mist.

 
Figs. 8a and 8b. Cloud patterns from Unkashū by Furuya Kōrin. Unsōdō, Kyoto, 1902 (British Library, ORB.30/6169)

Kōrin continued to collaborate with Unsōdō until his premature death in 1910 and produced a succession of exquisite publications. For example, Date moyō hanazukushi 伊達模様花つくし ‘An Abundance of Flower Motifs for the Fashionable’ appeared in 1905 and contains 48 designs arranged two per page. Belying its title, it included many non-botanical motifs.

Figs. 9a and 9b. Designs from Date moyō hanazukushi by Furuya Kōrin. Unsōdō, Kyoto, 1905 (British Library, ORB.40/1011)

One of his most successful works was Shasei sōka moyō 写生草花模様 ‘Patterns of Flowering Plants Drawn from Nature’ (1907), in which his 50 striking designs are complemented by the superb colour-printing and sumptuous use of metallic and mineral pigments that were the hallmarks of Unsōdō and Unkindō deluxe publications.

Fig.10a. Bitter melons

Fig.10b. Irises
Figs. 10a and 10b. Botanical designs from Shasei sōka moyō by Furuya Kōrin. Unsōdō, Kyoto, 1907 (British Library, ORB.30/132 vol.1 and ORB.30/132 vol.2)

Sekka and Kōrin were just two of the virtuoso designers creating zuan-chō in the late Meiji Period and a subsequent blog will look at works in the British Library by others of their contemporaries, including Tsuda Seifū, Shimomura Tamahiro (Gyokkō) and Ogino Issui.

Hamish Todd, Head of East Asian Collections

The author wishes to acknowledge the generous assistance of Professor Scott Johnson in the compilation of this series of blog posts.

Further reading
Hillier, Jack, The Art of the Japanese Book. London: Sotheby’s, 1987.
Jackson, Anna (ed.), Kimono: The Art and Evolution of Japanese Fashion. London: Thames & Hudson, 2015.
Johnson, Scott, “New Colours, a New Profession & a New Idea: Zuan Enrich Kyoto Design”. Andon 97, 2014.
—— “Zuan Pattern Books: The Glory Years”. Andon 100, 2015.
Yokoya, Ken’ichiro, Fischbach, Becky (ed.), Zuancho in Kyoto: Textile Design Books for the Kimono Trade. Stanford: Stanford University, 2007 (exhibition catalogue).