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. 

Animals amaze, fascinate and delight us!

In the British Library's new exhibition Animals: Art, Science and Sound (21 April - 29 August 2023)  you can see how documenting the animals world has resulted in some of humankind's most awe-inspiring art, science and sound recordings. It can take years of research to unlock the secrets of a single species. Did you know that the first photograph of a live giant squid was published in 2005? That bats were first described as birds, and sharks referred to as dogs.

From an Ancient Greek papyrus detailing the mating habits of dogs to the earliest photographs of Antarctic animals and the mournful song of the last living Kauaʻi ʻōʻō, recorded in 1983 and declared extinct in 2000, this is the first major exhibition to explore the different ways in which animals have been written about, visualised and recorded.

The exhibition is arranged into four distinctive environments and visitors will journey through darkness, water, land and air - to encounter striking artworks, handwritten manuscripts, sound recording and printed publications that speak to contemporary debates around discovery, knowledge, conservation, climate change and extinction. Each zone also includes a bespoke, atmospheric soundscape created using recordings from the Library's sound archive.

Some of the highlights includes: 

An illustration of a fruit bat, painted at Barrackpore, India. 1804-7, British Library, NHD3/517.

An image of a 'monkfish' from Pierre Belon's De aquatilibus (Of aquatic species), Paris, 1553. British Library, 446.a.6. 

Illustration of the defects of a horse from Kitab al-baytarah (Book on Veterinary Medicine) by Abu Muhammad Ahmad ibn Atiq al-Azdi, 13th century. British Library, Or 1523, ff. 62v-63r.

An education record for children: The Hip-po-pot-a-mus. Talking Book Corporation, 1918-29. British Library, 9CS0029512.

A section of the Chuju zui (Illustrations of Animals and Insects) showing dragonflies and moths, Japan, 1851. British Library, Or 1312. 

There is a season of in-person and online events inspired by the exhibition, such asa Late at the Library with musician, composer and producer Cosmo Sheldrake hosted by musician, author and broadcaster Cerys Matthews and Animal Magic: A Night of Wild Enchantment where five speakers, including wildlife cameraman, ornithologist and Strictly Come Dancing winner Hamza Yassin and birder, environmentalist and diversity activist, Mya-Rose Craig, each have 15 minutes to tell a story. A selection of these works are included in an outdoor exhibitionaround Kings Cross.

A richly illustrated publication written by exhibition curators Malini Roy, Cam Sharp Jones and Cheryl Tipp can be purchased through the British Library's shop. The publication is supplemented with interactive QR technology allows readers to listen to sound recordings.

The exhibition is made possible with support from Getty through The Paper Project initiative and PONANT. With thanks to The American Trust for the British Library and The B.H. Breslauer Fund of the American Trust for the British Library. Audio soundscapes created by Greg Green with support from the Unlocking our Sound Heritage project, made possible by the National Lottery Heritage Fund. Scientific advice provided by ZSL (the Zoological Society of London). 

The International Dunhuang Project (IDP) is pleased to announce that after 5 years, the Lotus Sutra Manuscripts Conservation and Digitisation Project successfully concluded in December 2022. Generously sponsored by the Bei Shan Tang Foundation, the Project aimed to publish online 793 manuscript copies of the Lotus Sutra from Dunhuang currently in the Stein collection at the British Library. This has resulted in over 374,000 cm of conserved material and nearly 17,000 new images for the IDP website.


Image of Or.8210/S.6791, conserved and digitised by the Lotus Sutra Manuscripts Conservation and Digitisation Project.

The Lotus Sutra is one of the most influential scriptures in Mahayana Buddhism, and is thought to contain the Buddha’s final teaching, complete and sufficient for salvation. The Stein collection contains over 1000 copies of the Lotus Sutra in Chinese, which were acquired by Sir Marc Aurel Stein in 1907 and 1914, when he visited the so-called ‘Library Cave’ (Cave 17) at the Mogao Caves near Dunhuang, in the present-day Gansu Province in China.

Before and after conservation photos of Lotus Sutra Scroll Or.8210/S.3796, one of 793 manuscripts conserved through the Lotus Sutra Manuscripts Digitisation Project.

Only a small portion of these had been previously digitised, and the Lotus Sutra Manuscripts Digitisation Project was organised to make images of the remaining manuscripts available online. Thanks to the sustained efforts of the Project team since 2017, 790 scrolls and 3 booklets have been stabilised and conserved to enable digitisation, and photographed to produce high-resolution images that are now freely available to the public on the IDP website. 

Image of Or.8210/S.155, a Chinese Lotus Sutra scroll with Tibetan divination texts on the back. Conserved and digitised as part of the Lotus Sutra Manuscripts Conservation and Digitisation Project.

Through the thousands of new images online, the Project has significantly increased global access to these important materials. In an effort to document the methodology of the Project, team members have published several articles, such as Digitisation Officer Francisco Perez-Garcia’s The Lotus Sutra Manuscripts Digitisation Project: the collaborative work between the Heritage Made Digital team and the International Dunhuang Project team (published in the Library's Digital Scholarship blog, 14 March 2022). More about the digitisation efforts of the project can be found in the article How to Digitise Scrolls: A Step-by-Step Guide from the Lotus Sutra Project by Senior Imaging Technician Jon Nicholls (published in the Library’s Asia and Africa blog, 2 August 2021).


Image of Or.8210/S.3579, featuring a custom-made core developed by conservators on the Project.

Throughout the Project, the Conservation team also undertook critical research on preservation techniques and innovative storage solutions, shared via published articles like Conserving paper: reflections on cultures of conservation in Europe and East Asia by Paulina Kralka (published in The Journal of the Institute of Conservation, 24 May 2022) and Lotus Sutra Project: Storage Solutions by Paulina Kralka and Marya Muzart (published in the Library's Collection Care blog, 07 December 2020 and the IFLA Journal, 21 July 2021).

We wish to express our enormous gratitude for the efforts of the Project team, including Tan Wang-Ward, Marie Kaladgew, Marya Muzart, Paulina Kralka, Tania Estrada-Valadez, Vania Assis, Jon Nicholls, Ambrose Hickman, Isabelle Reynolds-Logue, Giancarlo Carozza, and countless others who have contributed throughout the lifetime of the Project.

Image of a panel discussion at the Lotus Sutra Conference in the Foyle Suite of the British Library. (Left to right: Dr Eric Tzu-Yin CHUNG, Dr Paul Harrison, Dr Stephen F Teiser, Ven. Miao Duo, Roxanna Pang, Dr Luisa Elena Mengoni.)

To celebrate the close of the Project, the IDP hosted a conference at the British Library on 15 – 16 December 2022. The conference, titled ‘The Lotus Sutra: the Teachings, Transmission and Material Culture of a Sacred Buddhist Text’, included a keynote speech from Dr Stephen F Teiser and presentations from other experts, in addition to a panel of the Project team discussing their results and methodology.

The full programme of the conference is here:  Download IDP Lotus Sutra Conference Programme

The lectures were recorded and are now available on the IDP YouTube channel: 
• Opening Ceremony of the Lotus Sutra Conference (15 – 16 December 2022) 

Panel 1: Teachings of the Lotus Sutra
Chaired by: Luisa Elena Mengoni
• Keynote presentation: ‘The Lotus Sutra: Creating Buddhist Scripture’ by Dr Stephen F Teiser (15 December 2022) 
• 'When Being Original No Longer Matters: Reflections on the Sanskrit Text of the Lotus Sutra and its Uses' by Dr Paul Harrison (15 December 2022) 
• 'Lotus Sutra: Applying the Teachings in an Everyday Life' by the Venerable Miao Duo 妙多法師 and Roxanna Pang (15 December 2022) 
• ‘Deciphering the Exhibition of The Arts of the Lotus Sutra at the National Palace Museum' by Dr Eric Tzu-yin Chung 鍾子寅 (15 December 2022) 
• Panel 1 Discussion: Teachings of the Lotus Sutra 

Panel 2: The Lotus Sutra at Dunhuang
Chaired by: Sam van Schaik
• ‘Universal Gate of Salvation: Guanyin at Dunhuang’ by Dr Roderick Whitfield (16 December 2022) 
• ‘Dividing and Structuring the Lotus Sutra in Manuscript Form’ by Dr Costantino Moretti (16 December 2022) 
• ‘At the Intersection of Image, Text and Ritual: The Lotus Sutra in Mogao Murals’ by Dr Neil Schmid (16 December 2022)
• ‘Pieces of a Puzzle: Fragments of Chinese Manuscript with the Lotus Sutra' by Dr Imre Galambos (16 December 2022) 
• ‘The Guanyin Sutra at Dunhuang as Seen Through the British Library Collection’ by Mélodie Doumy (16 December 2022) 
• Panel 2 Discussion: The Lotus Sutra at Dunhuang 

Panel 3: Preserving the Lotus Sutra at the British Library: From Physical to Digital
Chaired by: Mélodie Doumy
• ‘Locating the Lotus Sutra Manuscripts Digitisation Project’ by Tan Wang-Ward 王潭 (16 December 2022) 
• ‘The Lotus Sutra Project at the British Library 2017–2022: A Conservators’ Perspective’ by Marie Kaladgew, Paulina Kralka & Marya Muzart (16 December 2022) 
• ‘Conservation Case Studies from the Lotus Sutra Project at the British Library 2017–2022’ by Tania Estrada-Valadez, Marie Kaladgew, Paulina Kralka & Marya Muzart (16 December 2022) 
• ‘Seeing Things Differently: The Imaging of Lotus Sutra Scrolls’ by Isabelle Reynolds-Logue (16 December 2022) 
• Panel 3 Discussion: Preserving the Lotus Sutra at the British Library: From Physical to Digital 

Anastasia Pineschi, International Dunhuang Project, British Library

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 

Jon Nicholls, Senior Imaging Technician, digitising a scroll on the Lotus Sutra Project.

Lotus Sutra Manuscripts Digitisation Project

The International Dunhuang Project (IDP) is an international collaborative project based at the British Library and with centres around the world. The Project aims to preserve and digitise collections from archaeological sites along the Eastern part of the ancient trade routes known as the Silk Roads, including the Mogao caves near Dunhuang (present day Gansu province in China).

As part of this, the Lotus Sutra Manuscript Digitisation Project at the British Library is cataloguing, conserving, and digitising Chinese copies of the Lotus Sutra from the British Library’s Stein Collection.

These scrolls were procured by the British-Hungarian archaeologist Sir Marc Aurel Stein (1862-1943), when he travelled to Dunhuang. He was followed by several other foreign explorers who also took away a large number of manuscripts and other items. By digitising this corpus of texts, we can facilitate access to these historic items and bring them together digitally, after they were scattered around the globe.

The Lotus Sutra collection

The Lotus Sutra is a sacred text that contains important early teachings on Buddhism. It was possibly composed between the first century BCE and the second century CE. Its popularity in China, in particular at Dunhuang, is attested by the over 1,000 copies that are now in the British Library’s custodianship.

Although a few of these were digitised in the past, a total of 793 paper manuscripts are yet to be imaged. They are dated roughly between the 5^th to 11^th centuries, based on dated items at both ends of the spectrum.

Most, except for three booklets, are in the scroll format. Each scroll varies in size and condition. We have some scrolls that are incredibly long as well as some that are just fragments. We also have some very fragile scrolls that our fantastic Conservation team are working hard to preserve so that they are available for years to come.

We have calculated that collectively there is roughly 17km of scroll that needs to be conserved and digitised. That’s the distance from the British Library in North London to Wimbledon in Southwest London!

Thanks to the support from the Bei Shan Tang Foundation based in Hong Kong, we are steadily working through the entire collection, one scroll at a time. The digitised collection will be made freely available on the IDP website (http://idp.bl.uk/).

Equipment and Imaging Standards

To digitise the scrolls, we use specialist equipment at the British Library’s St Pancras site. Below details the equipment I use:

• Phase One XF medium format camera on a copy stand
• Phase One IQ3 80 MP Digital back
• Phase One 120mm lens
• LED lighting
• Long and height-adjustable table
• Capture One Software
• Adobe Photoshop

To ensure consistency and reliability, we adhere to these imaging standards:

• Aperture F.16
• Shutter speed 0.6 Seconds
• ISO 50

To further ensure quality and accuracy, we use the same equipment and standards for every image.

Step 1. Digitising the scrolls

Once the scrolls have been through conservation and are in stable condition they can be digitised. Digitising scrolls is quite a difficult process. As mentioned before, there are some very long scrolls (one even measuring up to 13 meters) and I have very limited space at my workstation.

At the beginning of this project, I was given specific scroll handling training from our wonderful Conservation team.

Equipped with the knowledge to handle the scrolls safely, I shoot the scrolls bit by bit, un-rolling and re-rolling onto a scroll core as I go, both as a space saving technique but also to avoid damage to the scrolls. Luckily the scrolls themselves are long horizontal rolls, which are made of several rectangular sheets of paper or ‘panels’ attached together. I photograph every panel individually, which makes it a lot easier to capture each part.

I try to lie the scroll down as flat as I can, but it is not always possible. Some of the scrolls undulate naturally and we need to be sympathetic to the item’s condition. When undulation of the scrolls occurs, I use various weights approved by our Conservation Team to hold either side of the panels to flatten them without putting undue pressure.

If need be, I use pins to flatten the scrolls. *We do not use pins directly on any part of the scrolls. Instead, I pin around the scroll and using transparent, acid free tabs in-between the pin and the scroll to protect the item.

Tools used for holding the item whilst digitising: scroll core, conservation ‘penny weights’, snake weights, weight bags, pins and acid free tabs.

I include a ruler in the image for size reference as well as a colour chart to calibrate colours and a focusing target to set up the control shots. These are cropped out of the final images.

Focus target, ruler and colour chart.

I shoot all the panels’ front (rectos) and back (versos) to capture the entire length of the scroll. As Chinese text is written and read vertically, top to bottom and right to left, I capture the panels from right to left.

I always overshoot either side of the panel and usually include 3 to 4 columns of text overlap (as seen in the photo below). This helps in the stitching process later.

Digitising a panel of a scroll.

Once all the panels are shot, I process each image file from RAW files into TIFF files.

Step 2. Post-production

I edit every TIFF image in Photoshop. This task can take a long time if you have 40+ images to edit.

Firstly, I digitally remove any pins or other unwanted objects in the shot using the lasso tool to select around the item, then delete using the ‘Content aware’ function. Please note this can only be done when the layer is locked.

Example of digital edit in Photoshop.

I then select and cut out the background and replace with a digital black background. This is done for aesthetic reasons and something that we inherited from the previous team. We continued with this for consistency with the historical images.

You can achieve a similar goal by shooting directly onto black fabric.

Replacing background with digital black background.

I change the height of every image. This is done for the purposes of ingesting the images onto our website, which requires specific sizes and ensures consistency.

To speed the process up I have created ‘Actions’ in Photoshop to save me some time and partially automate the majority of the postproduction.

Step 3. Stitching

I use automatic stitching to generate the stitched TIFF. Having trialled a few software packages, I can say the Adobe’s Photoshop ‘Photomerge’ seems to be the best at the moment.

Whilst it is the best on the market, it unfortunately it can be very hit and miss, and depends on the length, curvature and condition of each scroll. Most recently I have discovered that dramatic change in colour on the scroll also confuses the software.

Example of a stitched image gone wrong.

For this example above, I was forced to manually stitch all the separate parts together. This is a much longer process but is occasionally needed.

Automatic stitching works better when there are more reference points, which is why I include extra columns of text either side when shooting the image, as mentioned before.

Example of a smaller scroll successfully digitally stitched together

If I am lucky there won’t be many changes required (known as post edits), but often I have to automatically stitch the scroll in parts or even manually stitch each image.

Step 4. Editing stitched image

The automated stitch image often produces some arched or warped images. I use ‘puppet warp’ and guidelines in Photoshop to subtly straighten the scroll, being careful to not over edit or make it look unnatural. There are some very helpful YouTube vlogs explaining how to use the Puppet warp function.

Lastly, using the TIFF files, I create three types of JPEG to be ingested to the IDP website, this includes: a large JPEG, a medium JPEG and a thumbnail.

Example of Puppet warp in action to subtly straighten the scroll.

Step 5. Quality control

I finally quality check the images and make sure I adhere to our specific naming conventions before I move them to another server. From here they are quality checked by a Digitisation Officer in view of ultimately being uploaded to the IDP website.

Example of digitised scroll displayed on the IDP website.

I hope you found this guide interesting and useful.

Jon Nicolls, Senior Imaging Technician, IDP

(All images were shot by Jon Nicolls)

To find out more about the Lotus Sutra Project and the International Dunhaung Project visit:

• https://www.bl.uk/projects/lotus-sutra-manuscripts-digitisation
• http://idp.bl.uk

You can read more articles about the Project here:

• http://idpuk.blogspot.com/2018/03/introducing-lotus-sutra-project.html
• https://blogs.bl.uk/collectioncare/2020/04/lotus-sutra-project-conservation-of-a-burnt-scroll-or-8210-s2155-.html
• https://blogs.bl.uk/collectioncare/2020/05/lotus-sutra-project-conservation-of-a-scroll-with-pre-11th-century-repairs-how-do-we-avoid-disassoci.html
• https://blogs.bl.uk/collectioncare/2020/12/lotus-sutra-project-storage-solutions.html

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