Collective memory and memorialization are, in many ways, the bread and butter of those who build and legitimize states. In the era of the nation-State, significant shared experiences and the invention of tradition – to paraphrase Eric Hobsbawm[1] – based on these events are among the state’s core tools for building patriotic feeling, solidarity and social cohesion. For the former members of the USSR, the experiences instrumentalized are often within living memory. In the late 1980s and early 1990s, social unrest, civil disobedience and open hostilities created the perfect storm for the collapse of the Soviet system and the dissolution of the Union, giving rise to 16 new states from the Baltic Sea to the Bering Strait. In many of the capitals, confrontations between unarmed protestors and heavily armed soldiers were the catalysts for the end of Moscow’s sovereignty. This is certainly true for Kazakhstan in December 1986 and Latvia, Lithuania and Estonia in 1989. It is also very much the case for Azerbaijan, as a pamphlet commemorating the events of 19-20 January 1990 demonstrates.
Black January (Qara Yanvar), as the events of 19-20 January 1990 are known in Azerbaijan, occurred when Soviet troops bloodily repressed anti-government demonstrations in Baku. Moscow claimed that it was acting to quell nationalist passions following a flare-up of violence against Armenians in the country, as well as attempts at overthrowing the government of Soviet Azerbaijan. Whatever the reasons for the protests and the ensuing violence, between 133 and 137 people lost their lives on the two days. They are remembered today in the Memorial for Black January, erected in 2010, as well as in countless publications.
The British Library’s Turkic Collections contain one such pamphlet, entitled Шәһидләр (Şəhidlər, Martyrs), 10,000 copies of which were published in 1990 or 1991. The pamphlet is printed in black and white, with the cover type white against a black background. The symbolism of the colour scheme and the starkness of the type and arrangement are obvious, but even more interesting is the quotation that accompanies the title. It is an Azeri-language translation of Verse 154 of al-Baqarah, the Cow, the second sura of the Qur’ān. The English translation reads: “And do not say about those who are killed in the way of Allah, ‘They are dead.’ Rather, they are alive, but you perceive [them] not.” This overtly religious approach to the victims of state violence marks a distinct and aggressive departure from Soviet orthodoxy regarding the place of religion in public life.
Portraits of the victims and final inscription, Gafkaz IRK, Şəhidlər
Such piety begs the question of just whom the pamphlet commemorates. The Qur’anic quotation makes specific mention of “those who die in the way of Allah” (مَن يُقتَلُ فِي سَبِيلِ اللهِ); does this include non-Muslim victims of repression in the category of “Martyrs”? The answer appears to be no, given a brief overview of the photographs on the interior of the pamphlet. Although it is impossible to determine the self-identification of the victims and their relationship to Islam, a brief glance through the names associated to the images reveals that only those with non-Russian or non-Armenian surnames find their way among the Martyrs. It is obvious that there are fewer pictures in the pamphlet than the 133 or 137 deaths reported. Some are evidently unknown victims whose graves in Martyrs’ Alley are marked as Nǝmalum, or “Unknown”. Nonetheless, there are also individuals, such as Vera Lvovna Bessantina, whose image adorns the wall of Martyrs’ Alley, but not the collection of photographs of Şəhidlər.
The final page of the pamphlet informs us that “Use shall be made of the aid for a monument honouring the memory of the martyrs.” It is unclear whether the monument constructed in Martyrs’ Alley is the direct result of the campaign that this pamphlet was a part of, or if it was the product of a different effort by the public and the state. What is clear is that the Azerbaijani State’s commitment to multiculturalism and religious tolerance is manifest in the widening of the term Şəhidlər to all those who died in the events of 19-20 January 1990. This pamphlet, however, remains as a reminder of the raw and often uncontrolled approaches to religion, dissidence and the state that characterized the late 1980s and early 1990s, during the chaotic and messy transition from Soviet hegemony to national sovereignty.
Michael Erdman, Curator Turkish and Turkic Collections
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[1] Hobsbawm, E. J. The Invention of Tradition (Cambridge: Cambridge University Press, 1992).
One of the more enigmatic manuscripts now in the British Library (IO Islamic 1255) from the rich library of Tipu Sultan, ruler of Mysore (d. 1213/1799), is the untitled qiṣṣah or tale featuring a figure popular across the range of Persian literature, the Prophet Sulaymān (the biblical Solomon, son of David). In this tale, the prophet-king is confronted by the head of the ranks of birds, the Sīmurgh (Phoenix), expressing its disbelief in the doctrine of predestination (qaz̤āʾ va qadr). Having angered Allāh, Jibrāʾīl (the archangel Gabriel) is sent to inform Sulaymān of a prophecy foretelling the birth of the Prince of the East (Malikzādah-′i Mashriq) and the Princess of the West, daughter of the Malik-i Maghrib, who together bear a child out of wedlock. The Sīmurgh believes it can prevent this outcome. Sulaymān and the Sīmurgh conclude an agreement (qawl) to reassess the situation after fifteen years, by which time the accuracy of the prophecy would be apparent.
The Prophet Solomon and the Phoenix’s agreement is witnessed by members of his court; the two yogis in the foreground represent the assembled jinns. Untitled tale of Solomon and the Phoenix from the Tipu Library. British Library, IO Islamic 1255, f. 2v.
The tale additionally interweaves several digressive subplots focussing on the adventures of the Prince of the East from his minority to adolescence. In the process, his development into a pious youth is mapped through a succession of episodes where he interacts with magical beasts, Satan, kings, courtiers, merchants, and sages. This didactic tale may be part of the ‘mirror for princes’ tradition, but as we shall later discover, there is more to it than appears at first glance.
The Prince of the East (not shown) overhears a king’s angry exchanges with his courtiers while seated amid special trees. Note the lengthy jamahs and sweeping turbans that indicate eighteenth-century courtly fashions, while the patterned floorcoverings attempt to capture the rich texture of contemporary embroidered and brocaded soft furnishings. Untitled tale of Solomon and the Phoenix from the Tipu Library. British Library, IO Islamic 1255, f. 8r.
Profusely illustrated, the manuscript IO Islamic 1255 has surprisingly eluded scholarly attention. Although it ends without a dated colophon, the distinctive style and details of its 63 illustrations on 26 folios offer sufficient evidence to locate its origins in mid-eighteenth-century Deccan, possibly even the Carnatic, ruled by the Nawabs of Arcot. On the other hand, the coarse nastaʿlīq script tending toward taʿlīq makes it clear that this is not the product of an élite or royal workshop. The absence of gold illumination and the use of a muted colour palette further strengthen this impression. The unusually tall and narrow format underscores the peculiarity of the volume as a whole. Though the paintings have oxidised in areas, the manuscript must have been a valued item in Tipu’s library, as the work was bound in a contemporary finely-tooled, gilded, and painted leather binding.
The Prince of the East is discovered by his two Arabian horses while sheltering under the hide of a horse at the foot an isolated tree. This image shows the increased levels of pigment oxidation in paintings towards the end of the manuscript. Untitled tale of Solomon and the Phoenix from the Tipu Library, British Library, IO Islamic 1255, f. 22r.
The tale’s literary significance is heightened when considering the version in another British Library manuscript catalogued recently, entitled Qiṣṣah-′i qaz̤āʾ va qadr (IO Islamic 4806). We encounter the familiar characters of the Prophet Sulaymān, the Sīmurgh, the Prince of the East and Princess of the West, with the narrative sharing the same basic structure. Like the version in the Tipu manuscript, the tale’s author is not named. Differences lie in the laconic style of the substantially abridged account, with some passages and episodes rearranged, and others omitted. Occasionally, the simplicity of prose is abandoned in favour of a more formal style and additional poems, while adjectives and titles take on a distinctly courtly flavour. Notwithstanding, the overall feel is that of a relatively faithful retelling of the Tipu version.
The most original feature of the Qiṣṣah-′i qaz̤āʾ va qadr is its introductory matter (ff. 1v-3r), which elevates it to the status of pseudo-history and prophetic tradition. Accordingly, when the Prophet Muḥammad was troubled by Meccan groups, Jibrāʾīl appears and gives him the seal of Sulaymān, a gift from Allāh. Jibrāʾīl is asked if it prevents death. He clarifies that there are two kinds of death, qaz̤ā-′i muḥkam or conspicuous (avoidable?) death and qaz̤ā-′i mubram or certain death. After a few days, Jibrāʾīl reappears and narrates the tale of Sulaymān and the Sīmurgh to demonstrate how nothing escapes the certainty of fate. The tale begins from this point forward in much the same way as the Tipu manuscript.
Illuminated sarlawḥ and opening passage of the Qiṣṣah-′i qaz̤āʾ va qadr. British Library, IO Islamic 4806, f. 1v.
The tale’s connection with the Prophet Muḥammad is established on the authority of a tenuous chain of transmission, mentioning the names of Ibn Saʿd (d. ca. 66/686), who heard it from Ḥasan Baṣrī (d. 110/728), who heard it from one of the unidentified muʿtamadān or confidants of the Prophet. Whether or not the chain of transmission is authentic, such details are unnecessary for the purpose of a mere adventure tale, indicating the intention to emphasise its moral and pious message. While subsequent details correspond closely with the Tipu manuscript, these extraordinary passages do not appear in that version.
The Qiṣṣah-′i qaz̤āʾ va qadr manuscript is not dated and owners’ marks have been erased. It consists of 26 folios commencing with a gilded and painted sarlawḥ or headpiece, and has gold rulings throughout, with scribal nastaʿlīq on thin burnished paper. The nine brightly coloured illustrations are painted with sparsely populated simplistic compositions. Only the King of the West and the Prince of the East are depicted wearing Persian (Safavid) costume, while the remaining characters are dressed in eighteenth-century Hindustani attire. Neither manuscript has chapter or section headings, making it difficult to follow the programme of illustration in both manuscripts without closely reading adjacent text. A comparative list of illustrations in both manuscripts can be found here: Download Solomon and the Phoenix illustrations.
The King of the West’s men shoot at the Phoenix stealing the Princess’s cradle. Note the differentiation in status between figures reflected in their costume. Qiṣṣah-′i qaz̤āʾ va qadr, British Library, IO Islamic 4806, f. 3v.
The Princess of the West falls in love with the Prince of the East, who finds his way to the foot of the isolated tree where she is held captive by the Phoenix. The Princess here is dressed in the Hindustani peshvaz and dupattah, while the Prince sports a turban in a distinctly Safavid style with the ends of the qamarband always tucked in. Qiṣṣah-′i qaz̤āʾ va qadr, British Library, IO Islamic 4806, f. 19r.
Given that both manuscripts discussed here are associated with South Asia, one might be forgiven for taking this as an indication of the tale’s origins, perhaps traceable to some obscure Sufi source of moralistic parables. Evidence to counter this regional association is found in a fragile Judaeo-Persian manuscript from the British Library’s Gaster Collection (Or 10195). Although the fragmentary volume has several compositions in poetry and prose, one of these comprises yet another prose rendition of the same tale of Sulaymān and the Sīmurgh. While the work needs to be studied in detail, it would be particularly revealing if it could be verified that this version commences with or without the prophetic tradition, and whether it consists of the lengthier or abridged version. The systematic comparison of all texts may form the basis of future research to identify a common Urtext, which might not even be in Persian at all. It is hoped this article may mark the start of the process.
Bibliographical note on IO Islamic 1255 Charles Stewart, A Descriptive Catalogue of the Oriental Library of the Late Tippoo Sultan of Mysore, Cambridge, 1809, p. 84, where it is listed as the third of the Persian fables. Hermann Ethé, Catalogue of Persian Manuscripts in the Library of the India Office, Oxford, 1903, vol. 1, coll. 544, no. 854. Another undated manuscript (IO Islamic 1627), also from Tipu Sultan’s library, reproduces over ff. 106v-111v an independent work based on a fragment of the same tale comprising episodes 14-28 (Ethé, no. 853).
Dr Sâqib Bâburî Curator, Persian Manuscripts Digitisation Project
Acknowledgements I am grateful to Ursula Sims-Williams for referring me to IO Islamic 1255. I would also like to thank Ilana Tahan and Zsofia Buda for their research and help with Judeo-Persian.
For those who have learnt foreign languages, the presence of a loanword can be both comforting and surreal. In languages written in non-Roman scripts, a borrowed word – take computer as an example – greatly eases the task of building vocabulary; it is far simpler to remember the Japanese konpyutaa than the Hungarian számítógép. However, such loan-words can also be disorienting, triggering memories of one’s mother tongue while confronting it with the sight of a totally foreign representation. Now imagine that nearly every word in a text was much the same. This phenomenon is referred to as allography, and, in the period before standardized orthographies, state-sponsored schooling and the mass media, it was an exceptionally common occurrence. Among the most famous of cases are the Jewish languages of Yiddish and Ladino, but in the Ottoman Empire, where secular, state-directed education was not enforced until the 20th century, Turkish in scripts other than Arabic was a matter of routine business.
Ahd-i Atikten On Yedi Kitap, yani Doğuş Kitabından Ester Kitabınadek, or The Old Testament from Genesis to the Book of Esther. Izmir: Grifilyan Basmahanesi, 1841 (BL 14400.c.4)
The two largest allographic communities were the Armenians and the Greeks. Armeno-Turkish – a rendering of Ottoman Turkish in Armenian letters – gave rise to a vibrant publishing industry and cultural community. The orthography was largely phonetic and based upon Western Armenian readings of the letters. It was in Armeno-Turkish that many French and other Western European works came into Turkish. This was a situation assisted by the reticence of the Sublime Porte to authorize Ottoman Turkish printing presses, despite the expansion of Armenian, Greek and Jewish ones. Many volumes printed were religious works, for example BL 14400.c.4, shown above, a copy of the Old Testament. The growth of an Armenian middle class gradually permitted the flourishing of secular publication as well, allowing for the appearance of translations, adaptations and original works. A case in point is the collection of şarkılar, or folksongs, in Armeno-Turkish shown below, BL 14499.a.14(5). That the Armeno-Turkish cultural sphere was a world in its own right is attested to by an Armeno-Turkish guide to the works of Professor Bezjian published in Aleppo in 1932, four years after the introduction of a Latin script for Turkish, and more than a decade and a half after the tragic events of 1915. Left: Yeni Şarkiler Mecmuası, or The Journal of New Folk Songs. [Istanbul?]: n.p., 1871 (BL 14499.a.14(5)) Right: Prof. Y. A. Bezciyan ve Bazi Onun Eserleri, or Prof. Y. A. Bezjian and Some of His Works. Aleppo: Halep Kolej Matbaası, 1932
Turkish written in Greek characters also laid the foundation for a vibrant publishing industry, with a heavy emphasis on religious materials. The language, known as Karamanlidika in Greek and Karamanlıca in Turkish, was the everyday idiom of the Turkish-speaking Greek Orthodox Christians of Anatolia. Despite being ethnically and linguistically Turkish, their religion required them to be classified as Rum or Greek Orthodox under the Ottoman system. The Orthodox clergy controlled education, and a tradition of literacy in Greek letters, rather than modified Arabic script. Although many of the Library’s holdings in Karamanlidika are translations of the New Testament – usually published by British missionaries, for example BL 14400.a.28 below – there are also a few non-scriptual examples. One is a play based on the story of Abraham’s sacrifice, a story that is revered by Jews, Christians and Muslims alike (BL 14469.c.4). Left: Incili Şerif, yani Ahd-i Cedid, or The Holy Gospel, or the New Testament. London: Rildert and Rivington Publishers, 1873 (BL 14400.a.28) Right: Hazreti Avraamin: Ziyade Cok Cana Menfaatı Kurban Hikayesi, or Saint Abraham: The Sacrifice Story, of Great Use to Many Souls. Istanbul: Ignatious Basmahanesi, 1836 (BL 14469.c.4)
The final example of allography from the Ottoman Empire is a much less common one, but no less interesting. It is of the newspaper Leshānā d’umthā, Syriac for Voice of the Nation (BL 753.k.35). This bi-weekly was produced in Beirut, Lebanon from 1927 until 1946 and had articles in Syriac, Arabic and Turkish. Arabic written in Syriac script is a common occurrence throughout the Christian Orient, and is referred to as Garshuni. Turkish written in Syriac characters, however, is far rarer, and represents a unique view into the linguistic, political and cultural identity of Beirut’s Christian communities decades after the end of Ottoman sovereignty. Unlike Armeno-Turkish, the author of the Ottoman Turkish articles in this periodical adhered to Ottoman orthography as much as possible, even when it did not conform to the spoken language. This indicates that the compiler of the articles was educated in Ottoman Turkish, yet opted to write in Syriac script; a reminder of just how powerful the visual aspects of language were and are in the Middle East.
Left: The Syriac-script, trilingual (Syriac-Arabic-Turkish) biweekly Leshono d’Umtho, or Tongue of the Nation. Beirut, 1928 (BL 753.k.35(2)) Right: İlm-i Hal, or Catechism. The complete collection of faith-based knowledge for Muslims, printed in a modified Perso-Arabic script. Istanbul: Tevsi-i Tabaat Matbaası, [1910?](BL ITA.1994.a.128)
Questions of script, orthography and language were not limited to the minority communities. Indeed, perhaps the most vibrant discussions were held about the majority language itself. Ottoman intellectuals frequently debated script and grammar reforms in discussions that impinged on issues of identity, power and connectivity. The edition of the Islamic theological tract, İlm-i Hal, produced by the Society for the Teaching of a New Script in the second decade of the 20th century, exemplifies this latter push for change (BL ITA.1994.a.128). One of only three publications by the Society, it sought to reconcile orthographic efficiency with tradition by adding vowel characters to the Arabic script, some of which were based on Old Turkic runes. Like the allographies of the Armenians, Greeks and Syriac Christians, this attempt would fall victim to the drive for standardization and generalization of the new age of nations ushered in by the end of the First World War. Today these publications remain as memorials to the colourful and pluralistic cultural milieus of the age of empires.
Michael Erdman, Curator Turkish and Turkic Collections
To celebrate Christmas we bring you a selection of images from some of our Ethiopic manuscripts.
The Nativity. The Virgin Mary and the Baby Jesus in a manger, with Joseph. From the Nagara Māryām, the history and miracles of the Blessed Virgin Mary, 18th century (British Library Or. 607, f.13v)
The Ethiopic collections in the British Library include about 600 manuscripts which were acquired from the mid-eighteenth century onwards. The collection is strong in illuminated manuscripts of the 16th and 17th centuries and also contains, in addition to biblical texts, an important collection of Ethiopian magical and divinatory scrolls. Several catalogues have been published, the details of which are given below.
Or. 481, written in a small elegant character on vellum, dates from the second half of the seventeenth century. It contains the first eight books of the Old Testament (the Octateuch), the four Gospels, numerous short works on church order, canons of Ecumenical Councils and other ecclesiastical works. It is decorated with coloured borders and contains many illustrations. Three Wise Men or Magi, as described in The Gospel according to St. Matthew (British Library Or. 607, f.14v)
This illustrated manuscript, Or. 607, is a copy of Nagara Māryām ነገር ማርያም, the history and miracles of the Blessed Virgin Mary. It is arranged for the twelve months of the year, and is also popularly known as the Gospel of the Mother or 'called in the Egyptian tongue the Little Gospel'. Written on vellum it was copied for ʼĪyāsū II of Ethiopia who ruled from 1730 to 1755.
Our third manuscript, Or. 510, beautifully written on vellum in three columns, dates from 1664-65 and was copied in Gondar, Ethiopia, for King John I, ʼAʼlaf Sagad, and his queen, Sabla Wangēl. The manuscript as a whole demonstrates the use of European models for the illustrations which were inspired by those of A. Tempesta, based on Dūrer, in the Arabic Gospels published in Rome in 1590-91. In the process of copying, perspective was eliminated and the presentation simplified.
Further reading August Dillmann, Catalogus codicum manuscriptorum Orientalium qui in Museo Britannico asservantur. Pars tertia, codices aethiopicos amplectans. London, 1847. William Wright, Catalogue of the Ethiopic Manuscripts in the British Museum Acquired Since the Year 1847. London, 1877. Stefan Strelcyn, Catalogue of Ethiopian Manuscripts in the British Library Acquired Since the Year 1877. London, 1978.
To celebrate our new series of South Asian seminars and especially the focus on food with Neha Vermani's talk this evening Mughals on the menu: A probe into the culinary world of the Mughal elite I thought I would write about our most ʻfoodyʼ Persian manuscript, the only surviving copy of the Niʻmatnāmah-i Nāṣirshāhī (Nasir Shah's Book of Delights) written for Sultan Ghiyas al-Din Khilji (r.1469-1500) and completed in the reign of his son Nasir al-Din Shah (r.1500-1510). We are planning to digitise this manuscript in the near future but meanwhile I hope some of these recipes will whet your appetite.
Recipes for samosas (see below) with illustrations showing cows being milked (right) and Sultan Ghiyas al-Din seated on his throne (left), attended by servants (British Library IO Islamic 149, ff4v-5r)
This beautifully written and illustrated work was composed for the Sultan of Malwa Ghiyas al-Din Shah Khilji who ruled from 1469 to 1500. According to the ʻAdilshahi historian Firishtah[1] this colourful ruler shortly after his accession,
...gave a grand entertainment; on which occasion, addressing his officers, he stated, that as he had during the last thirty-four years been employed constantly in the field, fighting under the banners of his illustrious father, he now yielded up the sword to his son, in order that he might himself enjoy ease the rest of his days. He accordingly established within his seraglio all the separate offices of a court, and had at one time fifteen thousand women within his palace.
These included teachers, musicians, dancers, embroiderers, women to read prayers, and persons of all professions and trades. 500 female Turks, dressed in men's clothes, stood guard on his right, armed with bows and arrows, and on his left, similarly, 500 Abyssinian women also in uniform, armed with firearms. This might seem quite an extravagent description but it is confirmed by the paintings and recipes in the book which describe in detail the methods for cooking luxurious savouries and sweetmeats, for preparing medical remedies, for making perfumes[2] and for going on expeditions, whether in battle or hunting.
The Ni’matnāmah is undated and there are many unanswered questions about the format it has today. The first few leaves have been added later and there is no expected author’s introduction. The main work appears to end on folio 161v and then a new section begins on folio 162v which has the title Kitāb-i Niʻmatnāmah-i Nāṣirshāhī (‘Nasir Shah’s book of delights’). Altogether at least 15 leaves are missing which were extracted at various different times before it was acquired by the East India Company after the fall of Seringapatam in 1799. It seems most likely that the first part of the work at least was written in the latter part of Ghiyas Shah’s reign and then perhaps the second section was added after his son had taken over in 1500. The 50 illustrations demonstrate a fusion of Persian ‘Turkman’ Shiraz influence of the second half of the fifteenth century with a progressively Indic style, especially in the use of colours and the style of the costumes and architecture.
A flavour of the Niʻmatnāmah We are very fortunate in having a published facsimile (albeit black and white) and translation of the Niʻmatnāmah made over the course of several years by Norah Titley after her retirement from the British Library in 1983. Below I quote her translations alongside some of the illustrations.
A recipe for samosas (ff. 4v-5r, see above)
Mix together well-cooked mince with the same amount of minced onion and chopped dried ginger, a quarter of those, and half a tūlcha [a measure] of ground garlic and having ground three tūlchas of saffron in rosewater, mix it with the mince together with aubergine pulp. Stuff the samosas and fry (them) in ghee. Whether made from thin course flour bread or from fine flour bread or from uncooked dough, any of the three (can be used) for cooking samosas, they are delicious. (Titley, p. 4)
Preparation of rice water (British Library IO Islamic 149, f.32r)
A recipe for making broth
Another recipe for the method of pīchha, namely the surplus water that is removed from the cooking pot after cooking rice and separating it. Put mūng pulse into the water and boil it. Chop fresh sandal and take its juice. Put the myrobalan and cardamoms into it and cook it. Put in salt. When it is cooked add some mint leaves and serve it. (Titley, p. 17)
Ghiyas Shah watching preparations for sherbert (British Library IO Islamic 149, f.66r)
A recipe for making sherbet
Another recipe for sherbet: mince coconut and leave it (to soak) in sweetened water. Strain off the coconut milk and, if desired, put the syrup in it and also mangoes if so wished. Then drink it with bhāt and add fresh ginger, onions, lime juice, cardamoms, cloves, pepper, turmeric and fenugreek and flavor it with asafoetida. Then drink it with bhāt [cooked rice or maize]. (Titley, p. 32)
Ghiyas al-Din watches the process of cooking green vegetables (British Library IO Islamic 149, f.79v)
A recipe for cooking greens
Another recipe for green vegetables: boil vine greens in dūgh and water. Then take them off, squeeze them well and open them out and fan them. Then having roasted and ground cumin, salt and sesame seeds, add them. (Titley, p.38)
The qualities of that tanbūl are that the teeth are strengthened, diseases of the tongue, lips, gullet, throat and windpipe are prevented, as is inflammation of the chest. All the foregoing diseases are prevented and the intellect is strengthened, the eyes made bright, the quality of hearing is improved, the nose is purified, halitosis is banished and all illnesses are repelled. Hair becomes longer and shinier and is strengthened, broken bones mend and food that is bound up in the stomach is dissolved and digestion of food is assisted. Phlegm is prevented, the stomach is soft and an appetite for food is enhanced and it makes for a life of beauty and chastity. Coarse wind that may be in the stomach is relieved. It is astringent so bile and excess blood are decreased and phlegm is prevented. Blood is purified, ejaculation is delayed, gripes are cured and the stomach is tightened. If it is rubbed on the skin of the body, leprosy is driven away and the colour of the skin is made white and bad odours are prevented. It is the jewel of the mouth, the mouth is purified and the ardour of passion is increased. (Titley, p.50)
This universal panacea is followed by a list of 57 separate ingredients consisting of flowers, herbs, nuts and spices.
Left: Ghiyas al-Din on a hunting expedition (IO Islamic 149, f.159r) Right: perfumes being distilled (IO Islamic 149, f.111v)
The history of the Niʻmatnāmah The details of what happened to the Niʻmatnāmah between the time of its completion ca. 1500 and its arrival in London after the fall of Seringapatam in 1799 are far from clear. However there are some facts of which we can be certain. An inscription on folio 196v mentions that the manuscript was inspected on 24 Sha’ban 978 (21 Jan 1571). Unfortunately there isn't any indication of where this was done.
Flyleaf with the abraded circular seal of Sultan Muhammad ʻAdil Shah, r.1627–1657 (British Library IO Islamic 149, f.Ir)
Another inscription on folio 1r reads: “Niʻmatnamah on the science of medicine in naskh writing, in a red binding, from the possession of Malik Almās, entered the court library on 22 Rab I 1044 (15 Sept 1634)”. A similar inscription, dated eight days later, occurs on the flyleaf (above). These were previously thought to be Mughal inscriptions but the wording is identical to inscriptions used by the ʻAdilshahi librarians. Moreover the large circular seal on the flyleaf can now be identified conclusively as the circular seal of Sultan Muhammad ʻAdil Shah who ruled in Bijapur from 1627-57. The seal itself is not very clear but can be read by comparing it with a better preserved copy on a manuscript from Bijapur. It contains the sajʼ (coin legend in verse): Dārad az luṭf-i ḥaqq sar afrāzī Sulṭān Muḥammad Shāh ghāzī “By the grace of God he has eminence, Sultan Muhammad Shah the conqueror.”
The second smaller seal has so far defied interpretation! However there is no reason to think it is a Mughal seal nor that the manuscript has in fact any Mughal connection at all.
Sultan Muhammad ʻAdil Shah's seal (British Library Bijapur 207, f.1r)
As for the previous owner Malik Almas, there was someone of this name in Golconda who died in 1674. He served as a steward of Sultan Muhammad Qutb Shah (r.1580-1612) and in the reign of Sultan ʻAbd Allah (1626-72), he became superintendent of buildings[3]. In 1633 Muhammad ʻAdil Shah married Sultan ʻAbd Allah's sister, Khadija Sultana, so if this the same Malik Almas, a possible scenario might be that the Niʻmatnāmah came to Bijapur from Golconda with Khadija, perhaps as a wedding present?
From Bijapur the manuscript was acquired by Tipu Sultan and came as part of his collection to the Library of the East India Company in Leadenhall Street, London between 1806 and 1808. Unfortunately there doesn't seem to be any identifiable record of it in the contemporary lists of Tipu's Library (see my earlier blog Revisiting the provenance of the Sindbadnamah) nor in the printed catalogue of the collection by Charles Stewart (A Descriptive Catalogue of the Oriental Library of the late Tippoo Sultan of Mysore. Cambridge, 1809).
Further reading Norah M. Titley, The Niʻmatnāma Manuscript of the Sultans of Mandu. London, 2005. Jeremiah P. Losty, The Art of the Book in India. London, 1982, no. 41.
I am grateful to colleagues Saqib Baburi and Keelan Overton for discussing some of the problems with me. Ursula Sims-Williams, Asian and African Collections
Today's post is from guest contributor and regular visitor to Asian and African Collections, Sunil Sharma, Professor of Persianate and Comparative Literature at Boston University
British Library Or.7094 is an illustrated copy of the late Ottoman Turkish poetic work, Fazıl Enderunlu’s Zenanname (ʻBook of Womenʼ), which describes the positive and negative qualities of the women of the world along with satirical and moralistic parts at the end. The text is a poem in mesnevi form that was completed in 1793. I became interested in this work because typologies of women began to appear in Mughal and Safavid poetry and painting in the seventeenth and eighteenth centuries and there was the possibility of doing comparative scholarship across Persianate cultures.
The opening of the Zenanname by Fazıl Enderunlu (British Library Or.7094, ff.1v-2r)
The British Library copy of the Zenanname appears to be dated 1107 (1695/96)[1], but this is obviously a mistake since it wasn't completed until almost a century later. Additionally, Norah Titley (see below, pp.39-40), points out that there is a historical anachronism with respect to the earlier date because “the French woman in folio 43r is wearing a costume connected with the French revolution, i.e. post-1793”. The manuscript includes thirty-eight paintings[2], and all but the first and last two depict women of various ethnicities and nationalities. Another almost identical copy of this work is located in Istanbul[3]. The text was printed numerous times in the nineteenth century, albeit without illustrations, and has been fully or partially translated into modern Turkish, French, and English, though none of these are entirely faithful or idiomatic.
French woman in a costume of the French Revolution (British Library Or.7094, f.43r)
The women in the Zenanname represent every type known to the Ottomans from their empire and beyond. The paintings show women who are from a particular place or part of a community, comprising Indian, Persian, Baghdad, Sudan, Abyssinia, Yemen, Maghrib, Tunisian, Hijaz, Damascus, Syrian, Anatolian, the Aegean Islands, Spanish, Istanbul/Constantinople, Greek Christian, Armenian, Jewish, Gypsy, Albanian, Bosnian, Tatar, Georgian, Circassian, Christian, German, Russian, French, English, Dutch and American (from the New World). Not all of these women are praised by Fazıl, some are lampooned for their sexual behavior or nature in misogynistic terms. In these verses on the Englishwoman, translated by the Ottoman literature scholar E.J.W. Gibb - to whom this manuscript previously belonged -, the poet celebrates the beauty of this type (Gibb, pp. 241-2):
O thou, whose dusky mole is Hindustan, Whose tresses are the realms of Frankistan! The English woman is most sweet of face, Sweet-voiced, sweet-fashioned, and fulfilled of grace. Her red cheek to the rose doth colour bring, Her mouth doth teach the nightingale to sing. They all are pure of spirit and of heart; And prone are they unto adornment’s art. What all this pomp of splendor of array! What all this pageantry their heads display! Her hidden treasure’s talisman is broke, Undone, or ever it receiveth stroke.
Right: an English woman carrying a basket of flowers and wearing a tall green hat, similar in shape to the Welsh national hat Left: Dutch woman with her hands in a muff, against a snow-covered landscape (British Library Or.7094, ff.43v-44r)
The Zenanname was actually a companion volume to a work Fazıl Enderunlu composed first, the Hubanname (Book of Beauties), in 1792-93, which is a catalogue of the boys of the world[4]. The text of these works is related to the şehrengiz genre (shahrashub in Persian), although much more sexually explicit. Most şehrengiz poems of this kind described the young lads of a city, but there was at least one Ottoman Turkish poem written in the sixteenth century on women, the prostitutes of Istanbul, by ‘Azizi. The images in the Zenanname, on the other hand, are related to the genre of costume albums produced in the sixteenth and seventeenth centuries[5].
Fazıl Enderunlu, also known as Fazıl Bey, was initially employed at the Ottoman court as a poet but was let go from his position after being implicated in a romantic scandal. He found patrons outside the court for his later works in order to “try to accommodate and gratify the interests and literary tastes of a socially and culturally diverse network of men and women” (Hamade, p. 155). The reception of Fazıl’s works alternated between a great deal of popularity in the nineteenth century to being suppressed at various times.
A woman of Istanbul wearing high pattens (nalın), Rumeli Hisar (?) in background (British Library Or.7094, f.28v)
A woman of the ʻNew Worldʼ (British Library Or.7094, f.44v)
Two of the paintings that show groups of women, rather than individuals, are recognizable and they, or their counterparts in the Istanbul copy of the manuscript, have been reproduced quite frequently. Both depict people from the new bourgeois classes who are engaged in various activities in non-courtly spaces. One of these is found on f.7r and is described thus by Titley:
General view of women taking their recreation in a park. Includes one woman smoking, another on a swing, others entertained by musicians (def and fiddle players) who have a monkey. Bostanci wearing blue şalvar and a red barata. Women are wearing entaris and feraces with kuşaks and takkes. Kiosks, water and fountain in the background and a covered ox-cart.
Women relaxing in a park (British Library Or.7094, f.7r)
The interest in showing people of different backgrounds and classes “mixing and mingling in the private gardens of the capital” is corroborated by other paintings from this period (Artan & Schick, p.160), and especially “from the last quarter of the sixteenth century onwards, crowded picnic scenes in the countryside show men and women--including some amorous couples--enjoying food, drinks, and music” (p.161). Paintings showing women in a hamam and the male residents of a neighbourhood outside a brothel depict the activities of ordinary people. Unfortunately the hamam scene (f.49r) is now missing from this manuscript[2] but the corresponding scene in the Istanbul manuscript is reproduced quite often in published scholarly works and on the internet as a visual document of Ottoman social history.
Scene outside a brothel at night. Two women looking out of windows. Seventeen men thronging the area outside, two knocking on the doors (British Library Or.7094, f.51r)
Gibb was not impressed by Fazıl’s poetic skills, but he appreciated the distinctive nature of his work in which, he wrote, “we have not only the revelation of a marked individuality, but the veritable treasury of the folk-lore of the author’s age and country” (Gibb, p.223). The paintings in this manuscript have brought attention to this text, but Fazıl’s works await a detailed study in their proper cultural and historical context. Indeed, there is no literary work quite like it in any courtly Persianate tradition.
I would like to thank Ursula Sims-Williams for her observations on the dating of this manuscript and Sooyong Kim for his insights into the text as a literary work.
Sunil Sharma, Boston University
Further reading Walter Andrews and Mehmet Kalpaklı, The Age of Beloveds. Durham: Duke University Press, 2005. Tülay Artan and Irvin Cemil Schick, “Ottomanizing pornotopia: Changing visual codes in eighteenth-century Ottoman erotic miniatures,” Eros and Sexuality in Islamic Art, ed. Francesca Leoni and Mika Natif. Farnham: Ashgate, 2013, pp. 157-207. E.J.W. Gibb, A History of Ottoman Poetry. Vol. IV, ed. E.G. Browne. London: Luzac & Co, 1905. Shirin Hamade, The City’s Pleasures: Istanbul in the Eighteenth Century. Seattle: University of Washington Press, 2008. Norah M. Titley, Miniatures from Turkish Manuscripts: A Catalogue and Subject Index of Paintings in the British Library and British Museum. London: British Library, 1981.
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[1]Norah Titley actually gives the date as 1190 (1776/77) but that is too early. It looks more like 1107 and must just be a careless mistake, perhaps for 1207. [2] Originally there were 40 illustrations but two were regrettably stolen some years ago: f.46v: “Birth of a baby in a Christian household” and f.49r: “Scene of women in a hammam.” [3] T. 5502, Istanbul University Library. Titley notes yet another copy dated 1790, with a single painting of a Jewish woman, in the British Museum, 1946.0209.0.1. [4] For a painting from this manuscript see Folio from a Hubanname (the Book of the fair) by Fazil-i Enderuni (d. 1810). [5] For more on this topic, see William Kynan-Wilson: A Turkish Souvenir: The Dryden Album and Anglo-Ottoman Contact.
In tonight’s episode of Treasures of the British Library (Sky Arts, 21.00 Tuesdays), Julia Donaldson, writer and author of The Gruffalo, talks to Dr Muhammad Isa Waley about one of our most engaging Persian manuscripts, a copy of the Anvār-i Suhaylī or ʻLights of Canopusʼ - the brightest star in the southern constellation of Carina - which was copied for the Mughal Emperor Jahangir (r. 1605-27).
The decorated opening of the Anvār-i Suhaylī, completed in 1610/11 (Add.MS.18579, ff.2-3)
The Anvār-i Suhaylī, is a 15th century version of a story of two jackals, Kalilah and Dimnah, by the Timurid author Ḥusayn Vāʻiz̤ Kāshifi. It is based on a collection of interrelated fables, mostly about animals, set within a frame story, which became best known in the West as the Fables of Bidpai and was first published in English in 1570 as The Morall Philosophie of Doni.
The fables owe their origin to India where they are best known in Sanskrit as the Panchatantra, but it was largely through the Arabic translation by Ibn al-Muqaffāʻ (died c. 757) that they became so popular in Persian. The story describes how the Sasanian king of Iran, Anushirvan (Khusraw I, r. 531-579), heard of a book treasured by the kings of India which had been compiled from the speech of animals, birds, reptiles and wild beasts. Anushirvan sent his physician Burzuyah on a mission to India to discover the book and Burzuyah returned with a copy which he translated into Middle Persian. The original translation is lost but the stories were re-translated into Arabic and Syriac, and then from Arabic into Persian and other languages.
At the end of the 15th century the Timurid Sultan Husayn Mirza Bayqara (r.1469-1506) asked Ḥusayn Vāʻiz̤ Kāshifī to produce another, simplified, version in Persian and it was this which subsequently became the most popular, especially with the Mughal Emperors in India who commissioned several luxurious copies.
The eloquent crow successfully persuades the assembly of birds not to elect the owl as their leader. Artist: Ḥusayn (Add.MS.18579, f.201v)
The manuscript featured in Julia Donaldson's programme was created for the Mughal Emperor Jahangir and completed in AH 1019 (1610/11) though its 36 miniatures were probably painted earlier while Jahangir, as Prince Salim, held court in Allahabad. The paintings are mostly ascribed to well-known Mughal artists and two are personally dedicated to Prince Salim and dated AH 1013 (1604/5).
As in the story of the Gruffalo, a mouse hero features several times in the Anvār-i Suhaylī (see our blog The Cat and the Rat: a popular Persian fable). To mark the programme we have selected a few of the other stories to illustrate the charm of this ever popular work. This manuscript has now been digitised and you can read the whole work here.
The story of the young falcon (watching from the rocks) who usurped the position of the king's favourite falcon. This painting is dated AH 1013 (1604/5) and signed by the artist Aqā Muḥammad Riz̤ā who describes himself as the ‘disciple of padshah Salim’ (Add.MS.18579, f.36r)
In this illustration to the story of the lion and the hare, the clever hare reports to the ferocious but stupid lion that the reason he was late for his appointment to act as the lion's dinner was because he had been delayed by an even more ferocious lion. The lion asked to be taken to this potential rival and the hare took him to a well. On seeing his own reflexion the lion jumped in and drowned. Artist: Durga (Add.MS.18579, f.77v)
The duplicitous jackal Dimnah tricks the ox Shanzabah into thinking that his ally the lion has turned against him and is about to eat him (Add.MS.18579, f.87v)
Two sandpipers had built their nest by the sea. When the sea carried their young away they complained to the other birds. Their king, the Simurgh, collected a huge army together and forced the sea to give the young birds back, thereby humiliating him — the moral being that one neglects even the humblest creature at one’s own cost (Add.MS.18579, f.104r)
The story of the king of Yemen and his servant who stole a golden dish but was ultimately forgiven. Artist: Aqā Riz̤ā (Add.MS.18579, f.331v)
In a recent post in our Medieval Manuscripts blog (Every People Under Heaven), Cillian O'Hogan wrote about the early 13th century Harley Greek Gospels and the 12th century Melisende Psalter and its ivories which are currently on display at the Metropolitan Museum of Art in a stunning exhibition Jerusalem 1000-1400: Every People Under Heaven. With some 200 exhibits from 60 lenders from all over the world, the exhibition tells the story of Jerusalem, a polyglot city and cultural centre during the Crusades, the rule of the Ayyubids and the Mamluk Empire. In this post I will highlight one of our Arabic loans, Add.MS.11856, a translation of the four Gospels, copied in Palestine in 1336.
Double page opening to the Gospel of St. Matthew. Palestine, 1336 (BL Add.MS.11856, ff. 1v-2r)
Portrait of St. Matthew followed by the translator's prayer and introduction to the Gospel of St. Matthew. Palestine, 1336 (BL Add.MS.11856, ff. 2v-3r)
Although the Bible may have been translated into Arabic as early as the late seventh century, it was during the eighth and especially the ninth centuries that translations were made under Christian patronage. These were produced in the multilingual monastic communities of Palestine. The earliest surviving dated manuscript of the Gospels in Arabic is dated 859 and is in the library of the Monastery of St. Catherine at Mount Sinai (Griffith, p. 113). In his 'Abridged List of the Arabic Gospel Manuscripts' Hikmat Kashouh (below, pp. 55-8) lists 18 copies in the British Library collections of which the oldest, Add.MS.14467, dates from the 10th century. Add.MS.11856 is a copy of what became known as the Arabic Vulgate version which, translated from Greek, Syriac and Coptic, developed by the 13th century and remained the standard Arabic version until modern times.
Opening to the Gospel of St. Mark. Palestine, 1336 (BL Add.MS.11856, f. 59r) Portrait of St. Mark. Palestine, 1336 (BL Add.MS.11856, f. 59v)
Our manuscript, Add.MS.11856, was completed on 20 Jumada I AH 737 (25 Dec. 1336) and includes four portraits of the evangelists, a double page illuminated heading at the beginning and three single page headings at the start of the following Gospels. The copyist was Yūsuf ibn Walī al-Dawlah Mīkhāʼīl ibn Faḍl Allāh, the Treasury scribe (kātib al-khizānah). Originating in Palestine, the manuscript had various owners, one being the early Albanian writer and national hero Peter Bogdani (ca. 1630-89), Archbishop of Skopje and alumnus of the Collegio di Propaganda Fide, Rome, to which he subsequently presented it. It was acquired in 1841 by the British Museum as part of the collection of Samuel Butler (1774-1839), Bishop of Lichfield.
Opening to the Gospel of St. Luke. Palestine, 1336 (BL Add.MS.11856, f. 95r)
Portrait of St. Luke. Palestine, 1336 (BL Add.MS.11856, f. 95v)
Perhaps the most striking feature of this manuscript is its illumination and decoration which clearly demonstrate the cosmopolitan nature of the community in which it was written. Each Gospel is introduced by a portrait of its author holding a copy of the book, but whereas these portraits are based on Byzantine models, the opening and the introductory leaves to each Gospel are richly decorated in a carpet page design - so called because of its close resemblance to intricately woven carpets - which is in keeping with Qur'ans dating from the Mamluk period. The opening of each Gospel consists of two illuminated bands containing the title above and below while the central panel is filled with an abstract geometrical pattern. Decorative rosettes in the margins complete the design.
Opening to the Gospel of St. John. Palestine, 1336 (BL Add.MS.11856, f. 157r)
Portrait of St. John. Palestine, 1336 (BL Add.MS.11856, f. 157v)
The exhibition Jerusalem 1000-1400: Every People Under Heavenis open at the Met. until 8 January 2017. If you don't have the opportunity to go in person, there is a detailed catalogue available by the exhibition curators Barbara Drake Boehm and Melanie Holcomb.
This manuscript has now been digitised and will shortly be available on our Digitised Manuscripts site, so watch this space for more details!
Further reading
W. Cureton and C. Rieu, Catalogus codicum manuscriptorum orientalium qui in Museo Britannico asservantur. Pars secunda, codices arabicos amplectens.London: British Museum, 1846-71, pp. 11-13. Barbara Drake Boehm and Melanie Holcomb, Jerusalem, 1000-1400 : every people under heaven. New York: The Metropolitan Museum of Art, 2016. Hikmat Kashouh, The Arabic Versions of the Gospels: the Manuscripts and their Families, Berlin: De Gruyter, c2012. Sidney H. Griffith, The Bible in Arabic: the Scriptures of the "People of the Book" in the Language of Islam. Princeton: Princeton University Press, c2013.
Ursula Sims-Williams, Asian and African Studies, with thanks, for help, to Colin Baker
