In June 2019, I shared with you the British Library’s beautifully illustrated copy of the Hamse-yi Atayi, which included copious illustrations of same-sex desire. In that post, I had the opportunity to tease out how we see and interpret homosexual love and sex in pre-modern Ottoman literature, and what that says about our worldview today. Of course, Atayi’s Hamse is far from the only work of Ottoman literature that speaks to this topic. I would be remiss if I did not make use of LGBT+ History Month to highlight another item that helps queer our collections.

A view of Palace activities in the late 18th century taken from an illustrated copy of Enderunlu Fazıl Bey's Zenanname. (Enderunlu Fazıl Bey, Zenanname, 1190 AH [1776-77 CE], Turkey. Or 7094, f 7r) 

Frequent readers and fans of our blog might remember Dr. Sunil Sharma’s particularly popular post from November 2016 on the Zenanname, an Ottoman Turkish book on the women of the world penned by Enderunlu Fazıl Bey. The Zenanname is far from a work of women’s lib or a celebration of female feats and triumphs. Rather, it encapsulates an essentialist take on the characteristics of various women, their weaknesses and strengths, and constructs rigid typologies around class and country. Exceptionally misogynist at times, this literary piece was clearly destined for male readers. As Dr. Sharma points out, the Zenanname is actually a companion piece to the Hubanname, an earlier work by Enderunlu Fazıl Bey, which discusses the qualities of the beautiful young men of the world. This latter poem falls into a category of literature known as the şehrengiz, works on the beauties of various cities.

Who was Enderunlu Fazıl Bey? Although no definitive date can be found for his birth, he is believed to have been born in the 1750s or 60s in the city of Akka, Liwa of Safad, Ottoman Palestine (today Acre, Israel) to a family both well-placed in the Ottoman bureaucracy, and with a rebellious streak against central authority. His given name was Hüseyin, but he took the mahlas or poetic pseudonym Fazıl, as well as the qualifier Enderunlu or Enderunî because of his education in the Enderun. This was the interior court of the Ottoman imperial bureaucracy, destined to service the imperial family, and was located inside Topkapı Palace. He was ejected from the Palace in 1783-84 for his behaviour and spent more than a decade in destitution in Istanbul before seeking out Selim III’s beneficence. He wrote poetry to curry the Sultan’s favour, and also took positions in Aleppo, Erzurum and Rhodes. It was in this last location that Fazıl Bey lost his sight, which eventually resulted in his return to Istanbul, where he died in 1810. His grave can today be found in the municipality of Eyüp.

The opening of a combined version of the Hubanname and the Çenginame, a work on the male dancers of Istanbul. ([Collected Works of Fazıl Bey Enderuni], 19th century, Turkey. Or 7093, f 1v)

What was the behaviour that resulted in Fazıl Bey’s expulsion from the Palace? Sabahattin’s article in the Türk Diyanet Vakfı İslâm Ansiklopedisi claims it was “addiction” or "fixations" (“düşkünlük”) and "love affairs" ("aşk maceraları"). Love and eroticism, indeed, are key themes in his poetry, and large motivators for his fame today as a poet. This history of same-sex desire is part of the reason for the poet’s appropriation today by some LGBTQI activists in Turkey, as well as the interest of various Ottoman literary scholars in Turkey and abroad. The Hubanname is perhaps the best example of this orientation in Fazıl Bey’s work.

The opening text of Fazıl Bey's Hubanname. ([Collected Works of Fazıl Bey Enderuni], 19th century, Turkey. Or 7095, ff 47v-48r)

The British Library holds three copies of the Hubanname text. It can be found in Or 7093 and Or 7095, both of which are collections of Fazıl Bey’s works, as well as Or 7083, a mecmua also containing the works of Atıf Mustafa Efendi and Hazık Mehmet Erzurumi. Sadly, none of the British Library’s holdings are illustrated, which provides a disappointing contrast to both the exquisite illustrations of the Zenanname (Or 7094), and to the paintings in copies of the Hubanname in other collections. For those readers who understand Turkish, there is a wonderful video from December 2019 of Dr. Selim S. Kuru describing and analyzing a number of images from the copy held at the Library of İstanbul Üniversitesi. The text-heavy works present in the British Library collections were all bequeathed by E. J. W. Gibb, whose six-volume A History of Ottoman Poetry has long been a foundational text for Anglophone studies of Ottoman literature. As Sharma has pointed out, Gibb was not a fan of Fazıl Bey’s skill as a poet, but he did give him credit for the originality of his work, and for the use and adaptation of popular poetry within his own oeuvre.

Gibb’s lack of appreciation is far from surprising, especially when we consider his disdain for Atayi’s bawdy tales. This disapproval, nonetheless, is hard to square with our own sensibilities or, perhaps, those of Fazıl Bey’s contemporaries. As Dr. İrvin Cemil Schick explains, homoerotic themes were far from rare in Ottoman literature, including descriptions of sexual acts, which are absent from the current work. The author’s decision to depart from the usual şehrengiz template and to describe the young men of the world by ethnicity and characteristics, on the other hand, is both his claim to fame, and the area in which Fazıl Bey might have found himself in hot water today. For several years, intense discussion within the gay community, as well as other groups under the LGBTQI umbrella, have focused on the prevalence and impact of implicit and explicit racism. Some of the descriptions included in the Hubanname would be sure to raise eyebrows, even if the ridiculousness of the broad brush strokes employed might also elicit a few chuckles.

The end of the description of Jewish men, and the one on Roma youths, from the Hubanname. (Enderunlu Fazıl Bey, Hubanname, 1210 AH [1795 CE], Turkey. Or 7083, ff 54v-55r)

In his presentation, Kuru focuses on the Hubanname’s exposition of the young men of Istanbul, where Greeks, Armenians and Jews are the first up for examination. Fazıl Bey is much taken with Greek men, claiming that they are the most beautiful of their peers. Nonetheless, these “roses” have peculiar accents, and their pronounced sibilants and confusion between sīn and shīn leave much to be desired. Armenians come next, charming Casanovas of the capital, followed up by Jewish men, who feel the poet’s particular wrath. While some light-skinned Jews take his fancy, our wily and fickle ways, and, apparently, horniness, make us “enemies to all nations”. Afterwards come the Roma, whose young men, with their dark features, are pretty, lithe, musically-inclined, commercially-oriented, and totally untrustworthy; which is why, Fazıl Bey tells us, they are unsuited to love. The list of Istanbul’s communities continues: Rumelians, Tatars, Bosniaks, Albanians, Georgians, and Circassians. These are surrounded, both before and after, by descriptions of men from other communities outside of Istanbul: Persians, Baghdadis, Damascenes (faces white as wax), Hejazis, Moroccans, Algerians (iron-hard, whether young or old), Ethiopians (lusty, strong, and charming), Black men (diamonds, coral, eyes of love), Frenchmen, Englishmen, Russians, Germans, Spaniards (each one exceptional in his beauty), and even the Indigenous peoples of the Americas (big-mouthed and wide-faced).

Description of Black men and Ethiopian ones, from the Hubanname. (Enderunlu Fazıl Bey, Hubanname, 1210 AH [1795 CE], Turkey. Or 7083, ff 43v-44r)

Fazıl Bey’s sharp-tongued review of the gifts and flaws of the world’s most beautiful young men feels like a late 18^th-century Ottoman drag act, complete with the zingers you’d expect from a vicious queen taking hold of the stage for an evening’s roast. They could be dismissed as mere fun, or even as personal preference. But the truth is that some of his phrasing and stereotyping cuts close to home for those of us who have been both victims and guilty of the typecasting and casual racism of the gay dating scene. As much as Fazıl Bey’s Hubanname is a testament to the forms of same-sex desire in different times and places, it’s also a showcase of how sex, stereotype, and prejudice can easily blend into one hot sticky mess.

This LGBT+ History Month, revisiting the Hubanname lets us delve into the history of same-sex desire in the Ottoman Empire. It can also help us reflect on the power dynamics encoded in our own gaze. Enderunlu Fazıl Bey might have been maligned for his sexuality, but he was also still part of the Ottoman elite. His work, and others like it, is an opportunity for us all to problematize the boundary between predilection and prejudice, preference and persuasion. At the end of the day, love is love, and sex is sex, and they should be available to all, without detriment to one’s dignity or human worth.

Dr. Michael Erdman, Turkish and Turkic Curator

Further Reading and Listening:

Çil, Okan, “Osmanlı'nın eşcinsel şairi: Enderunlu Fâzıl”, Duvar Gazete, 21 October 2019. Last accessed: 10 January 2020. <https://www.gazeteduvar.com.tr/kitap/2019/11/21/osmanlinin-escinsel-sairi-enderunlu-fazil>

Kücük, Sabahattin, “Enderunlu Fâzıl: Mahallîleşme eğilimini ileri bir safhaya götüren divan şairi”, Türk Diyanet Vakfı İslâm Ansiklopedisi. Last accessed: 6 January 2021. <https://islamansiklopedisi.org.tr/enderunlu-fazil>

Schick, İrvin Cemil, “Representation of Gender and Sexuality in Ottoman and Turkish Erotic Literature,” The Turkish Studies Association Journal, 28:1/2 (2004), pp. 81-103. <https://www.jstor.org/stable/43383697>

For the Ottoman History Podcast based on Schick’s study of eroticism in Ottoman literature, see here.

Yılmaz, Ozan, “Enderunlu Fazıl Divanı’nda Yahudilikle İlgili Unsurlar ve Andnâme-i Yehûdî-Beçe”, Türkbilig, 22 (2011), pp. 1-30. <https://dergipark.org.tr/tr/download/article-file/990142>

The Hubanname was most recently published in translation into modern Turkish by SEL Yayncılık. The work was translated by Reşit İmrahor, an alias that has been employed by a number of authors and translators for more than 30 years.

The British Library’s collections of manuscripts from the Islamic world of Southeast Asia were largely formed during the early 19th century by officials in the service of the East India Company. These early colonial philologists eagerly sought out original literary, historical and legal texts composed in local languages such as Malay, Javanese and Bugis, but paid little attention to the rich corpus of writings in Arabic, constituting the bedrock of Islamic scholarship in the region. Manuscripts of the Qur’an, commentaries and prayerbooks were usually ignored, being regarded as poor copies of canonical texts already well known from multiple ‘better’ and older prototypes from the Middle East.

Heading for the first chapter of the Qur’an, Surat al-Fatihah, revealed in Mecca, in a manuscript from Patani or Kelantan, 19th century. British Library, Or 15227, f. 3v (detail).

As a result of this narrow range of bibliographic interests, there are very few Qur’an manuscripts from Southeast Asia in British public collections. Indeed, until the late 20th century, only three complete copies of the Qur’an from the Malay world were known to be held in the UK: two in the British Library from Java, from the John Crawfurd collection, and one in the Royal Asiatic Society, possibly also from Java (Arabic No. 4), which is of particular interest as it includes a full interlinear translation in Malay. Over the past few decades, however, a few more examples have been acquired by the British Library, which now holds eight complete Qur’an manuscripts from Southeast Asia, representing three regional styles: from the East Coast of the Malay peninsula, Aceh and Java. All eight manuscripts have now been digitised, and can be accessed through the British Library's Digitised Manuscripts portal.

The East Coast of the Malay peninsula is home to two closely-linked schools of manuscript art, one based in Terengganu and the other to the north, centred on the Malay kingdom of Patani, now part of Thailand. While Terengganu produced the finest illuminated Qur’an manuscripts in the whole of Southeast Asia, in a class of their own in terms of sumptuousness and technical finesse, Patani Qur’ans are notable for their artistry and perfect judgement of proportion and presentation on the page. An exquisite small Qur’an in the British Library, Or 15227, combines certain characteristically Patani motifs with regular repeating floral and foliate motifs and deep dark pigments reminiscent of Terengganu production.

Illuminated frames at the start of a Qur’an, enclosing Surat al-Fatihah on the right-hand page and the beginning of Surat al-Baqarah on the left, probably from Patani or Kelantan, 19th century. British Library, Or 15227, ff. 3v-4r.

The highly distinctive and easily recognizable Acehnese style of illumination is represented by three Qur’an manuscripts in the British Library. One manuscript, Or 16915, is indeed an exemplar of this artistic school, and is illuminated throughout with three double decorated frames and with each thirtieth part (juz’) and divisions thereof highlighted with marginal ornaments. The two other manuscripts are simpler creations, but both were also produced with decorated frames marking the beginning, middle and end of the Qur’anic text, although Or 16034 is now missing a few folios from the beginning. The third manuscript, Or 15604, has three pairs of double monochrome frames. These should not be regarded as ‘unfinished’ examples of manuscript art, for so many Qur’an manuscripts from Aceh with monochrome decoration can be found that this should be regarded as a standard variant of the Acehnese style. Neither of these two other Aceh Qur’ans have marginal ornaments for each juz’ or subdivisions of juz' similar to those found in Or 16915.

Illuminated frames at the start of a Qur’an from Aceh, ca. 1820s. British Library, Or 16915, ff. 2v-3r.

Illuminated frames in the middle of a Qur’an from Aceh, marking the start of juz’ 16 (Q. 18:75), 19th century. British Library, Or 16034, ff. 119v-120r.

Monochrome decorated frames at the end of a Qur’an from Aceh, enclosing the final two chapters, Surat al-Falaq and Surat al-Nas, 19th century. British Library, Or 15406, ff. 313v-314r.

The remaining four Qur’an manuscripts are from Java. As noted above, two are from the John Crawfurd collection and were hence aquired in Java before Crawfurd left the island in 1816. Both are copied on dluwang, Javanese paper made from the beaten bark of the mulberry tree, and both are relatively plain bibliographic productions. The decorated frames are executed simply in black and red ink, and illustrate a quintessentially Javanese architectural preference for superimposing diamond shapes upon a series of rectangles.

Simple diamond-rectangle double frames in black ink, at the start of a Qur’an from Java, 18th-early 19th century. British Library, Add 12343, ff. 1v-2r.

Decorated double frames in red and black ink, at the start of a Qur’an from Java, 18th-early 19th century. British Library, Add 12312, ff. 1v-2r.

Both the Crawfurd manuscripts probably date from the late 18th century or very early 19th century. A third Qur’an manuscript from Java probably dates from the second half of the 19th century. It is written on European paper, and has no ornamental features. The hand could not be described as good, but care has been taken with the normal Qur’anic conventions of page layout, text frames, red ink surah headings and verse markers, and the ruled extended sin-mim ligature in the word bismillah. Care has also been taken to check (tashih) the text, and errors and omissions noticed have been rectified, as shown in the image below.


Start of Surat Tatfif (Q. 83) in a Qur’an manuscript from Java, 19th century. British Library, Or 16877, f. 312v (detail).

The final Qur’an manuscript is from the island of Madura, off the northeast coast of Java, and is copied on dluwang. It is calligraphically one of the most impressive manuscripts in this group, written in a strong, stylish, cursive hand with a pronounced forward slope, and sweeping bowls of letters. There are striking decorated frames at the beginning, middle and end of the text. However, as has been discussed in a published article (Gallop 2017), this is an example of the commonly-encountered phenonmenon of ‘enhancement’, whereby original but essentially plain 19th-century Qur’an manuscripts from Java have had polychrome decoration added in the late 20th or early 21st century in order to raise the commercial value of the book.

Opening pages of a 19th-century Qur’an manuscript from Madura, with illuminated frames added in the late 20th century. British Library, Or 15877, ff. 1v-2r.

Opening lines of Surat al-Kahf (Q. 18), written in a stylish cursive hand, in a Qur’an manuscript from Madura, 19th century. Or. 15877, f. 146v (detail).

All eight Qur’an manuscripts from Southeast Asia in the British Library have now been digitised, and are listed below with hyperlinks to the digitised copies. The small Patani Qur’an, Or 15227, was in the first group of Southeast Asian manuscripts in the British Library to be digitised in 2012 with funding from the Ginsburg Legacy, while the Aceh Qur’an Or 16915 was digitised soon after its acquisition by the British Library in 2014. The other six Qur’an manuscripts were digitised through the support of William and Judith Bollinger in a project in collaboration with the National Library of Singapore, 2013-2019.

Southeast Asian Qur’an manuscripts in the British Library

Add 12312 Qur’an, from Java, 18th-early 19th century
Add 12343 Qur’an, from Java, 18th-early 19th century
Or 15227 Qur’an, from Patani or Kelantan, 19th century
Or 15406 Qur’an, from Aceh, 19th century
Or 15877 Qur’an, from Madura, 19th century, with late 20th century decoration
Or 16034 Qur’an, from Aceh, 19th century, lacking beginning
Or 16877 Qur’an, from Java, 19th century
Or 16915 Qur’an, from Aceh, ca. 1820s

Further reading
Colin F. Baker, Qur’an manuscripts: calligraphy, illumination, design (London: The British Library, 2007).
A.T. Gallop, Fakes or fancies? Some ‘problematic’ Islamic manuscripts from Southeast Asia. Manuscript cultures, 2017, 10: 101-128.

Blog posts and web pages
Qur'ans in the British Library
An illuminated Qur'an manuscript from Aceh, 24 March 2014
Qur'an manuscripts from Java, 28 April 2015

Annabel Teh Gallop, Lead Curator, Southeast Asia

The Nativity of Jesus from an apocryphal text first written in Coptic in the 5th century. The full text only exists in the Ethiopian version. This 18^th-century MS has 265 illustrations and was written for King Iyasu. The Holy Family is often depicted fleeing the persecution of Herod. (ነገር ማርያም [Nagara Māryām / History of Mary], Ethiopia, 18^th century. Or 607, f 17r)

Travelers, missionaries and military officials active within Ethiopia enabled western collectors to continually acquire manuscripts from the region since the fifteenth century. The exact number of such manuscripts housed within collections outside of Ethiopia cannot be determined. Nevertheless, many were acquired by European Cultural Institutions via donation, bequest, official transfer and commercial purchase. The three most significant of these bodies are the Biblioteca Apostolica Vaticana in Rome, the Bibliothèque Nationale de France in Paris and the British Library in London possessing a combined holding of two thousand seven hundred Ethiopian manuscripts.

Illustration of one of the most venerated martyrs in the Ethiopian Church, the child St. Kirkos & his mother St. Iyalota. (ገደለ፡ ቅዱስ፡ ቂርቆስ [The Acts and Miracles of Cyricus], Ethiopia, 18^th century. Or 720, f 50r)

In its entirety, the British Library’s Ethiopian Manuscript Collection covers all aspects of Ethiopian literature. Biblical and apocryphal literature, service books, prayers, music, poetry, theology, lives of saints and exegesis (commentaries) are well represented. There is also a rich diversity of secular works covering mathematics, science, grammars, vocabularies, astrology, magic, poetry, divination and medical texts. Official material taken from Ethiopia’s Royal archives can also be found. It also includes one of the most significant illuminated collections outside of Ethiopia, totalling one hundred and twenty individual manuscripts created between the fifteenth and early twentieth centuries. More than ninety of these are lavishly illuminated containing up to a hundred separate illustrations.

In the 6th century, St Yared invented a musical notation system representing pitch/melody still used by the Ethiopian Church. He named his complex melodic layers after the three birds St Yared saw in paradise. This manuscript, copied in 1735, contains text in Ge'ez, Izil & Araray. (ድጓ [Dēggwä], Ethiopia, 1735. Or 584, f 232r).

The first donation of Ethiopian manuscripts housed in the British Library was made by the Church of England Missionary Society which included seventy-four codices acquired by missionaries during the 1830s and 1840s. The largest was made in 1868, following the official transfer of three hundred and forty-nine manuscripts taken from Emperor Theodore’s capital at Maqdala by a British punitive expedition the previous year. The British Library’s Ethiopian Manuscript Collections are therefore culturally and historically significant.

The movement of heavenly bodies and of the firmament, revealed to Enoch in his trips to Heaven guided by the angel Uriel. (መጽሐፈ መድበል [Mestira Zaman], Ethiopia, 1721-30. Or 790, f 9r)

In 2016, the British Library launched its Heritage Made Digital Programme to digitise collections of particular national and international cultural significance in addition to fragile objects deemed unsuitable for physical use. The Programme’s long-term objective is to make this material available for global research and consultation via a single online platform. Given the significance of Ethiopian Manuscript Collections, the Maqdala Collection was one of the first to be selected for digitisation by the Heritage Made Digital Programme.

The Four Living Creatures - the lion, the ox, man, and the eagle - are venerated in the Ethiopian Church and considered to be nearer to God than all other celestial beings. (አብቀለምሲስ [The Revelation of St. John], Ethiopia, 1700-1730. Or 533, f 30r)

This work not only provided an important opportunity to increase awareness about this collection leading up to the 150^th Anniversary of the Battle of Maqdala in 2018, it also enhanced our knowledge of the collection’s holdings leading to the discovery of several little-known illuminated manuscripts covering biblical, hagiographical and apocryphal themes. Currently, over fifty thousand pages from the library’s remarkable collection of Ethiopian manuscripts are now freely available online for researchers and the general public.

St Gebre Menfes Kidus an Egyptian hermit, the founder of the 14^th-century monastery of Zuqualla, in an extinct volcano mountain in Ethiopia. (ተአምረ ማርያም [Miracles of Mary], Ethiopia, 17th century. Or 639, f 174v)

Users can find all relevant digitised manuscripts through the Digitised Manuscripts platform, www.bl.uk/manuscripts, by searching in the keyword(s) search box for the word "Ethiopian".

The Nativity of Jesus, from an 18th-century hymnological composition. (ጥበበ ጠቢባን [Wisest among the Wise], Ethiopia, 18^th century. Or 590, f 41r)

Eyob Derillo, Curator of Ethiopian Collections

In the past year and a half we’ve made over 650 items from the Library’s Asian and African collections newly available online. To make it easier for you to find and explore our wonderful collections, we’ve put together a list of recently digitised items with links to their online versions for you to download here: Download AAC Jan2021. They are arranged by collection area/project, so you can easily search and filter to your heart’s content!

One of the biggest additions to our digital collections are the 300 Ethiopian Manuscripts digitised as part of the British Library’s Heritage Made Digital programme and made available in 2019. These rare and beautifully illustrated manuscripts date mainly from the 16th and 17th centuries and are predominantly written in the classical Ethiopian language Ge'ez.

ገድለ ጊዮርጊስ, The Acts of St. George, 18th century. Or 715, folio 2v

ተአምረ ማርያም, Miracles of Mary, 1717. Or 643, folio 2r

2019 also saw the launch of the Discovering Sacred Texts online exhibition, which brings together expert articles and learning resources on the Library’s religious treasures. You can find many Asian and African collection items on the site, some of which have also been digitised in full. There are 21 now available, including Hindu, Islamic, Christian and Buddhist texts. The image below shows Add MS 11746, a Chinese manuscript containing the Buddhist Heart and Diamond Sutras with illustrations painted on fig leaves.

Heart Sūtra and the Diamond Sūtra, with illustrations on fig leaves, 18th century. Add MS 11746, folio 1r

We have now digitised the Library’s entire collection of Zoroastrian Manuscripts, with 34 made available in the last year and more to come over the coming months. Among these you can find Zoroastrian texts in Avestan, Middle Persian, New Persian, Sanskrit and Gujarati, decorated with floral and geometric designs. As well as this, we have published 32 Bugis Manuscripts from South Sulawesi in Indonesia. These manuscripts date from the 17th to early 19th century, and highlights include court diaries from Bone, where on particularly busy days the writing curves around the page to save space (see Add MS 12355). We have also made available 13 West African Manuscripts, including loose leaf manuscripts in leather carrying cases and five Qur’ans, mainly in Arabic.

Bugis diary from the court of Bone, 1774-1793. Add MS 12355, folio 86r

An 18th century copy of the Visperad, with floral decoration. MSS Avestan 27, folio 6v

Another exciting addition is our collection of Japanese Design Books, some of which featured in the Library’s ‘Exquisite Patterns: Japanese Textile Design’ exhibition in 2020. Around 80 have now been digitised, with 29 currently available and more to follow in the next year. These are visually stunning and well worth a look for textile, toy and even sweet designs.

呉竹 / 市田彌一郎, Kuretake / Ichida Yaichirō. Kimono design - ORB.40/1208, folio 53r

There are too many to mention here, but in the last year and a half we have also digitised and made available collections of Chinese Manuscripts, Japanese Manuscripts, Tibetan manuscripts, Korean Rare Books and a selection of photographs from the Visual Representations of the Third Plague Pandemic project. You can find all these and more by downloading this excel spreadsheet, which lists all recently available shelf marks and hyperlinks: Download AAC Jan2021

And take a look at the blogs listed below for more in-depth information about our digitised collections.

There’s still more to come ...

There’s still more to look forward to in 2021, including more Zoroastrian Manuscripts, Korean Rare Books and Japanese Design Books, and new content from the on-going Lotus Sutra and Javanese Manuscripts digitisation projects. And don’t forget to check out content already available through the major Hebrew Manuscripts Digitisation Project.

We are very much still open online and doing our best to make as much available as we can. So stay tuned and keep checking back for further updates @BLAsia_African and @BL_MadeDigital.

How to find digitised content

You can find digitised printed material via the main Explore catalogue. Search using the ‘Available online (beta)’ tab, select ‘I want this’ and ‘Go’ to view a collection item online.

For manuscripts, search the Explore Archives and Manuscripts catalogue. Again, select ‘I want this’ and ‘Go’ to view a digitised collection item.  You can also search directly in Digitised Manuscripts by shelf mark or keyword (e.g. ‘Ethiopian’).

Sara Hale
Digitisation Officer, Heritage Made Digital: Asian and African Collections
Follow us @BL_MadeDigital

Further reading

Ethiopian manuscripts
African Scribes: Manuscript Culture of Ethiopia
A handbook of Ethiopian magic incantations and talisman art
The Christmas Story: Images from Ethiopic Manuscripts

Zoroastrian manuscripts
Digital Zoroastrian at the British Library
The Everlasting Flame: Zoroastrianism in History and Imagination
Ovum Zoroastræum: ‘Zoroaster’s egg’
Zoroastrian visions of heaven and hell

Bugis manuscripts
Digital access to Bugis and Makassar manuscripts
The Royal Library of Bone: Bugis and Makassar manuscripts in the British Library
Bugis flower power: a compendium of floral designs
Bugis manuscript art
Animal days: three Bugis amulets in British collections

West African manuscripts
The British Library’s West African manuscripts collection

Japanese design books
Zuan-cho – Japanese design albums in the late Meiji Period
Exquisite patterns: Japanese Textile Design Books
Unsōdō and the evolution of design book publishing in Japan

Visual representations of the third plague pandemic
Bombay Plague Visitation, 1896-97

 

 

The current British Library exhibition, Unfinished Business: The Fight for Women's Rights (until at least 21 February 2021) explores how feminist activism in the UK has its roots in the complex history of women’s rights. This two-part blog post presents four female writers in Laos, all of whom have had to overcome traditional societal barriers to achieve recognition. The previous installment discussed the sisters Dara Viravong Kanlagna and Douangdeuane Bounyavong; this post focusses on Kongdeuane Nettavong and Phiulavanh Luangvanna.

Kongdeuane Nettavong, born in 1947 in Xieng Khouang, northern Laos, is a well-known Lao writer, storyteller, researcher and musician. After fleeing the Vietnam War that was devastating Xieng Khouang and other parts of Laos, and finishing secondary school in Vientiane in 1967, she went on to study at Laval University in Quebec for her Bachelor's degree in Geography in 1970. She continued her studies in Paris and graduated with a Master's degree in Archival Studies in 1974. After her return to Laos she taught geography and history at the Teachers Training College in Vientiane. In 1976 she was appointed Deputy Director of the National Library Museum and Archeology Department. With great dedication she initiated a literacy program by setting up public and school libraries, organising "book boxes" (book donations for rural libraries), and by publishing textbooks and books for juvenile and beginner readers with the aim of promoting reading.


Kongdeuane Nettavong giving an online talk on the role of teachers in society, September 2020. Image courtesy of Lao Economic Daily.

From 1989 until 2010 she was Director of the National Library of Laos where she was involved in the Preservation of Lao Manuscripts Programme and the creation of the Digital Library of Lao Manuscripts. A major international event which Kongdeuane Nettavong organised in 2004 in the context of the Preservation of Lao Manuscripts Programme was a Conference on the Literary Heritage of Laos, which presented the research of over thirty scholars from seven countries and resulted in the publication of a conference book, a major source for the study of Lao literature and manuscripts until today.


Front cover of the conference publication The literary heritage of Laos: preservation, dissemination, and research perspectives, edited by Kongdeuane Nettavong, Vientiane: National Library of Laos, 2005 (British Library YD.2010.a.7767)

Among Kongdeuane Nettavong's many achievements is the establishment of the Archives of Traditional Music in Laos (ATML) project, which records sound and preserves audiovisual documents of the ethnic groups in Laos. The project also trains local staff to continue the culturally vital task of documenting and preserving traditional music and encourages the training of the younger generations in traditional music. A passionate player of the Lao mouth organ Khaen, she is president of the Khaen Club where young people can learn to play this unique instrument. She contributed to the inscription of Khaen music on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

In addition to her musical ambitions Kongdeuane Nettavong is well-known as a professional storyteller, who co-authored the book Lao folktales (Westport, 2008; British Library YK.2008.b.4839) together with Wajuppa Tossa, an eminent Lao-speaking storyteller from northeast Thailand. They see storytelling as a powerful means to preserve and revitalize local cultural heritage by engaging and interacting with audiences of all ages and diverse backgrounds.


Kongdeuane Nettavong's book Mon saneh siang khaen phaen din koet, about Khaen music, Vientiane: Lansang Media, 2018 (British Library, shelfmark pending)

As an educator whose aim is to transform knowledge into social progress it comes as no surprise that Kongdeuane Nettavong stars in an educational short film about an elderly school teacher. Mae Phim, who, though grieving the recent loss of her husband, cannot bring herself to retire from teaching when so much work is still to be done to educate the younger generations. Metaphorically, her daughter calls her Mae Phim Khong Sat at the end of the film, meaning "printing matrix of the nation".

Phiulavanh Luangvanna, born in 1954 in Muang Khoun, Xieng Khouang, writes under the pen-names Thidachan and Phiulavanh. She has authored 98 short stories published in five volumes, including the popular book Duan lap lae (Vientiane, 1996; British Library YP.2011.a.3749); 69 poems in three volumes; two plays; and six volumes of stories and tales for children; as well as dozens of research level articles on Lao literature, culture and art published in Lao and international journals like Vannasin (British Library ORB.30/6666) and Tai Culture (British Library WZOR.2002.a.5). She also translated several short stories, novels and poetry from Vietnamese and Thai into the Lao language.



Phiulavanh Luangvanna giving a speech at the Book Festival 2017 in Vientiane. Photograph courtesy of Soubanh Luangrath.

While growing up during the Vietnam War when Xieng Khouang was the target of heavy bombing  Phiulavanh Luangvanna witnessed not only the atrocities caused by this war in general, but also the suffering and agony that especially girls and women endured when they lost parents, siblings, husbands and children. Her school education was disrupted by the daily shelling, and schools had to be moved into the jungle and caves. In 1970-71 many people from Xieng Khouang fled to North Vietnam. Phiulavanh Luangvanna trained and worked as a schoolteacher for Lao refugees near Hanoi from 1971-75. After liberation in December 1975, she moved to Vientiane and started work at a teacher training school, and from 1982-84 she studied for a Bachelor’s degree in Lao language and literature at the National Teachers Training College in Dong Dok (since 1996 the National University of Laos). There she worked for thirteen years as a lecturer for Lao language and literature teaching Lao and foreign students. In 1997 she went on to work with the Lao Women's Union as general editor of their magazine and as a radio/TV broadcaster for women's programmes.


Collection of poems entitled Mung su fan by Thidachan, Vientiane: Samnakphim Nakpaphan, 2014 (British Library, shelfmark pending)

Since 2014, though officially retired, Phiulavanh Luangvanna has been active in the Lao Writer's Association where she provides support to young and female writers. For her work she received the Mekong Literary Prize in 2007, and in 2010 she was given the title Lao National Artist. She was also awarded the Southeast Asia Write Award in 2019 for her novel Thaenkham Salaphap / The Confession.

This is the story of an American veteran returning to Laos twenty years after the Vietnam War, driven by the memories of a young Lao woman he had fallen in love with during the war, when he was injured and captured and looked after by Lao youths. It is a gripping historical novel of love and sacrifice, pride and remorse; a tribute to the young Lao women and girls who supported those fighting at the frontline, and those who lost their loved ones and their lives. It is also an insightful study of the human psyche after the war, on both sides, Lao and American, and she explores ways of forgiveness, healing and reconciliation.


Front cover of the prize-winning bi-lingual book Thaenkham Salaphap / The Confession by Thidachan, Vientiane: Samnakphim Nakpaphan Lao, 2019.

The message that these inspiring Lao writers have in common is that women play a crucial role not only in education and the economy, but also as drivers of cultural progress and as sound decision makers, especially in difficult situations like war and in periods of extreme poverty. Like many of their colleagues in Laos, they emphasize that literature, storytelling, film and music are powerful means to influence mainstream conversations and challenge social stereotypes.

Jana Igunma, Henry Ginsburg Curator for Thai, Lao and Cambodian

Further reading
ASEAN 20th Century Literatures, Selected Poems and Short Stories from Lao PDR (accessed 15/11/2020)
Festival Internacional de Poesía de Medellín, Phiulavanh Luangvanna, Laos (accessed 15/11/2020)
From Laos to the world, a bridge of blessing (accessed 16/11/2020) 
Kongdeuane Nettavong - Laos (accessed 22/11/2020)

The Gombroon (Bandar-e ʻAbbas) Factory was established in 1623 to represent the interests of the East India Company (EIC) on the southern coast of Persia (Iran) and the Gulf. It soon became the centre of British trade and political activities following the expulsion of the Portuguese from Hormuz and Bahrain. A Chief Agent headed the Factory’s decision-making ‘Council’. The Council members coordinated with Sub-Agents, Brokers and local partners at the rest of the British establishments in Persia, primarily in Esfahan, Kerman and Shiraz.

A list of account salaries due to Company's staff at Gombroon (IOR/G/29/5/2 f 79v)

In many ways, the Factory owed its existence and commerce in the region to certain royal grants confirming specific trading privileges known as Rogums (Ruqum or Raqams). These were granted to the British by the King (Shah) of Persia, and were renewed regularly.

A list of Rogums granted by the King of Persia (IOR/G/29/3 f 9v)

The daily consultations at the Gombroon Factory were recorded in diaries. Each diary usually covered a one year period. Copies of the diaries were dispatched by sail to the Company’s administrative headquarters in the Bombay Presidency. The surviving thirty-two diaries are an open gate to the social, political and economic history of eighteenth-century Persia and the Persian Gulf. These diaries are bound within thirteen individual volumes that are classified under the India Office Records’ (IOR) sub-series IOR/G/29/2-14. These are dated from November 1708 to February 1763. Any lacuna within these two dates would indicate that the diary either did not exist in the first place or was lost, misplaced, or removed from the records at some point. Most of the volumes include one diary each, apart from volumes IOR/G/29/5, 6, and 7 which contain nine, seven and six diaries respectively.

The Gombroon diaries record the day-to-day consultations that took place at the Factory. These cover the administrative decisions made, letters sent and received, visits to and from the Factory, trading activities, inland and offshore military operations, in addition to miscellaneous reports of other political and commercial events taking place in the region.

Apart from their administrative nature, the diaries stand out as an extensive and under-utilised source for the study of commercial activities in eighteenth century Persia and the Gulf. These can be glimpsed through the records they preserve of the activities of the British, Dutch and French trading companies, as well as local Persian and Arab merchants in the region. Such records help trace the history of foreign powers’ interest in the region, as well as encounters with and among local authorities.

The Persian fleet sailing to Khorfakkan to assist the Imam against his rebellious subjects (IOR/G/29/5/9 f 375v).

The records of commercial activities also reveal some remarkable information about the movement of ships and the busy ports at the time. Examples of the names of ships that appear regularly in the records are: the Success, the Prince George, the Prince Edward, the Fayz Rabbani, the Phoenix, and the Swallow. Among the many ports the ships sailed to and from are: Bandar-e ʻAbbas, Bombay, Basra, Bandar-e Rig, Surat, Bandar-e Charak, Mocha, Muscat and Bushehr.

The Phoenix imported from Basra (IOR/G/29/11 f 8v)

The commercial aspect is also preserved in the records of traded commodities, mainly woollen goods, rice, rose water, grain, sugar, copper, spices, and coffee, in addition to the names of Persian currencies used at the time and their exchange rates in Indian rupees.

The highlights of the diaries, however, are the records they contain of the state of affairs and the never-ending inland and offshore military operations. These introduce the readers to the names of prominent military generals, regional governors and influential tribes involved in such operations. These include but are not limited to: Shah Tahmasp II, Nadir Shah Afshar, Ahmad Shah Afghan Dorrani, Shahrokh Mirza Afshar, Karim Khan Zand, Azad Khan Ghilzaʼi, Nasir Khan Al Mazkur, Shaikh Hatim bin Jubarah al-Nasuri, Shaikhs Rashid and Rahmah al-Qasimi and the tribes of Jubarah, the Banu Muʻin, the Al-ʻAli, and the Arabs of Julfar.

Conflicts among the tribes (IOR/G/29/12 f 21v)

Indeed, a large number of towns and provinces are also mentioned in the diaries as part of the accounts of the military operations. These include Bandar-e 'Abbas, Esfahan, Qazvin, Yazd, Tabriz, Khorasan, Mashhad, Mazandaran, Shiraz, and Qishm Island.

The entry of Shah Tahmasp II into Esfahan after the defeat of the Afghans (IOR/G/29/5/3 f 96v)

In addition to the above, the diaries preserve some occasional, yet fascinating records of weddings, deaths, celebrations, personal disputes, etc. An example of these is the news of Shahrokh Mirza Afshar’s wedding and the choice of presents for the occasion.

News of Shahrokh Mirza Afshar's marriage (IOR/G/29/10 f 84v)

Another interesting example is a letter sent by the EIC to Sultan Muhammad Mirza, a claimant to the throne following the Afghan invasion of Persia, in which we learn that the prince had threatened to expel the Company from the Gulf to protect his friend Shaikh Rashid al-Qasimi of Basidu. The company was therefore pleading with Sultan Muhammad Mirza not to attack them, and promising to lift their unilateral blockade against Shaikh Rashid. Additional details about this letter and its historical context will be provided by my colleague Dr. Kurosh Meshkat in a separate forthcoming blog.

Letter from the East India Company to Sultan Muhammad Mirza, 1727 (IOR/G/29/4 f 29v)

With the variety of topics they cover, the Gombroon diaries stand out as primary source material on the commercial, political and military history of the region. The way in which these diaries are organised makes it difficult to search for a particular piece of information within them. In fact, it may be necessary to read a volume from cover to cover in order to spot the name of a certain person, ship, a place or an event. Nevertheless, thanks to the ongoing British Library-Qatar Foundation Partnership (BLQFP), these fascinating diaries and many other materials are now being catalogued, digitised, and made available on the Qatar Digital Library. Making such materials available allows those interested in the history of the region to easily browse the diaries, and appreciate and make use of the abundance and variety of their content spanning most of the eighteenth century.

Ula Zeir
Content Specialist, Arabic Language, British Library-Qatar Foundation Partnership

Further Reading

British Library, India Office Records, Bandar ʻAbbas (Gombroon) Diaries and Consultations. IOR/G/29/2-14.
Penelope Tuson, The Records of the British Residency and Agencies in the Persian Gulf. London, 1979.

The current British Library exhibition, Unfinished Business: The Fight for Women's Rights (until at least 21 February 2021) explores how feminist activism in the UK has its roots in the complex history of women’s rights. This two-part blog post presents four female writers from Laos, all of whom have had to overcome traditional societal barriers to achieve recognition.

Although women have always played a major role as supporters of Buddhism, the main faith in Laos, and as musical performers and storytellers (mor lam) in traditional Lao society, they were not encouraged to actively write literary or Buddhist texts. While exceptions may have existed, female writers in Laos only began to emerge and to be respected for their work in the second half of the twentieth century. Their works have helped to shape contemporary Lao literature, and they have contributed significantly to women's rights and gender equality in Laos. This two-part blog post introduces the lives and works of four contemporary female Lao authors who are now celebrated nationally and internationally, starting with the sisters Dara Viravong Kanlagna and Douangdeuane Bounyavong.


Front cover of the book Kon cha thoeng van ni, a collection of short stories by Duangchampa. The photograph depicts a young woman in traditional Lao costume and hairstyle. Vientiane: Vannasin, 1988 (British Library YP.2008.a.5028)

Douangchampa (Lao for "Plumeria flower", the national flower of Laos) is the pseudonym of Dara Viravong Kanlagna, a Lao National Artist who has authored some sixty short stories, ninety poems, seven novels, and a screenplay for a popular feature film entitled Boua Deng which was screened at the International Festival of Cinemas of Asia in 1988. A selection of her works is held in the British Library.

Born in 1940 in Ban Oupmoung, Vientiane, as the daughter of the well-known Lao historian and philologist Maha Sila Viravong, Dara Kanlagna has been interested in literature since early childhood. She started her career as a schoolteacher in 1958 and began to write around the same time. Few years later she became an editor at Phainam Magazine, and she also began to translate literature books. After the revolution in 1975, Dara Kanlagna worked at the Ministry of Culture as a translator, editor and writer. In 1979 she established Vannasin (British Library ORB.30/6666), a literary magazine, together with other leading Lao writers. Much of her time was dedicated to working with the Preservation of Lao Manuscripts Programme that ran from 1988 to 1994 with support from the Toyota Foundation, and from 1992 to 2004 with support from the German government. Subsequently this programme led to the establishment of the Digital Library of Lao Manuscripts which today makes images of over 12,000 manuscript texts from across Laos accessible online. In 1996 Dara Kanlagna was awarded the Nikkei Asia Prize for Culture and Community for her passionate work with the manuscripts project.


Dara Viravong Kanlagna during her work with Lao palm leaf manuscripts, 1996 in Vientiane. Photograph courtesy of NIKKEI Shimbun.

After her retirement in 2001 she continued to write, focusing on issues which occur in society. Her themes include the role of women in society and education, the struggles and obstacles that Lao women face, and inequalities which are often a result of ancient traditions and poverty. To raise awareness about the tradition of weaving and the fact that textile production is an important industry run and led by women in Laos, Dara Kanlagna teamed up with members of the Group for Promotion of Art and Lao Textiles, all experienced female weavers, to record their personal stories and research into practices and techniques of weaving and dyeing not only of the Lao, but also of ethnic minority groups. The project resulted in the book Pha phae ni mi tamnan / Legends in the Weaving, published with the support of the Japan Foundation Asia Center (Vientiane, 2001).


Front cover of the book Pha phae ni mi tamnan / Legends in the Weaving by Dara Kanlagna et al., Vientiane: Kum Songsoem Silapa lae Pha Phae Lao, 2001 (British Library, shelfmark pending)

For her collection of poems with the title Hak dok... chung bok ma (Vientiane, 2005) Dara Kanlagna received the Southeast Asia Write Award in 2010. She explained that she wrote the poems in honour of her mother, who raised her and her thirteen siblings with great patience and determination amid hardship and poverty and provided them with a good education despite being illiterate herself.


Duangchampa's prize-winning book Hak dok… chung bok ma, a collection of poetry, Vientiane: Dokked, 2005 (Reprint 2010)

Douangdeuane Bounyavong, born in 1947 in Vientiane, is also known under her penname Dokked. Like Dara Kanlagna she grew up with a love of books and literature: she is another daughter of the historian Maha Sila Viravong and his wife Maly. After attending Dong Dok Teachers’ Training College in Vientiane from 1964 to 1968, she went on to study Physics and Chemistry at the University of Amiens and the University of Poitiers, France, where she graduated with a Master’s degree in 1974. She began to write while she was still a student in 1966. Her late husband, Outhine Bounyavong, was one of Laos' leading writers, and together they worked on various publications like Lao language textbooks, dictionaries, juvenile books and literary epics of national significance like Thao Hung Thao Chueang (British Library YP.2006.b.575) and Sang Sinxay.


Douangdeuane Bounyavong giving a public talk on occasion of International Women's Day, 8 March 2019, in Vientiane. Photograph courtesy of Judy N. Souvannavong.

While running a small publishing company named Dokked that specialized in juvenile and women's literature, Douangdeuane Bounyavong wrote eight novels, about forty short stories and over sixty poems, some of which are held in the British Library collections. Following in the footsteps of her father, she transcribed numerous folk tales and works of classical literature from old into modern Lao to make them accessible to younger generations. Her groundbreaking research on the national epic Thao Hung Thao Chuang (Vientiane, 1991, British Library YP.2013.a.2225) was re-published in Thailand in 1997 (British Library YP.2016.a.9036).

In addition to writing poetry and prose she also carried out research on Lao weaving traditions, which resulted in three books on textiles including a comprehensive study of the textile collection at Ho Moune Thaentaeng Heritage Preservation Center in Vientiane with the title Lai tam kap kon / Weaving poems: Lao textiles (Vientiane, 2015). As co-founder of the Group for the Promotion of Art and Lao Textiles (1990) Douangdeuane Bounyavong was actively involved in projects for the preservation of traditional Lao textile techniques, and initiatives to raise awareness and to improve the social status of weavers and women in general, and to promote handwoven Lao textiles abroad. Currently she is Managing Director of the "Land of Bamboo Textile Museum and Medicinal Herbs and Plants Garden" as well as editor-in-chief at Dokked Publishing House. She was awarded the Arts and Culture Prize of the Fukuoka Asian Culture Prizes in 2005 and was also a recipient of the prestigious Southeast Asia Write Award in 2006 for her novel The Charm of the Forest (Vientiane, 2005).


Front cover of the book Lai tam kap kon / Weaving poems: Lao textiles by Douangdeuane Bounyavong, Vientiane: Dokked, 2015 (British Library, shelfmark pending)

Among Douangdeuane Bounyavong's best-known books is her mother's narrative biography with the title When Mother was in Prison, published in 2004. The story of the girl Maly, who never had the chance to attend school and was bullied because of her mixed Lao-French heritage, is truly touching as she becomes a confident and intelligent young woman who, aged seventeen, divorces an obsessively controlling husband - something unthinkable in traditional Lao society. In 1939 she married Maha Sila Viravong, with whom she had fourteen children (in addition to a son from her first marriage). When her husband, a member of the anti-colonial liberation movement Lao Issara, had to flee to Thailand in 1940, her utmost priority was to protect her children through the precarious and violent time of WWII and later the Vietnam War, and to give them the best educational opportunities possible. The book encourages women to stand up for their personal rights and to not give in to coercive control, authoritarian behaviour and male violence.

Front cover of Douangdeuane Bounyavong's book When mother was in prison, Vientiane: Dokked, 2004 (British Library, shelfmark pending)

In the next installment of this blog post, I will introduce two more inspiring Lao writers: Kongdeuane Nettavong and Phiulavanh Luangvanna.

Jana Igunma, Henry Ginsburg Curator for Thai, Lao and Cambodian

Further reading
ASEAN 20th Century Literatures, Selected Poems and Short Stories from Lao PDR (accessed 15/11/2020)
Fukuoka Arts and Culture Prize 2005 [16th] Douangdeuane Bounyavong (accessed 20/11/2020) 
Lao Literature, Dara Kanlaya (aka Douang Champa) (accessed 12/11/2020)
Peace Women Across the Globe, Douangdeuane Bounyavong (Lao Peoples Dem. Republic) (accessed 20/11/2020)
Red Lotus (Bao Deng) by Som Ock Southiponh, Laos (accessed 29/11/2020)

In 2019, Rita dal Martello undertook a PhD placement at the British Library to research a series of paintings created by Chinese artists held in the Visual Art collections. Whilst the primary focus of her placement was a collection of over 300 botanical paintings, Rita also worked on cataloguing a number of artworks that depicted Chinese interiors and furnishings from the Ming and Qing periods. This blog will explore these art works in more detail.

Consisting of 136 paintings (Add Or 2197-2332), this collection contains paintings depicting the interiors of houses and temples, furnishings, including lanterns and displays, and a variety of processional floats used in Buddhist and Taoist religious ceremonies. The objects and interior scenes depicted in these paintings represent the decorative tastes of the educated and wealthy sections of Chinese society during the Ming (1368-1644) and Qing (1644-1911) dynasties.

The paintings are opaque watercolours on European paper, including sheets watermarked 1794 and 1805 which have subsequently been bound into a single volume. Whilst the names of the artists remain unknown, it is likely they were the work of painters working in and around Canton (Guangzhou) who were producing works for the export market during the late 18^th and early 19^th century. The majority of the collection (Add Or 2197-2313 & 2317-2332) were acquired circa 1806 when they are believed to entered the collections of the East India Company Library and Museum, whilst the remaining three paintings (Add Or 2314-2316) were deposited in 1813. Thematically, the paintings can be divided into three groups: Lanterns, Furniture and decorative displays, and ritual furnishings of official residences and temples.

Lanterns

A total of 35 paintings in the collection depict a variety of lantern designs including palace lanterns of square, hexagonal, or octagonal shape; “flower basket” palace lanterns; beaded lanterns and horse lanterns. Most of the paintings show individual lanterns constructed of elaborate wooden frames and panels decorated with landscape or bird and flower paintings, framed by coloured silk, with some having lavish strings of beads or tassels attached. The majority are depicted hanging from a string in the middle of the page.

A hexagonal palace lantern decorated with blue beads dangling on strings and calligraphic panels on red silk backgrounds, alternating to paintings of bamboo and prunus flowers. The central panel shows Gao Qi (1336-1374) poem "Dweller in the Clouds". Unnamed Chinese artist, c. 1800-1806. British Library, Add Or 2322.

Three paintings bound in this volume are stylistically quite different from the remaining images however (Add Or 2314-2316). In these works the lantern takes up the whole page, and bear front and reverse inscriptions indicating that they were part of a set, possibly coming from the same artist or workshop. This set of paintings were deposited with the East India Company separately from the remainder of the collection and were received as a result of a letter from the East India Company written in March 1812 requesting samples of Chinese lanterns. On 22 February 1813 the Canton Factory replied saying that ‘The Lanterns indented for by the Honourable Court having been reported ready, were this day shipped on the ‘Royal George.’ A description of these Lamps with directions for putting them together drawn up by Mr Bosanquet under whose immediate inspection they were executed will be transmitted, a number in the Packet of that Ships Packet and Captain Gribble has promised that every possible care should be taken of them’ (BL Mss Eur D562/16).

 

Furniture and decorative displays

Furniture and decorative displays are the second most numerous group within the album. 33 paintings depict elaborate wooden furniture of various sizes and shapes elegantly displaying objects typically found in the homes of wealthy and educated Chinese. These objects include archaeological bronze objects, musical instruments, dishes decorated with auspicious symbols such as dragons and phoenix, vessels containing auspicious fruits, such as the Buddha’s hand citron for good fortune, or peaches for longevity, as well as vases with flowers such as lotus for purity or roses to symbolise the seasons.

A further 12 paintings depict speckled bamboo tables, chairs, and stools. These are possibly made of Xiangfei bamboo, which grows in Hunan and Guangxi provinces. According to the legend, the speckled aspect of this bamboo is derived from the tears concubines shed the death of the mythological emperor Shun.

Depiction of a speckled bamboo table and meiguiyi chair, possibly made of the so-called "Hunanese concubine bamboo". Unnamed Chinese artist, c. 1800-1806. British Library, Add Or 2201.

Whilst a small number of paintings in this group also include decorative screens with landscape paintings or calligraphy scrolls, all of the pieces of furniture are painted in the centre of the page with no surrounding background or further details of the surrounding décor or architecture in which they would have been placed.

 

Ritual furnishings of official residences and temples

A final group of paintings in the album and by far the most numerous, depict a range of ritual furnishings including 3 paintings of government offices furnishings, 35 paintings of processional equipment (Add Or 2236) for both government officials and religious ceremonies, including depiction of processional sedan chairs; 17 paintings illustrating Buddhist and Taoist shrines and sacrificial arrangements and 1 of a liturgical archway celebrating filial piety.

Processional model of the Daoist temples of Wudang Mountain, in Hebei province, showing various buildings (pavilions, pagodas, etc) on a miniature mountain. At either side, a pair of matching wooden stands with a lantern and a plaque saying "Spectacular Scenery of Wudang Mountain" (武當勝景). Unnamed Chinese artist, c. 1800-1806. British Library, Add Or 2236.

These paintings once again show the furnishings, shrines and ceremonial emblems in the centre of the page with no background or contextual details. The paintings are not accompanied by descriptive inscriptions or titles and one of the key areas of my work on this collection was to create catalogue records for the individual paintings, researching and describing the subjects of each painting and transcribing any inscriptions found on the objects depicted.

The individual records of these paintings can be found on the British Library's Explore Archives and Manuscripts catalogue, by searching for the specific references of the collection (Add Or 2187-2332).

 

Reproduction of these paintings and further information can be found in:

Lo, A., & Wood, Frances. (2011). Da ying tu shu guan te cang zhong guo qing dai wai xiao hua jing hua = Chinese export paintings of the Qing Period in the British Library. Volumes III & IV. Guangzhou: Guangdong People's Publishing House.

Bibliography:

Wood F (2011) 'One appreciates the pearls and jade on their stands; fine smoke rises from the tripod and sacrificial vessels in the hall'- Paintings of furnishings. In Da ying tu shu guan te cang zhong guo qing dai wai xiao hua jing hua = Chinese export paintings of the Qing Period in the British Library; Volume IV. pp 6-7. Guangzhou: Guangdong People's Publishing House.

Wang T-C (2011) 'Moral integrity is demonstrated in incorruptibility; the people hope for just officials'- Paintings of Canton governments offices, furnishing, and official processional equipment. In Da ying tu shu guan te cang zhong guo qing dai wai xiao hua jing hua = Chinese export paintings of the Qing Period in the British Library; Volume III. pp 4-6. Guangzhou: Guangdong People's Publishing House.

Lo A, Wang T-C (2001) 'Serene and solemn mountains surround the precious halls; fragrant sacrificial vessels gather on the altars'- Paintings of religious buildings and sacrificial arrangements. In Da ying tu shu guan te cang zhong guo qing dai wai xiao hua jing hua = Chinese export paintings of the Qing Period in the British Library; Volume III. pp 140-142. Guangzhou: Guangdong People's Publishing House.

By Dr. Rita dal Martello, Post-Doctoral Research Fellow at Max Planck Institute