Asian and African studies blog

Among the treasures recently digitised thanks to the generous support of the Iran Heritage Foundation is a fine illustrated copy (BL Add. 7735) of Farīd al-Dīn ‘Aṭṭār’s famous poem Manṭiq al-ṭayr (‘Speech of the Birds’), a Sufi allegory of the quest for God. The first posting in this series introduced the poem and discussed some textual and artistic features of the manuscript. The second examined three illustrations while, this, the third in the series, examines three more miniatures and the accompanying text, in relation to ‘Aṭṭār’s poem and some of its principal themes.


British Library Add. 7735, folio 68r

The skilful and atmospheric painting on folio 68r (ed. Gawharīn, p. 93) illustrates one of the more charming stories in the Manṭiq al-ṭayr, in which Sultan Mas‘ūd of Ghazna, son of the redoubtable Maḥmūd, is depicted helping a poor orphan to catch fish. The miniature, too, is attractive although it is slightly discoloured and the setting is less ambitious than that of most Bihzād school paintings (see my earlier post). In both the catalogue description by Norah Titley (Miniatures, p. 35) and the brief mention of the episode by Helmut Ritter in his vast study of ‘Aṭṭār, the royal protagonist is misidentified as Maḥmūd rather than Mas‘ūd.

The sad-faced boy needs fish to feed himself and his six siblings. Mas‘ūd, whose name means ‘fortunate’, catches a hundred fish for him but declines the half share of the catch which the boy offers him. Next day the Sultan sends for the boy, having found him to be a sincere friend, who unlike some of his courtiers asks nothing of his king – and shares his throne with him.

While galloping his grey horse as fast as the wind,
  he espied a child sitting by a river,
with a net cast into the flowing stream.
  The King greeted and sat down next to him.
The youngster sat there despondently;
  he was sore of heart and weary of soul.
Said [the King], ‘Why are you so sorrowful?
  I never saw anyone as mournful as you!’
The youngster replied: ‘O most virtuous Prince,
  we are seven children, now fatherless.
We have a mother, who’s unable to move;
  she is so very poor, and all alone.
Every day I cast out a net for fish;
  until nightfall I stay here at my post.
If I catch one fish, with a hundred pains,
  that’s our food until the next night, great Prince.’
Said the King, ‘O dejected child, would you like
  me to join in and be partners with you?’
The youngster was happy to be his partner;
  the king began casting the net in the stream.

British Library Add. 7735, folio 75v

The mysteriousness of Providence features once again in the passage in ‘Aṭṭār’s poem to which folio 75v relates (ed. Gawharīn, pp. 102-3). One night the Angel Gabriel (Jibril) hears from on high the cries of a worshipper whom he takes to be a person of great purity of soul. Unable to locate that individual, the Angel seeks directions from God, Who directs him to a temple in Rūm, or Asia Minor. There Gabriel finds a man from whom the imprecations are emanating, and he is kneeling before a golden idol. Deeply puzzled that such a pure-sounding prayer should come from an idolater, Gabriel implores God for an explanation. The response is that the man is the victim of his own ignorance, that he is to be pardoned, and that by Divine Providence this idolater will be guided to true faith.

Jibrīl went, and espied him, plain to see,
  imploring that idol most plaintively.
Jibrīl, perturbed at such goings-on,
  returned to [God’s] Presence, scandalized;
then, opening his mouth, he said: ‘You Who need naught,
  unveil this mystery for my sake.
A man in a temple – addressing an idol!
  Do You respond to him with kindness?’
God Most High said: ‘He has a blackened heart.
  Knowing not, he has erred in the path he’s taken.’

British Library Add. 7735, folio 84r

In the previous illustration the Archangel flies, or hovers, in the margin of the page. Likewise, this painting on folio 84r (ed. Gawharīn, p. 112), which like many Persian miniatures ‘reads’ from right to left, makes imaginative use of the space beyond the text frame. The subsidiary characters are at the centre, while the main ones leap into the margin and almost, as it were, off the page. The artist has brought the text to life with charm and inventiveness.

By contrast, however, this vignette from Manṭiq al-ṭayr exemplifies ‘Aṭṭār’s sometimes grim sense of humour. Narrated in just four couplets, it is a tale of two foxes whose happy life together comes to an abrupt end when a king (thus in ‘Aṭṭār’s text – but the artist has painted a young, beardless prince, accompanied by an older huntsman) appears on the scene, hunting with a falcon and cheetah. The second couplet of the four in this passage, which mentions the royal hunter’s arrival, is mysteriously missing from the text in our manuscript. A number of other omissions from Add. 7735 were mentioned in the first posting in this series.

Two foxes met and became companions;
  then a couple, living a fine life together.
[A king came to their land with a falcon and cheetah,
   parting those two foxes from one another.]
The vixen asked the dog, ‘O bolt-hole seeker,
  do tell me, please: where shall we meet again?’
Said he, ‘Even if we survive for a while,
  it will be in town – in the furriers’ shop!’

ʻAṭṭār’s contemporaries in northeastern Iran had experienced extreme and bloody upheavals even before the horror of the Mongol invasion in the early 7th/13th century. They would probably not have been surprised at the fact that the theme of the nearness of death looms large in his poetry – any more than we are surprised that the same is true of many of those who seven centuries later found themselves fighting in a Great War, a ‘War to end all Wars.’

Follow this link to see the whole manuscript on the British Library's digitised manuscripts site, and keep in touch with further developments at @BLAsia_Africa.

(Translations by M.I. Waley)

Further reading
‘Aṭṭār, Farīd al-Dīn Muḥammad ibn Ibrāhīm. Manṭiq al-ṭayr. Ed. and comm. Sayyid Ṣādiq Gawharīn. Tehran, 1342/1963.
Attar, Farid ud-Din. The Conference of the Birds. Tr. Afkham Darbandi and Dick Davis. London, 1984.
Ritter, Helmut. The Ocean of the Soul: men, the world and God in the stories of Farīd al-Dīn ‘Aṭṭār. Tr. J. O’Kane. Leiden, 2003.
Titley, N.M. Miniatures from Persian manuscripts. London, 1974.

Muhammad Isa Waley, Asian and African Studies

Related articles

Mantiq al-tayr ('the Speech of Birds'), part 2

Among the treasures recently digitised thanks to the generous support of the Iran Heritage Foundation is a fine illustrated copy (BL Add.7735) of one of the most famous works in all classical Persian literature: Farīd al-Dīn ‘Aṭṭār’s Manṭiq al-ṭayr (‘Speech of the Birds’), a Sufi allegory of the quest for God. A recent posting introduced the poem and discussed some textual and artistic features of the manuscript. This posting examines the first three illustrations (see Titley, p. 35) and the accompanying text, in relation to ‘Aṭṭār’s poem and some of its principal themes. The intention is to discuss the remaining six paintings in two future postings.

British Library Add.7753, f. 28v

On folio 28v (cf. ed. Gawharīn, pp. 43-45), a beggar kneels before the princess he loves, who is accompanied by a dark-skinned woman. The latter (not mentioned in the poem) is either a maid or perhaps an adviser; the reason for suggesting the latter possibility is that her body language suggests that she is listening intently to the conversation – something servants are rarely portrayed as doing in Persian miniatures.

One day, long before, the princess had smiled at the poor man. That fatal smile had aroused false, but irrepressible, hopes in him. For years the beggar lives with the street dogs at the gates of her palace, hoping to win her love. Finally the princess sends for him and tells him that he must leave since it has been decided that otherwise he will be put to death. In reply, the beggar exclaims that he is happy to die for love of her, but asks the princess why she had smiled at him. She explains that she had simply been amused by his foolishness and naivety. The text on the page illustrated tells us that

The girl summoned the beggar secretly, and told him:
  ‘How could one like you be paired with one like me?
They’re out to get you. Run away! Be off!
  Don’t sit on my doorstep. Get up and be off!’
Said the beggar, ‘I washed my hands of life
  the day I fell madly in love with you.
May a myriad lives, like that of my restless soul,
  be scattered each moment before your face!
Since they’re going to kill me, though wrongfully,
  be kind and answer one question from me…’

British Library Add.7753, f. 30v

Folio 30v (cf. ed. Gawharīn, p. 46) depicts the hoopoe, leader of the birds, and the peacock. Most of the birds produce reasons why they cannot – or will not – set out on the perilous quest for the wondrous Sīmurgh bird. The vain and splendid peacock, having been banished from the joys of Paradise because of his pride, explains that he is unable to join the group because he is too much obsessed by the desire to return to his former celestial abode. In ‘Aṭṭār’s words:

Said [the peacock], ‘Though I am Gabriel among birds,
  something far from good came upon me through fate.
[The above couplet is at the bottom of the preceding page.]
Somewhere a foul serpent became my companion,
  so I fell in humiliation from Paradise.
When the place of my solitary worship was changed,
  my legs were tied up to the place where I stood.
Yet I am resolved, with the help of a guide,
  to find my way to Heaven from this dark place.
I’m not the kind of man to reach the King;
  to be moving about would be enough for me.
Why should the Sīmurgh care about me at all?
  the Highest Paradise is enough for me.
I have no other things to do in this world,
   if only I can get to Heaven once more.’

The rejoinder (on the next page) comes from the Hoopoe. It is not enough, he argues, for God’s creatures to aspire to the delights of Paradise. They were created to know and worship when the Creator of all, Who is like a boundless ocean possessing beauties and perfections beyond all reckoning and imagining – compared to which Paradise itself is a mere droplet.


British Library Add.7753, f. 49r 

On folio 49r (ed. Gawharīn, p. 68), the venerable Shaykh Ṣan‘ān (or Sam‘ān) falls helplessly in love as he gazes at a Christian maiden on her balcony. In this famous tale the Shaykh abandons his Muslim faith, drinks wine, and becomes the girl’s swineherd; his disciples leave in despair. Eventually, however, the maiden sees a vision and embraces Islam, while the Shaykh too regains his former faith. The verses on this page recount the beginning of the tale.

So four hundred disciples, men of worth,
  set out on the journey together with him.
From the Ka‘ba they went to furthest Asia Minor,
  marching round Anatolia from head to foot.
By chance there was a high balcony
  upon which a Christian maiden was sitting –
a Christian girl like a heavenly angel,
  with hundredfold knowledge of Christ’s way,
her beauty’s sun in Perfection’s sign [of the zodiac].
  A sun she was – but one that never set!

Before telling this extraordinary story ‘Aṭṭār explains its significance. The seeker after God, in transcending the boundaries of his limited vision, must leave behind all his preconceptions, all that that he thinks he knows. In figurative poetic language this is termed ‘infidelity’ (kufr), or the renunciation of one’s former faith, although this does not signify literally abandoning all conventional religious beliefs and practices. The Hoopoe tells the birds:

Love will open the door of poverty to you;
  Poverty will guide you to Infidelity.
When you’ve neither this faith or this unbelief,
  this soul and this body of yours are no more.
After that you’ll be man enough for this task –
  and it takes a man to unveil such secrets!
Set out like a man and have no fear;
  Pass beyond unbelief and belief. Have no fear.
How much more of this dread? Leave childhood be!
  Be falcons, be lions of men, for this quest.
Should a hundred trials come up suddenly,
  still there’s naught to fear once you’re on this Path!

(Translations by M.I. Waley)

This manuscript is now available to read in entirety on the British Library's digitised manuscripts page. Follow us on Twitter to keep in touch with further developments at @BLAsia_Africa.

Further reading
‘Aṭṭār, Farīd al-Dīn Muḥammad ibn Ibrāhīm. Manṭiq al-ṭayr. Ed. and comm. Sayyid Ṣādiq Gawharīn. Tehran, 1342/1963.
Attar, Farid ud-Din. The Conference of the Birds. Tr. Afkham Darbandi and Dick Davis. London, 1984.
Ritter, Helmut. The Ocean of the Soul: men, the world and God in the stories of Farīd al-Dīn ‘Aṭṭār. Tr. J. O’Kane. Leiden, 2003.
Titley, N.M. Miniatures from Persian manuscripts. London, 1974.

Muhammad Isa Waley, Asian and African Studies

Related articles

'The Speech of the Birds': an illustrated Persian manuscript

The Visual Arts department has recently added to its collection a folio from the dispersed ‘Impey’ Ramayana. The Ramayana manuscript is named for its patron Sir Elijah Impey, the Chief Justice of the Supreme Court in Calcutta in the late 18^th century. Sir Elijah and Lady Mary Impey were well-established patrons of art and often commissioned illustrations to manuscripts or sets of paintings by local artists in Bengal. The provenance of this folio, as well as the rest of the series, is authenticated by the seal of Sir Elijah Impey stamped on the verso. Impey's manuscript (or possibly even a portfolio), which consisted of 44 single sided folios with no text pages, was later acquired by Sir Thomas Phillipps Bt (1792-1872). In 1968, the 44 folios were dispersed at auction.

The British Library is currently the only national collection to have in its collection a folio from this dispersed series. The only other folio, showing Rama kills Vali, in a public collection is at the Los Angeles County Museum of Art.  

Lakshman cuts of the nose of Shurpanakha by a Murshidabad artist, c. 1780. Opaque watercolour on paper. British Library, Add.Or.5725

The Ramayana is one of the great Sanskrit epics narrating the story of Rama, prince of Ayodhya, who lived in exile for 14 years. The story is attributed to the sage Valmiki, a contemporary of Rama.  Accompanied by his wife Sita and brother Lakshman, the Ramayama recounts their adventures and misfortunes including the kidnapping of Sita by the demon Ravana. The epic tale is composed of 24,000 verses that were divided into seven books. The episode depicted here, featuring Lakshman cutting off the nose of Shurpanakha, is reported in the Aranyakanda (‘Book of the Forest’).

Shurpanakha, the sister of Ravana (the 10-headed demon king of Lanka) encountered the handsome Rama at his hermitage. Awestruck by his beauty, she instantly transformed herself from a hideous demon with matted red hair into a vision of beauty. Initally rebuffed by Rama, she approached Lakshman and proclaimed: ‘My beauty renders me a worthy wife for thee; therefore come and we will range the Dandaka Forest and mountains happily together’ (Shastri 1952-59). Lakshman replied in jest: ‘how canst thou wish to become the wife of a slave, such as I? I am wholly dependent on my noble brother. Thou whose complexion resembles the lotus, who art pleasing to look upon and chaste? Lady of large eyes, though art a paragon, do thou become the consort of that matchless hero. Renouncing that ugly, evil and peevish old woman, whose limbs are deformed, he will certainly devote himself to thee! Lady of ravishing complexion and lovely limbs, what sensible man would sacrifice that unrivalled beauty of thine for an ordinary woman?’ (Shastri 1952-59).

Grasping the reality of his prose, Shurapanka unfurled her wrath on Rama’s beautiful wife Sita. Lakshman immediately pulled his sword and cut off the nose and ears of Shurpanakha!

Detail showing Lakshman mutilating Shurpanakha

Shrieking in pain and her face streaming with blood, she fled to her brother Ravana. The 10-headed demon sent his army to retaliate. In the lower half of the page, Rama and Lakshman are featured in combat with the demon army.

Detail showing Rama fighting the demons

This folio from the Impey Ramayana provides art historians the opportunity to further explore the regional style of painting at Murshidabad in Bengal in the 18th century. Impey’s commissions, including a set of ragamala paintings (British Library, Add.Or.4-8 and Add.Or.27-31) and the illustrations to a Razmnama manuscript (British Library, Add.5638-5640), are typically painted in a more refined and imperial style of painting. The artist who depicted Lakshman brutally mutilating the demon appears to have rapidly executed his paintings with the figures modeled with thick outlines and stylised features. There is little attention to the fine details. With further research on the illustrations to the Impey Ramayana and other commissions, it might be possible to ascertain the extent of Sir Elijah’s personal influence on the artistic style of this manuscript and regional artists. Through additional research on the illustrations to this series, it might be possible to create a detailed timeline of the artistic practices in Murshidabad.

Material held in the Visual Arts department can be viewed by appointment in the Print Room. The Print Room located in the Asian & African Studies Reading Room and is open Monday-Friday afternoons. Please email [email protected] for an appointment.

Further reading:

T. Falk and M. Archer, Indian Miniatures in the India Office Library, Sotheby Parke Barnet, 1981

J.P. Losty, The Art of the Book in India, British Library, 1982

J.P. Losty, The Ramayana: Love and Valour in India's great epic, British Library, 2008

H.P. Shastri (trans.), The Ramayana of Valmiki, Shanti Shadan, 1952-59

Malini Roy, Visual Arts Curator

@BL_VisualArts

Three of the most fascinating exhibits in ‘The Everlasting Flame: Zoroastrianism in History and Imagination’, on view at the Brunei Gallery SOAS until December 15th, concern the Zoroastrian vision of heaven and hell.

The revelations of Arda Viraz (‘righteous Viraz’), or Viraf, as his name has been transcribed in Persian, were written in Pahlavi (pre-Islamic Persian) during the early Islamic period, and reflect a time of religious instability. The story is set in the reign of the founder of the Sasanian Empire, Ardashir I (r. 224-241). It describes how the Zoroastrian community selected the righteous Viraz to visit the world of the dead returning with an account of the rewards and punishments in store. Although the story did not assume its definitive form until the 9th to 10 centuries AD, it can be regarded as part of a tradition of visionary accounts, the earliest of which is found in present-day Iran in the third-century inscriptions of the Zoroastrian high priest Kirder.

Many copies of this popular story survive in both prose and verse, with versions in Persian, Gujarati, Sanskrit and even Arabic (Kargar, p.29). Several include vivid illustrations, re-enforcing the story’s underlying importance as a Zoroastrian pedagogic text.

Arda Viraz with the divinities Srosh, Mihr and Rashn, the judge, at the Chinvat bridge, which the souls of the dead must cross. Traditionally, if a soul’s good deeds outweigh the bad it is met by a beautiful woman (actually an embodiment of the deceased's life on earth), the bridge is broad and it can easily cross on its way to paradise; if not, the bridge becomes narrow, the soul encounters an ugly hag and falls into hell.
Rylands Persian MS 41, f.12r.  Reproduced by courtesy of the University Librarian and Director, The John Rylands Library, The University of Manchester

The two manuscripts in ‘The Everlasting Flame’ are copies of a popular Persian version composed in verse in Iran at the end of the 13th century by Zartosht Bahram Pazhdu. The British Library’s manuscript (Reg.16.B.1) was copied in India and dates from the late 17th century. Although the text is in the Persian language, it was copied line by line in both Persian and Avestan (old Iranian) scripts, reflecting a tradition of transcribing Zoroastrian texts in a ‘Zoroastrian’ (i.e. Avestan) script. The manuscript was acquired for the orientalist Thomas Hyde (1636-1703) who used it as a means of deciphering the previously undeciphered Avestan script.
 

The beginning of Thomas Hyde’s copy of the Arda Viraf namah
British Library Reg.16.B.1, ff 1v-2r. 

The second copy on display (John Rylands Persian MS 41) contains 60 illustrations which vividly depict the rewards and punishments awarded after death. The scene below describes happy souls in a sweet smelling garden in paradise where birds sing, golden fishes swim and musicians perform. On enquiring how they earned such a reward, Arda Viraf is told that, while living, they killed frogs, scorpions, snakes, ants and other evil creatures (khrastar and hasharat)– one of the most meritorious actions a good Zoroastrian could perform.
 

A scene in paradise. Rylands Persian MS 41, f.26r. 
Reproduced by courtesy of the University Librarian and Director, The John Rylands Library, The University of Manchester

In contrast, more than half of the illustrations in this manuscript depict the gruesome punishments in store for those judged deficient at the Chinvat Bridge. These were to some extent tailored to the crimes committed on earth; for example the man who had butchered believers was punished by being flayed alive, another who had overindulged and not given food to the poor was starved until forced to eat his own arms out of hunger. Punishments were meted out by demonic creatures, mostly consisting of those same evil scorpions, snakes and reptiles which good Zoroastrians were encouraged to destroy.

On the right: sinners who neglected to wear the sacred girdle (kusti) and were slack in matters of religious ritual are being eaten by demonic animals. On the left: a woman is hung upside down and tormented. Her crime was to disobey her husband and argue with him.
Rylands Persian MS 41. ff 47v-48r.  Reproduced by courtesy of the University Librarian and Director, The John Rylands Library, The University of Manchester

This manuscript was copied in July 1789 in Navsari, Gujarat, by a Zoroastrian, Peshotan Jiv Hirji Homji. It was brought to England at the end of the 18th century by a collector Samuel Guise, a surgeon working for the East India Company at its factory in Surat. Guise’s collection caused quite a stir in the literary world, being mentioned in journals such as The Edinburgh Magazine and the British Critic (Sims-Williams, p.200). The orientalist William Ouseley reproduced the illustration of the disobedient wife in his Oriental Collections published in 1798. After Guise’s death in 1811, his collection was sold. Most of his Zoroastrian manuscripts were acquired by the East India Company Library (now at the British Library) but this manuscript was purchased by the Persian scholar, John Haddon Hindley. Eventually it was bought by Alexander Lindsay, 25th Earl of Crawford, from the estate of another Persian scholar, Nathaniel Bland and is now in the John Rylands Library, University of Manchester. It has recently been digitised and images of the entire work can be seen at https://luna.manchester.ac.uk/luna/servlet/s/x263o9.
 

An 18th century facsimile of Samuel Guise’s copy  of the Arda Viraf namah, included with some of the earliest engravings of Zoroastrian manuscripts in William Ouseley’s Oriental Collections.
British Library SV 400, vol. 2 part 3, facing p. 318.

Further reading:

S. Stewart (ed), The Everlasting Flame: Zoroastrianism in History and Imagination. London: I.B. Tauris, 2013. Special discounted paperback edition available only from the SOAS bookshop
Articles: “Ardā Wīrāz”  by Ph. Gignoux,  “Činwad puhl” by A. Tafazzoli and “Kartir”  by P. O. Skjærvø in Encyclopædia Iranica (http://www.iranicaonline.org/).
D. Kargar, Arday-Viraf Nama: Iranian conceptions of the other world. Uppsala: Uppsala Universitet, 2009.
H. Jamaspji Asa, M. Haug, and E.W. West, The Book of Arda Viraf: The Pahlavi Text Prepared by Destur Hoshangji Jamaspji Asa. Bombay: Govt. Central Book Depot, 1872.
J.A. Pope (tr.), The Ardai Viraf Nameh; or, the Revelations of Ardai Viraf. London: Black, Parbury & Allen, 1816.
W. Ouseley, The Oriental Collections. London: Printed by Cooper and Graham, 1797-1800.
U. Sims-Williams,  “The strange story of Samuel Guise: an 18th-century collection of Zorostrian manuscripts,” Bulletin of the Asia Institute 19, 2005 (2009), pp. 199-209.

Ursula Sims-Williams, Asian and African Studies

The British Library has recently acquired two Javanese palm leaf manuscripts of the Carita Yusup, the story of the Prophet Joseph (Or. 16913 & Or. 16914).  According to Ben Arps (1990: 36), to judge from the hundreds of manuscripts of this text that have survived, originating not only from Java but also from the neighbouring islands of Madura and Lombok, the Carita Yusup was once probably the single most popular traditional Javanese poem.  Arps has described attending an all-night recitation of one such manuscript in Banyuwangi in East Java in 1989, when a group of 15 men took turns to sing the story of the life of Joseph, from the age of twelve when he dreamt of the sun, moon and eleven stars bowing down for him, until he became ruler of Egypt after interpreting the Pharaoh’s dream.


Javanese palm leaf manuscript of the Carita Yusup, the Story of Joseph, probably 19th c.  British Library, Or.16913.

The manuscripts were generously donated to the British Library by John Johnson, in memory of his father Alfred Johnson.  Last month I had the pleasure of meeting John, and hearing about his family background in Java, when he brought the manuscripts down to London from his home near Stockport.  In 1941 Alfred Johnson was sent out from the UK to Java by the Calico Printers Association to manage the Nebritex factory in Pleret, Pasuruan, near Surabaya.  During the Japanese occupation both Alfred and his wife Ada were interned: Ada in Java, while Alfred was first sent to Changi Jail in Singapore and then on to work on the ‘death railway’ near Pekanbaru in Sumatra.  After the war Alfred Johnson returned to Java, and John was born at St. Carolus hospital in Jakarta (then Batavia), in 1947.  The family returned to England in 1953, but Alfred sadly died in Manchester soon after, in  July 1954.

As recalled in the affectionate obituary of Alfred Johnson in the staff magazine CPA Star written by Mr Khoe Tiong Djian, who had served as Private Secretary to Alfred throughout his time at Nebritex, Alfred had played a symbolic role in the early economic history of the Republic of Indonesia:  ‘Mr Johnson was the first civilian Englishman to enter the Republican territory as guest of the Republican Government.  He went with a view to negotiating with the Government for the return of our factory and on March 19th, 1947, Reuter Cable Service flashed the news around the world to the effect that [Nebritex] was the first European-owned concern to be transferred back to its owners.  The official handing over, however, took place on June 13th, 1947, between Mr Johnson, representing the Calico Printers’ Association, Ltd., Manchester, and Dr A.K. Gani, representing the Republic of Indonesia as Minister of Foreign Affairs.’

Identification papers issued to Alfred Johnson at the start of the Japanese occupation of Java, shortly before he was interned, dated 2062 (1942).  Reproduced courtesy of John Johnson.  

   
One of John Johnson’s most treasured possesions: a tiny (7 x 3.7 cm) Christmas card made for his father in 1944 by Dutch officers in the Lipat Kain prison camp in Riau, Sumatra. Reproduced courtesy of John Johnson.  

John Johnson did not have any information as to how his family had come into the two Javanese manuscripts.  They are both quite large, and both have covers of wooden boards originally stained red.  Or.16913 has 140 folios, with a fine decorated initial leaf, while Or.16914, with 141 folios, has many old repairs to the leaves, using tiny splints sewn across the cracks.  They join four other Javanese palm leaf manuscripts of the Carita Yusup in the British Library (Or. 14606-14609), given by Michael Goodwin from Leeds in 1990, and together constitute a good corpus for further investigation of the material form of this ever-popular tale.

Part of the first leaf of Or.16913, showing the opening lines in Javanese language and script, with unusual incised decorative diamond-shaped frames.  The first leaf is a double leaf, with intricate ‘button-hole’ stitching through the holes.  British Library, Or.16913, f.1r (detail). 

Detail of the first two leaves of the second manuscript of Carita Yusup, showing old repairs to the second folio using tiny wooden splints to patch up a crack in the leaf.  British Library, Or.16914, ff.1-2 (detail). 

Further reading

Bernard Arps, ‘Singing the life of Joseph: an all-night reading of the lontar Yusup in Banyuwangi, East Java’, Indonesia Circle, 1990, 19 (53): 35-58.
Bernard Arps, Tembang in two traditions: performance and interpretation of Javanese literature. London: School of Oriental and African Studies, 1992.
George Duffy, ‘Life and Death on the Death Railway through the jungle of Sumatra’, published online on 4.7.2000.

Annabel Teh Gallop, Lead Curator, Southeast Asia

Related articles

Indonesian and Malay manuscripts in the Endangered Archives Programme

Among the treasures recently digitised thanks to the generous support of the Iran Heritage Foundation is an illustrated copy (BL Add. 7735) of one of the most famous works in all classical Persian literature: Farīd al-Dīn ‘Aṭṭār’s Manṭiq al-ṭayr (‘Speech of the Birds’), a Sufi allegory of the quest for God.

In Manṭiq al-ṭayr, ‘Aṭṭār describes how the hoopoe, leader of the birds, tries to persuade them to set out on a quest to find the Sīmurgh, the supreme and immortal Bird who here symbolises the Creator. Most of the birds produce reasons why they cannot – or will not – undertake the perilous journey. Finally the hoopoe sets out with a few companions. Traversing seven valleys, which represent stages of the mystical Path, the thirty birds (sī murgh) finally encounter the object of their search, the Sīmurgh. Losing their illusory separative identities in the beatific vision, they find everlasting fulfilment.

Such is the narrative framework; but as in his other didactic works in masnavī form (rhyming couplets), ‘Aṭṭār intersperses many moral and instructive tales touching on the main themes of the poem. These include spiritual and earthly love and passion; faith and disbelief; death and the transitory nature of life in this world; and the ways in which ‘worlds collide’ in encounters between people who because of their respective positions in life are divided by a gulf that at times appears – and is surely intended by the author to be – partially analogous to that between the Creator and His creation. For that is one of the predominant leitmotifs in the illustrations to our manuscript. A future posting will look at the subjects of the paintings and their relationship to ‘Aṭṭār’s didactic messages.

First page of Farīd al-Dīn ‘Aṭṭār’s Manṭiq al-ṭayr.  British Library, Add.7735, f.1v.

What is now Add. 7735 was acquired by the British Museum in 1825 by Act of Parliament from the estate of Claudius James Rich (1787-1821), British Resident at Baghdad and a discriminating collector of some 806 Islamic manuscripts, all now in the British Library. The previous history of this manuscript is almost completely unknown; firstly because it is now incomplete and has no colophon, and secondly because any other evidence has been lost through the removal of any folios at the beginning or end of the volume which did not contain text. Folio 1r has several ownership inscriptions; all, however, date from the 12th/18th century.

An interesting feature of this manuscript which has hitherto escaped attention is the omission of a number of the stories that occur near the end of the poem. As Dick Davis, whose translation omits the epilogue, has remarked, it is anticlimactic. Indeed, its omission from Add. 7735 would have been more understandable for the sake of literary effect. But comparison with pp. 253-8 of the critical edition by Sayyid Ṣādiq Gawharīn, to whose memory this posting is dedicated, shows that the manuscript, which has matching catchwords and no missing text folios, lacks six consecutive stories altogether, then resumes with the last three tales about the Seljuk vizier Niẓām al-Mulk (ed. Gawharīn, p. 258), the Prophet Solomon, and the famous Khurāsānian Sufi Abū Sa‘īd of Mihana. The epilogue text ends as in Gawharīn (p. 259), leaving about 40% of the text area free for the colophon that was never added.

Last page of Farīd al-Dīn ‘Aṭṭār’s Manṭiq al-ṭayr.  British Library, Add.7735, f.208r.

Further textual omissions appear to have been avoided by the calligrapher who copied the manuscript writing in a smaller hand to compensate for want of space. A total of 18 extra bayts (couplets) were fitted into the lengthy story of a king who killed his vizier’s son out of jealousy (cf. ed. Gawharīn p. 238-43): 3 bayts on 195v, 3 + 3 on 196r, 3 on 197r, 3 on 197v, and 3 on 198r. Further scrutiny may perhaps bring further actual omissions from Add. 7735 to light.

Manṭiq al-ṭayr, with six couplets added.  British Library, Add.7735, f.196r.

The lack of documentary evidence for the date and region of origin of the manuscript is compensated for, to a limited extent, by the presence of miniature paintings in a style that displays a number of specific influences, and with which the fine nasta‘līq calligraphy and opening illuminated headpiece are consistent. Published descriptions of the paintings describe them as being in what is called the Later Herat style, associated with the patronage of Sultan Ḥusayn Bāyqarā who ruled from that city between 1469 and 1506, and with Kamāl al-Dīn Bihzād (d. 1536), the most famous of all Persian painters. Despite their similarities, however, the miniatures in Add. 7735 differ noticeably from those found, for example, in the British Library manuscripts Add. 25900 and Or. 6810, both copies of Niẓāmī’s Khamsa (‘Five Poems’), and in the superb copy of Sa‘dī’s poem Būstān (Dār al-Kutub al-Miṣriyya, Cairo), all produced under Bihzād’s supervision and with his participation. Likewise, they differ from the four contemporary illustrations in the equally magnificent, and Bihzādian, manuscript of ‘Aṭṭār’s Manṭiq al-ṭayr (Fletcher Fund, 63.210) preserved at the Metropolitan Museum of Art, New York.

The miniatures in Add. 7735 do possess some of the charm, compositional flair and atmosphere of the late 15th century masterpieces just referred to; but they are less conceptually ambitious, more restricted in palette, architectural detail and landscape, and lack the magisterial touch of Bihzād. It is known, however, that Bihzād, his star student Shaykhzāda, and a number of other Herat painters were ‘offered’ positions at the court of the Uzbek Shaybānids, based at Bukhara, who conquered the region in 1506. Others joined later, finding themselves no longer comfortable as Sunnīs in Iran under the militantly Shī‘ī Safavid dynasty. These developments ensured the partial continuation of the Later Herat tradition. Given their similarity, in certain respects, to some of the more Herat-influenced Bukhara painting of the first two or three decades of the 16th century, one is tempted to assign the Manṭiq al-ṭayr tentatively to that era.

So far as can be ascertained, our Manṭiq al-ṭayr manuscript has been ‘formally’ exhibited (apart from occasional appearances in the general display of manuscripts in the British Library, and before that in the British Museum) only twice, in 1967 and 1977; and most of the nine miniatures have never been published. Moreover, there are several inaccuracies in the descriptions of their subjects given in Miniatures from Persian Manuscripts, the late Norah Titley’s pioneering and invaluable catalogue and subject index of miniatures in the British Library and British Museum. It therefore seems a worthwhile project to reproduce and discuss them, with reference to ‘Aṭṭār’s text, in a future posting for this blog.

This manuscript is now available in our digitised manuscripts viewer. Follow us on twitter (@BLAsia_Africa) to keep in touch with further developments.

Further reading
‘Aṭṭār, Farīd al-Dīn Muḥammad. Manṭiq al-ṭayr (Maqāmāt al-ṭuyūr). Ed. and comm. Sayyid Ṣādiq Gawharīn. Tehran, 1342/1963.
Attar, Farid ud-Din. The Conference of the Birds. Tr. Afkham Darbandi and Dick Davis. London, 1984.
Bahari, Ebadollah. Bihzad, master of Persian painting. London and New York, 1997.
Lukens, Marie G. ‘The Fifteenth-Century miniatures’. Online: Metropolitan Museum of Art in collaboration with JSTOR (PDF downloadable here).
Titley, N.M. Miniatures from Persian Manuscripts. London, 1974.
 
Muhammad Isa Waley, Curator for Persian

Related articles

Mantiq al-tayr ('the Speech of Birds'), part 2

Since the closure of the British Library's exhibition Mughal India: Art, Culture and Empire in April 2013, we have had the opportunity to launch facsimile versions of the show first in Kabul, Afghanistan this past summer and now in New Delhi, India this winter. 

The Mughals: Life, Art and Culture has been curated by the British Library and is brought to New Delhi by Roli Books in collaboration with the Indira Gandhi National Centre for the Arts. It will be open for public viewing from 22nd November - 31st December 2013.

The exhibition showcases the British Library's extensive collection of illustrated manuscripts and paintings that were commissioned by Mughal emperors and other officials and depict the splendour and vibrant colour of Mughal life. The artwork cover a variety of subject matter; from scenes of courtly life including lively hunting parties and formal portraits of emperor to illustrations of works of literature which manage to convey the complex storylines in a single image, and dramatic panoramas of Indian landscape.

The child Akbar recognizes his mother at Kabul in 1545. This scene, from the Akbarnāmah, takes place in the women’s quarters. Ascribed to Madhu with principal portraits painted by Narsigh, 1602-3. BL Or.12988, f. 114r.

Many of these works have never been published until now. Some of the rare exhibits on display include Shah Jahan's recipe book, 'Notebook of Fragrance', an 18th century manuscript 'Book of Affairs of Love' by Rai Anand Ram Mukhlis, 'Reminiscences of Imperial Delhi by Metcalfe and illustrated by the studio of Mazhar Ali Khan, a route map from Delhi to Qandahar, the earliest Indian atlas, a map of Delhi, and some of the most extraordinary portraits of the Mughal emperors. Being in a library and not a museum, most of the objects are kept in storage and are rarely seen. This exhibition provides a unique opportunity for Indian viewers to be a part of their own history.

Akbar is re-united with his mother after an absence of two years. This scene, from the Akbarnāmah, takes place in the women’s quarters. One of the ladies is almost certainly Gulbadan (Or.12988, f. 114r)   
- See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2013/01/a-mughal-princesss-autobiography.html#sthash.f2u8YiAV.dpuf

The exhibition will be inaugurated on Thursday 21 November 2013 by the Honourable Vice President Shri Hamid Ansari as the Chief Guest, with Shri Salman Khurshid, Honourable Minister of External Affairs as the Guest of Honour. A new publication by British Library curators and printed by Roli Books will accompany the show. For the British Library publication, Mughal India: Art, Culture and Empire by J.P. Losty and Malini Roy, please click here.

Events accompanying the exhibition include:

22 November, 5.30pm     John Falconer, Lead Curator of Visual Arts (British Library)
India in Focus:  Photographs from South Asia

23 November, 5.30pm     William Dalrymple, Author
Painting in Late Mughal Delhi, 1707-1857

27 November, 5.30pm     Dr. Pushpesh Pant, Author, Historian
Food, Culture and the Mughals

29 November, 5.30pm     M.J. Akbar, Journalist, Author
Akbar: The Many Dimensions of Mughal India's Greatest Emperor

At the end of October, CREAM (University of Westminister), South Asian Arts Group (SAAG) and the South Asian Literature Festival (SALF) organised a symposium on the under-researched area of South Asian floor-drawing and mural traditions and their contemporary manifestations. 'From Floor to Ceiling' symposium was held at the University of Westminister with an external trip to view original wall paintings at the British Library.

Participants at the British Library, 25th October 2013

The Library's collection includes several hundred Indian popular or folk paintings produced in various regions across the subcontinent in the late 19th and 20th centuries. The collection includes Kalighat paintings from Calcutta, paintings from Orissa, Mali paintings made in Bihar, as well as Maithil or Madhubhani paintings from Bihar. The viewing session primarily focused on this last group of paintings. 

The Library is best placed to host a session on Maithil and Madhubhani paintings; the art historian who first documented this regional style of art was William G. Archer, the husband of Mildred Archer. Mildred was the Head of Prints and Drawings Section at the India Office Library from 1954-80.

William served in the Indian Civil Service and during their first year of marriage, in 1934, they were stationed in Bihar. Archer was the sub-divisional officer and responsible for documenting the damage caused by a major earthquake in the region. Visiting villages and private homes, Archer discovered murals on the walls of the homes. These drawings were produced by the women of the household to commemorate particular stages in life including the sacred thread ceremony for Brahim boys and marriage. The murals features symbols of fertility and marriage including fishes, turtles, parrots and lotus rings.  Other murals featured Hindu deities including the goddess Lakshmi and the incarnations of Vishnu.

Archer was invited into the homes and permitted to photograph the interiors. Aide-memoires produced using water-colours on multiple sheets of paper glued together were presented to Archer.  Gathering information during the next few years, Archer published his documentation and research on Maithil paintings in the arts magazine Marg in 1949. His research prompted Mrs. Pupul Jayakar of the All India Handicrafts Board to study the folk art traditions in the region in detail. In the late 1960s, when Bihar was struck by famine, Mrs. Jayakar suggested that the local women produce murals on paper that could be sold in New Delhi and provide a revenue stream. The All India Handicrafts Board presented a sets of the works from this project to the Library in 1975.

Participants at the British Library, 25th October 2013

During our viewing session, there were two specific groups of paintings that we examined, with the aim to encourage collaboration and exchange on the under-researched area of mural paintings. The first group included late 19th century drawings by Maithil Kayasth and Maithil Brahim women from the village of Darabhanga, Bihar that were presented to W.G. Archer in 1940. The second group of drawings were commissioned by the All India Handicrafts Board and made by women in Bihar between 1973-75.  All of our folk paintings are listed on our India Office Select Material Catalogue. Visual materials held in our collection can be viewed by appointment in the Asian & African Studies Print Room. Please email [email protected] for an appointment.

To read more about the symposium and learn about recent research on South Asian wall and floor paintings, visit the symposium website.

Bibliography

Mildred Archer, Indian Popular Painting in the India Office Library, 1977

W.G. Archer, "Maithil Paintings", Marg Vol. 3 Issue no. 3, pp. 24-33, 1949

Carolyne B. Heinz, "Deconstructing the Image in Mithila Art", Visual Anthropology Review, no. 2, 22, pp. 5-33, 2007

Jyotindra Jain, Ganga Devi: Tradition and Expression in Mithila Painting, Mapin, 1997

Malini Roy, Visual Arts Curator     @BL_VisualArts