Asian and African studies blog

Regular followers of this blog will know through the Mewar Ramayana Digitally Reunited blog post that recently we were delighted to join with Chhatrapati Shivaji Maharaj Vastu Sangrahalay (CSMVS Musuem), Mumbai, in announcing the launch of the digitised Mewar Ramayana manuscript. The Ramayana is one of the great epic stories of the world, with a unique universal human appeal. This particular manuscript, commissioned by Maharana Jagat Singh of Mewar in the mid-17th century, is widely regarded as one of the finest, most lavishly-illustrated copies of the epic ever made.

As our first major collaborative project with partners in India, the launch of the digitised Mewar Ramayana marks a significant early milestone in our aim to make parts of our extensive collections relating to South Asia freely available online, for people all around the world to study, admire and enjoy.

It was both to celebrate the launch with CSMVS at a reception on 21 March, and to discuss future collaborations with CSMVS and other partners in India, that a small BL contingent set off for Mumbai: Baroness Tessa Blackstone (Chairman of the Board), Roly Keating (Chief Executive), Marina Chellini (project curator), Jerry Losty (project consultant, see Curator’s perspective: accessing the Mewar Ramayana), Kate Losty (a conservator by training, and as Jerry’s wife, as engaged with the Mewar Ramayana as he), and myself.

CSMVS, Mumbai

Our CSMVS colleagues and friends, in particular Sabyasachi Mukherjee (Director General), Vandana Prapanna (project curator), Roda Ahluwalia (project consultant), Manisha Nene (curator), and Koumudi Malladi (coordinator, DG’s office), had ensured a memorable evening’s programme for the launch! It began with refreshments for some 120 guests under the watchful eye of Jamsetji Tata, whose bust graced the lobby of Coomaraswamy Hall. This felt particularly apt, since it was partly due to the generous support of the Jamsetji Tata Trust that the project could happen.

The statue of Jamsetji Tata fittingly presides over the launch.

Brief speeches by Sabyasachi Mukherjee, Baroness Blackstone, Kumar Iyer (British Deputy High Commissioner) and Roly Keating focussed on the deep historical ties between India and the UK, and the importance of international collaboration in building on these to ensure greater access to cultural treasures. These sentiments were beautifully encapsulated by honoured guest Shriji Arvind Singh Mewar, the Maharana of Udaipur, whose ancestor Rana Bhim Singh first donated the part of the manuscript now held at the British Library to Lt. Col. James Tod, British Political Agent and noted historian, in the early 19th century. Speculating as to his ancestor’s motivations in presenting the folios to Tod, Shriji concluded that the gift was symptomatic of the strong, cultural link between India and Britain, a link further strengthened by the ‘conduit of shared values’ demonstrated by the CSMVS-BL collaboration.

Shriji Arvind Singh Mewar, the Maharana of Udiapur, addresses a packed Coomaraswamy Hall

The digital Mewar Ramayana was unveiled by Marina Chellini, who talked the audience through the special features of the resource, in the shaping and creating of which she had played such a leading role, whilst Vandana Prapanna provided fascinating insights into the project from the perspective of CSMVS. In the focal point of the evening, art historians Jerry Losty and Roda Ahluwalia delivered illustrated lectures, Jerry Losty concentrating on the immense artistic importance of the Mewar Ramayana, and Roda Ahluwalia exploring its significance in relation to other Ramayanas and to the Rajput manuscript tradition.

A lamp-lighting ceremony to inaugurate The Balakanda of the Mewar Ramayana in the Curator’s Gallery followed. Not to be missed by those fortunate enough to be in Mumbai, this exhibition displays original folios from the manuscript held at CSMVS, cleverly juxtaposing them with an animated digital folio projected on the wall, and the reunited digital resource on a kiosk to one side. Celebrations were brought to a close with a dinner at Bombay Gymkhana, very generously hosted by the Chairman and Director General of CSMVS.

BL Chairman of the Board, Baroness Tessa Blackstone, at the lamp-lighting ceremony

After meetings with Sabyasachi Mukherjee the following morning to discuss exciting plans for the next CSMVS-BL joint endeavour and tours of the museum and conservation studio, the BL contingent went their separate ways. For Baroness Blackstone, Roly Keating and me, ‘work’ had just begun, with a further four days of meetings scheduled with partners in Mumbai and Kolkata. But that’s for another post.

BL Chief Executive Roly Keating and Baroness Tessa Blackstone visiting the CMSVS conservation studio

In the meantime, our sincere thanks go to CSMVS, who in the course of this project have become friends as well as international colleagues. We look forward to many similar successes in the future!

We would also like to thank our funders, the Jamsetji Tata Trust, Sir Gulam Noon, the World Collections Programme, the Friends of the British Library and the British Library Board, without whom the project could not have been achieved.

And finally, we hope that you, our readers - whether via pc, tablet or phone, on the move or in the comfort of your own homes - will continue to study and enjoy this unique resource! You can explore the manuscript by going to www.bl.uk/ramayana or http://csmvs.in/the-mewar-ramayana.html.

Leena Mitford

Lead Curator, South Asian Studies

The digital version of the complete Valmiki Ramayana prepared for  Rana Jagat Singh of Mewar in 1649-53 was launched on 21 March at the CSMVS, Mumbai, making freely available to the world one of the greatest achievements of Indian art.  For the complete digital version of the manuscript together with descriptions of the paintings and essays on its various aspects, see www.bl.uk/ramayana.  My own involvement with the manuscript goes back to 1971 when as a young Sanskritist straight from Oxford I first joined the British Museum, before the collections were transferred to the British Library in 1973.  I spent a lot of time exploring the oriental select manuscripts lobby, pulling the manuscripts off the shelf one by one for a brief examination.  The bound manuscripts were kept in so far as possible in strict numerical sequence in the main runs of Additional and Oriental manuscripts, so that Arabic, Persian, Hebrew or Sanskrit manuscripts could be found side by side, encouraging a serendipitous tendency to explore other cultures.  I was vaguely aware of the great Mughal manuscripts in the collections, the subject of British Library exhibitions in 1982 and 2012, but was there I wondered anything comparable from the Hindu world? 

Covers and doublure of a volume of the Ramayana as bound in the British Museum bindery in 1844.  British Library, Add.15295.

I soon found three massive bound volumes which announced themselves on the spines as five volumes of the Ramayana, books 1, 2, 4, 6 and 7.  On hauling them off the shelf and opening them I found them crammed with paintings.  Each of the volumes had had all its folios, the unillustrated ones as well as the full page paintings, let into heavy guard papers which were then bound up in these elaborate bindings.  The folios being in landscape format, the volumes had to be turned on their sides to be read.  On further investigation, one of the volumes, the Bala Kanda or first book, with over 200 paintings, turned out to have been written in 1712 in Udaipur under Maharana Sangram Singh (Add.15295), but the other four books containing 286 full page paintings were prepared in Udaipur for Rana Jagat Singh between 1649 and 1652, as well as in the first year of his successor Rana Raj Singh in 1653 (Add.152396-7).  They had, I found, never been exhibited, since the volumes were too large to fit into the department’s then exhibition cases; they had never been lent to be exhibited elsewhere, not even to the great exhibition of Indian art at Burlington House in 1947, since the British Museum did not then lend at all; and I could find only one brief reference to them in the art historical literature, in Douglas Barrett and Basil Gray’s Indian Painting of 1963.  They were of course mentioned in Cecil Bendall’s Catalogue of Sanskrit Manuscripts in the British Museum (London, 1902), but he was concerned about the text and not the pictures:  back then in 1902 no one in the west knew anything about Indian painting, while A.K. Coomaraswamy had yet to publish his book on Rajput painting.  In 1971 when I told those of my colleagues who were interested in Persian and Indian painting about these great volumes, my excitement was greeted with some indifference: they knew of their existence of course, but Rajput painting and manuscripts did not conform to Mughal standards of painting, let alone Persian.  The volumes turned out to be illustrated in three different styles of contemporary Mewar painting, involving the artists Sahib Din and Manohar and their studios and an unknown master working in a mixed Mewar-Deccani style. 

Hanuman espies Rama and Laksmana as they approach Lake Pampa.  Ramayana, Kiskindha Kanda.  Mewar-Deccani style, Udaipur, 1653.  British Library, Add.15297(1), f.2r.

Since that to me momentous discovery in 1971, I have been occupied with trying to publish these volumes and to place them within their artistic and cultural contexts.  I had found only four volumes of Jagat Singh’s Ramayana – where were the other three?  I soon found some of the original Bala Kanda of 1649 ascribed to the artist Manohar in the then Prince of Wales Museum in Bombay, and most of the rest of the paintings in the book in a private collection in that city.  But when Dr Moti Chanda published some of its paintings in 1955, he was unaware of the four London volumes.  It emerged that one volume, book 3, the Aranya Kanda or Forest book, was still in Udaipur.  It had been transferred along with the rest of the royal Mewar library to the Udaipur branch of the Rajasthan Oriental Research Institute, and was subsequently moved to that institute’s headquarters in Jodhpur.  In 1982 the four London volumes formed some of the highlights of my exhibition The Art of the Book in India in the British Library.  

Hanuman is brought bound before Ravana and his tail set on fire.  Ramayana, Sundara Kanda.  Mewar-Deccani style, Udaipur, c. 1650.  British Library, IO San 3621, f.9r.

While I was preparing that exhibition Mildred Archer and Toby Falk, who had been working on a catalogue of the Indian miniatures in the then separate India Office Library, brought to my attention a volume of 18 paintings of a Sundara Kanda that had been acquired in 1912.  This it seems was what remained of the final volume to be unearthed and I included it in my exhibition.  I also brought to London for the exhibition folios from the two volumes still in India, thereby uniting the entire manuscript for the first time since 1820.  Since then I have published various articles on different aspects of them and other scholars including Vidya Dehejia and Andrew Topsfield have also worked on them, but the task is immense, since we are concerned here with over 400 paintings as well as a most interesting text, which is earlier than most of the manuscripts used for the critical edition of the Ramayana prepared in Baroda in 1960-75.

Maharana Bhim Singh of Mewar (reg. 1778-1828) out hunting.  Mewar, 1810-20.  British Library, Add.Or.4662.

But how did these volumes get to London in the first place?  Maharana Bhim Singh of Mewar was the typical Rajput ruler of the time, more interested in hunting and grand festivals than in literary pursuits, but he did revive the royal painting studio.  He was on very friendly terms with Captain James Tod, the future historian of the Rajputs, who was appointed in 1818 as the East India Company’s Agent to the western Rajput states.   On Tod’s final departure from Udaipur in 1820 the Maharana presented to him four volumes of Jagat Singh’s Ramayana as well as the Bala Kanda of 1712 prepared under Sangram Singh.   Tod on his return to London in 1823 presented the five volumes to the Duke of Sussex, one of the younger sons of King George III, who had accumulated a vast and important library, and it was at the sale of the Duke’s library in 1844 that the five volumes were purchased for the British Museum.  They were still in bundles in their loose-leaf traditional format and it was then that they were bound up in their handsome bindings, the enormous Bala Kanda in one volume (Add.15295) and the remaining four books in two volumes (Add.15296 and Add.15297).

It emerged over the 40 years since 1971 that the bound volumes in London had kept the paintings in absolutely pristine condition, since up to that time scarcely anyone had looked at them, but as I and other scholars turned their pages in subsequent years it became increasingly obvious that the paintings were suffering, since the folios housed in their rigid bindings could not be turned without the paintings flexing and with that the ensuing risk of the pigments flaking.  One of my first tasks was to organise the splitting of Add.15297 since the two heavily illustrated books within, including Sahib Din’s masterpiece the Yuddha Kanda (Book 6), were most at risk. 

Hanuman disturbs the divine inhabitants of the Himalaya when fetching herbs to cure Laksmana who had been wounded by Ravana.  Ramayana, Yuddha Kanda.  By Sahib Din, Udaipur, 1652.  British Library, Add.15297(1), f.150r.

In Valmiki’s hermitage Lava and Kusa recite the story of Rama before Satrughna.  Ramayana, Uttara Kanda.  Style of Manohar, Udaipur, 1653.  British Library, Add.15297(2), f.88r.

Book 7 the Uttara Kanda was removed and a new binding matching the original was prepared for it, as well as a new spine for the Yuddha Kanda.  In 1995, some 20 folios concerned with Rama’s quest for Sita were detached and mounted separately in an exhibition at the British Library, The Mythical Quest, and were later lent to several exhibitions in the UK as well as to the Asian Civilizations Museum, Singapore. 

It seemed to me many years ago that the best way to ensure the safety of the paintings was to dismantle the volumes entirely and mount the paintings separately, but this raised opposition within the Library as the volumes themselves were of great historic interest.  However my view eventually prevailed.  The volumes were dismantled and the paintings individually mounted and a large part of the London volumes were shown in a grand Ramayana exhibition in the British Library in 2008 with my accompanying book published both in London and in India.  From them on it was but a step to conceive of reuniting the whole manuscript digitally, not just the paintings but the text as well, so that scholars could work in particular on the relationship between text and painting, and also so that everyone could have access to one of the greatest monuments of Indian art.

 J.P. Losty, Curator of Visual Arts (Emeritus)

Further Reading:

www.bl.uk/ramayana

Chandra, M., ‘Paintings from an Illustrated Version of the Ramayana Painted at Udaipur in AD 1649’ in Bulletin of the Prince of Wales Museum of Western India Bombay, vol. 5, 1955-57, pp. 33-49

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

Losty, J.P., The Ramayana:  Love and Valour in India’s Great Epic – the Mewar Ramayana Manuscripts, British Library, London, 2008

Topsfield, A., Court Painting at Udaipur: Art under the Patronage of the Maharanas of Mewar, Artibus Asiae, Zurich, 2002

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Mewar Ramayana Digitally Reunited

Distinctive leg-of-mutton legs and fine jewels: a new display of Indian paintings in the Treasures of the British Library

The Mewar Ramayana is one of the most beautiful manuscripts in the world and has been digitally reunited after being split between organisations in the UK and India for over 150 years. The Indian epic Ramayana is one of the world's greatest and most enduring stories, telling the stirring tale of Prince Rama who was exiled for fourteen years through the plotting of his stepmother. In exile, his wife Sita is abducted by the ten-headed demon king Ravana; with the assistance of an army of monkeys and bears, Rama searches and rescues Sita.

Sahib Din, Rama is driven into exile as Dasaratha and the queens bid farewell, c. 1650. British Library, Add.15296(1), f. 56r

Through a major partnership between the British Library and CSMVS Museum in Mumbai, hundreds of folios, including 377 vividly illustrated paintings, of the Mewar Ramayana can now be viewed online. You can see the manuscript at www.bl.uk/ramayana.

For the first time, people around the world will be able to digitally explore the pages of the Mewar Ramayana manuscript, which was commissioned by Rana Jagat Singh I of Mewar in 1649 and produced in his court studio at Udaipur. The project, which has been three years in the making, is sponsored by the Jamsetji Tata Trust, the World Collections Programme, and the Friends of the British Library.

The Ramayana – “Rama’s journey” is attributed to the sage Valmiki and was composed some two and a half thousand years ago. Through oral tradition 20,000 verses continued to circulate from generation to generation, in the various languages of India and beyond. The story embodies the Hindu idea of dharma – duty, behaving correctly according to one’s position and role in society.

The Mewar Ramayana manuscript is divided into seven books, the text prepared by a Jain scribe Mahatma Hirananda and the paintings by various artists including studio master Sahib Din. Production of the manuscript started in 1649 and was completed after Rana Jagat Singh's death in October 1652. This lavish manuscript features intricate paintings of Hindu gods and their battles and the paintings in the Mewar Ramayana are among the finest examples of Indian art.

Hanuman observes Ravana's interview with Sita, c. 1653. British Library, IO San 3621, f.3

After more than 150 years after production, four volumes from this series were presented by Jagat Singh's descendant Maharana Bhim Singh of Mewar (1778-1828) to Lt. Col. James Tod (1782-1835), the first British Political Agent to the Western Rajput Courts in the early 19th century. In 1823, following his return to Britain, Tod presented the volumes to the royal bibliophile the Duke of Sussex (1773-1843) in 1823. Following the Duke's death, the content of his library went on sale in 1844, the four volumes were purchased by the British Museum, now the British Library. The remaining volumes became dispersed over time.

The digital Mewar Ramayana will enable users to ‘turn the pages' online in the unbound style reflecting the traditional Indian loose-leaf format, and interpretive text and audio will allow the broadest possible audience to study and enjoy this text in a whole new way. It will also transform access to the manuscript for researchers, who will have the text and paintings side by side in one place for the first time. The project has been led by British Library curator Marina Chellini with assistance from Leena Mitford, J.P. Losty and Pasquale Manzo.

Technical note:

This new version of 'Turning the Pages' is built in HTML5. It is not reliant on 'plugins' you need to install first, as with previous versions. It will work with the following browsers:

Internet Explorer 9 +
Google Chrome 14+
Firefox 11+
Safari 

As it is a very large file, it may take a few minutes to download (depending on your broadband speed).

For the press release and additional images, please visit the British Library's Press and Policy page.

The Dara Shikoh Album (Add.Or.3129) is one of the most famous and important Mughal artefacts in the British Library’s collections.  Dara Shikoh (1615-58) was the eldest son and favourite of the Emperor Shah Jahan (reg. 1627-58).  He was married in 1633 to his cousin Nadira Banu Begum and in 1641 gave her the album which, it was argued recently (Losty and Roy 2012, pp. 124-37), the prince had assembled between 1631 and 1633 and not as normally assumed between his marriage in 1633 and the gift in 1641.  When I was researching the album, which is famous above all for its flower studies, I recognised a new European source of inspiration that had not previously been noticed.  Scholars of Mughal painting, following Robert Skelton’s seminal paper of 1972, have become increasingly aware of how Mughal artists used European prints to help both in their individual paintings of flowers and in the floral borders of the imperial albums of Jahangir (reg. 1605-27) and Shah Jahan.  Since it was possible to publish only the British Library’s Mughal paintings in our 2012 book, this note expands on some of the references made therein. 

The only signed and dated painting in the album is by the otherwise mysterious artist Muhammad Khan, who was possibly from the Deccan and engaged by Dara Shikoh when the Emperor’s court was in Burhanpur 1630-32.  My attention focussed on the vase which is filled with a bouquet of many different sorts of flowers and is very unlike contemporary Mughal depictions of vases of flowers in paintings.  

A prince in Persian costume pouring wine.  Inscribed on the bowl in Persian: ‘amal-i Muhammad Khan musavvir sanna 1043 (‘work of Muhammad Khan the artist, the year 1043/1633–4’).  Add.Or.3129, f. 21v.

While vases of flowers are occasionally seen in contemporary Mughal party scenes, they are normally slender and filled with a single type of flower arranged in two dimensions.  This extravagant bouquet in Muhammad Khan’s painting seems instead derived from a European exemplar, such as occur in several engraved florilegia of the late 16^th and early 17^th centuries.  In one of them, the Florilegium series of prints made by Adriaen Collaert and published by Philips Galle in Antwerp, first in 1587 and again in 1590, the third plate is an elaborate bouquet of various flowers arranged in a vase much as in Muhammad Khan’s version. 

 
Adriaen Collaert, Florilegium, published by Philips Galle, Antwerp, 1590.  555.d.23.(3.), pl. 3

So far as I am aware this Florilegium has not been identified before as a source for Mughal flowers studies, yet it can be shown as we shall see in a moment to have been a comparatively early arrival at the Mughal court.  Muhammad Khan has modified the decoration on his vase:  the image of a lion bringing down a large deer, perhaps a nilgai, is obviously of Indian inspiration despite its blue and white colouring, but the shape is not Chinese but derived from the sort of classical vase with wide shoulders and comparatively narrow base seen in Collaert’s engraving, although in the Mughal version without a foot. 

 
Vase of narcissi with covered cups, intarsia detail from the tomb of Itimad al-Daula, Agra, begun 1622. Photo by William Dalrymple, 2013, and reproduced with his kind permission

The aparently haphazard arrangement of flowers in a vase in the European manner would not have been thought suitable for execution in stone in a Mughal monument, so when bulbous vases containing a single variety of flowers make their appearance in Mughal art in the intarsia and painted decoration of the tomb of Itimad al-Daula in Agra begun in 1622, the floral arrangement has been beautifully regularized and flattened rather as in Mughal party scenes.

 
Vase of flowers in marble relief on the dado of the Taj Mahal tomb chamber, begun 1631..  Agra artist, c. 1810-15.  Add.Or.1771.

They appear most famously carved in marble in the dado of the tomb chamber of the Taj Mahal in the 1630s, where the vase again is clearly of European classical inspiration and with its swags and foot is almost certainly derived from Collaert’s vase.  Here, although the flowers are varied as in the exemplar, they form flattened sprays in mirror symmetry aroud the central iris.  Ebba Koch in her book on the Taj Mahal suggests C.J. Vischer’s engraving of a vase of flowers of 1635 as a possible source (Koch 2006, figs. 338 and 339), but Collaert’s vase of 1587-90 is much closer.

The Dara Shikoh album is celebrated for its exquisite and innovative flower paintings which, like the portraits, are arranged in matching pairs.  Some seem almost naturalistic, as if done directly from nature, although certain characteristics such as the hovering butterflies suggest that this is not the case but rather that European herbals served as the ultimate inspiration.

   
Flower studies.  Attributed to Muhammad Khan, 1630-33. Add.Or.3129, f.67v

One of the most beautiful studies of naturalistic flowers in the album is found in another page attributed to Muhammad Khan, where six different species of flowers are laid out as specimens on the page.  Such an arrangement seems to be derived from earlier paintings by Mansur, the foremost of Jahangir’s natural history painters, whose vanished album of the spring flowers of Kashmir painted in 1621 is one of the chief of our losses of Mughal paintings. 

Left: Lilies, signed by Mansur Jahangirshahi, c. 1605-12. From the Gulshan Album, Golestan Palace Library, Tehran, Ms 1663, p. 103. With kind permission of the Golestan Palace Library.  Right: Lilies, from Adriaen Collaert’s Florilegium, Antwerp, 1590, 555.d.23.(3.), pl. 6.       

One of Mansur’s rare surviving flower studies is included in Jahangir’s great album in Tehran now known as the Gulshan Album.  Previous scholarship concurred that Mansur’s flower studies all date from 1620 or thereabouts, but Susan Stronge has pointed out that Mansur must have done this study before he was given the title of Nadir al-‘Asr, Wonder of Time, which he is how he signs himself on paintings that can be dated to 1612 and later (2008, pp. 95-96).  On the other hand, since he uses the soubriquet Jahangirshahi, this suggests that he was already regarded as a master artist.  Stronge proposed that in this study Mansur was influenced by two of the individual plants published in John Gerard’s The Herball or Generall Historie of Plants, 1597, reversing the engravings, but suggesting that the ultimate source was a still undiscovered Florilegium.  The subjects of engraved florilegia were much copied from one publication to another.  Turning again to Collaert’s Florilegium of 1590, it can be seen that she was right.

Mansur’s painting of lilies has always struck me as a somewhat clumsy arrangement of flowers compared with the elegance of the Dara Shikoh page.  However, the arrangement of different kinds of flowers all from the same species, in this instance lilies, is of course derived from European florilegia, which are concerned with botany, not with aesthetics.  It can readily be seen that in this case Mansur reproduces the entirety of plate 6 from Collaert’s Florilegium the right way round and in an exact correspondence.  Clearly he was not familiar with lilies in nature since he has mistaken the trumpet part of the flower for green sepals.  So far from this being a masterpiece of Mansur’s maturity as is often proclaimed, it is in fact an immature study from early in Jahangir’s reign.  Just as Abu’l Hasan and other artists of the period painted over or copied European engravings of Christian religious imagery to help them develop a more naturalistic approach to the rendering of volume and space, so Mansur is using a European print to help him find his way into the naturalistic depiction of flowers.

J.P. Losty, Curator of Visual Arts (retired)

Bibliography:

Koch, E., The Complete Taj Mahal, London, 2006

Losty, J.P., and Roy, M., Mughal India: Art, Culture and Empire – Manuscripts and Paintings in the British Library, London, 2012

Semsar, M.H., and Ernami, K., Golestan Palace Library: a Portfolio of Miniature Paintings and Calligraphy, Tehran, 2000

Skelton, R., ‘A Decorative Motif in Mughal Art’ in Aspects of Indian Art, ed. P. Pal, Leiden, 1972, pp. 147-52

Stronge, S., ‘The Minto Album and its Decoration’ in Wright, Elaine, ed., Muraqqa':  Imperial Mughal Albums from the Chester Beatty Library Dublin, Alexandria VA, 2008, pp. 82-105

Regular visitors to the Sir John Ritblat Gallery: Treasures of the British Library, may have encountered our recent display of Natural History drawings from India next to the entrance to the Magna Carta. From 8 March 2014, a new display of Indian paintings from the Visual Arts collection will be on view.

The British Library’s collection of Indian paintings date mainly from the 16 -19^th centuries. The works include portraits and paintings from provinces such as Lucknow, Hyderabad,  Murshidabad, the Deccan, Central India, Rajasthan, the Punjab Hills and Plains. The core collection was formed by Richard Johnson, who was in the service of the East India Company from 1770-90. Johnson’s collection was later acquired by the East India Company for its Library in 1807 and afterwards incorporated into the British Library.

In this period Mughal emperors, kings of Rajasthan and even British officers were great patrons of art, establishing workshops and commissioning countless paintings. Popular topics for artists included lavish depictions of court life, portraiture and visualisations of romantic poetry. As works of art on paper, these illustrations were intended to be viewed by the patron alone or shared with a privileged audience. Rather than being displayed on walls, the works were either bound in a muraqqa (album) or stacked as sets of folios so that the viewer had every opportunity to marvel at the intricate details.

Highlights include one of our most recent acquisitions, a portrait of Rao Arjun Singh worshipping Sri Brijnathji in a rose garden, as well as a selection of Indian paintings that have been added to the collection in the last few decades. To understand the reference to the distinctive leg-of-mutton legs, you may need to get up close to our new display of paintings!

 
Rao Arjun Singh worshipping Sri Brijnathji in a rose garden, Kotah (India), 1720-25. British Library, Add.Or.5722.

Maharana Bhim Singh of Mewar out hunting, Mewar (Rajasthan, India), c. 1800-10. British Library, Add.Or.4662.

Maharana Fateh Singh of Udaipur atop an elephant, attributed to Shivalal, Udaipur (Rajasthan, India), c. 1888-89. British Library, Add.Or.5603

The Sir John Ritblat Gallery: Treasures of the British Library hosts a permanent free display of the library's greatest treasures. It is usually open 7 days a week.

Additional material held in the Visual Arts department at the British Library can be viewed by appointment in the Print Room (Asian & African Studies Reading Room). Please email [email protected] for an appointment. The Print Room is generally open Monday-Friday, from 2-5pm.

Malini Roy, Visual Arts Curator

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Recent acquisition - Rao Arjun Singh worshipping Sri Brijnathji

One of the manuscripts we have recently digitised is the Dārābnāmah, an illustrated prose romance describing the adventures of the Persian King Darab, son of Bahman, and Alexander the Great, originally composed in the 12th century by Muhammad ibn Hasan Abu Tahir Tarsusi. Our copy unfortunately only contains the first part of the epic, ending with the story of the Macedonian princess Nahid, Darab’s newly-wedded bride and the future mother of Alexander the Great, being returned unwanted (she had bad breath) but pregnant to her father Faylaqus (Philip of Macedon).

Nahid, daughter of Faylaqus (Philip of Macedon), is presented to Darab (Or. 4615, f 129r)

Drawing on Iranian folk literature, this collection of tales reflects a tradition of storytelling which has parallels with Firdawsi’s Shāhnāmah, written at the beginning of the 11th century. At the same time it has developed quite independently, linking pre-Islamic Iranian traditions with those of Islam and the west. The second part of the work, missing from this copy, is devoted to Iskandar/Alexander the Great and forms part of the Alexander romance, well known in both Persian and European literature. The first part of the work, however, has been comparatively understudied, so our digital version will hopefully facilitate some profitable research into this neglected area.

Our copy was probably completed between 1580 and 1585 for the Mughal Emperor Akbar. Classed as ‘Grade Two’ in the Mughal imperial library, it originally contained at least 200 paintings, and presumably there was also a second volume. By 1828, probably looted or sold, it belonged to the Nawabs of Awadh whose seals are stamped on the final leaf. When the British Museum purchased it from Quaritch in 1893, there were only 157 paintings and many leaves, including the colophon, were missing.

Tamrusiyah, temporarily separated from Darab,  and her brother Mihrasb under the Waqwaq Tree (a mythical tree which grew human heads as fruit). Artist: Mukhlis  (Or.4615, f 44r)

The paintings, created at a time when Mughal art was subject to Iranian, Indian and European influences, are what really distinguish this manuscript. Nearly all of them are ascribed altogether to  43 individual artists, several of whom were singled out by Abu’-Fazl in his chapter on the art of painting in the Āʼīn-i Akbarī. They include some of the most famous artists of Akbar’s reign. Details of their work and four separate paintings are described in the catalogue to the British Library’s recent exhibition ‘Mughal India: Art, Culture and Empire (Losty and Roy, 2012).

The plot of the Dārābnāmah is extremely complicated. The basic story tells of a prince, abandoned at birth and his subsequent adventures before he returns to Iran and claims the throne. His travels take him to kingdoms ruled by apes, one-eyed people, and others where he encounters all kinds of magical creatures including watermaidens, human-headed serpents and dragons.  In his article in Encyclopædia Iranica, William Hannaway gives a resumé, but unless some reader rises to the challenge, we’ll have to wait for a full translation! Particulars of the manuscript and a list of all the miniatures with links to the images can be seen here and on our Digital Persian Project page.

Here are a few more paintings to illustrate the story:


Near the beginning of the book, Bahman, son of the hero Isfandiyar, and his horse are swallowed by a dragon, and Humay (who is actually his daughter, but is pregnant with his child) becomes queen  (Or.4615, f 3v)

Abandoned at birth and rescued from the river by a washerman, Darab eventually meets his mother, Humay. Artist: Mithra (Or.4615, f 7v)



Humay playing polo with her slaves. Artist: Sanvalah (Or.4615, f 11v)

Darab continues on his travels. Here he is shown fighting the dīv, Samandun (Or.4615, f 17v)

Darab meets and falls in love with the widowed queen Tamrusiyah who later becomes the mother of his son Darab/Dara. Together they continue travelling. In this scene Darab draws the mighty bow of Isfandiyar before Sangarun. The severed head of the son of the ruler of the Island of Katrun, beheaded because he failed to draw the bow, is fixed to the wall above. Artist: Bhagvan (Or.4615, f 25v)

Darab goes to the rescue of his mother Queen Humay who has been captured by the Caesar of Rum (ie. the king of Macedonia). Here they hurl rocks at the king's army. Artist: Ibrahim Qahhar (Or.4615, f 102r)

Humay watched by Darab as she dictates letters announcing Darab’s accession. Artist: Dharmdas (Or.4615, f 114r)

Further reading

Charles Rieu, Supplement to the Catalogue of the Persian Manuscripts in the British Museum (London, 1895), no 385.
Norah M Titley, Miniatures from Persian Manuscripts: a Catalogue and Subject Index of Paintings from Persia, India and Turkey in the British Library and the British Museum (London, 1977), pp 8-11.
William L. Hanaway, “DĀRĀB-NĀMA”, in Encyclopædia Iranica.
J P Losty and Malini Roy, Mughal India: Art, Culture and Empire (London, 2012), pp 32-7.
Zabīḥ Allāh Ṣafā (ed), Dārābʹnāmah-i Ṭarsūsī: rivāyat-i Abū Ṭāhir Muḥammad ibn Ḥasan Ibn ʻAlī ibn Mūsā al-Ṭarsūsī, 2 vols (Tihrān, 1965).
Marina Gaillard, Alexandre le Grand en Iran = le Dârâb Nâmeh (Paris, 2005).

Ursula Sims-Williams, Asian and African Studies

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15,000 images of Persian manuscripts online

Asian and African Studies have just uploaded more than 15,000 images of Persian manuscripts online. This is the result of two years' work in an ongoing project sponsored by the Iran Heritage Foundation together with the Bahari Foundation, the Barakat Trust, the Friends of the British Library, the Soudavar Memorial Foundation and the Roshan Cultural Heritage Institute.


The jackal Dimnah tricks the ox Shanzabah into believing that his former friend the lion had turned against him, and was intending to eat him. From Husayn Va'iz Kashifi’s Anvar-i Suhayli. Mughal, 1610-11 (BL Add.18579, f87v)

The manuscripts were selected for their historical, literary and artistic importance and form part of a three year project to provide digital records of our Persian manuscript collection and images of 50 manuscripts.  We have created a dedicated project page which gives details of all the digitised manuscripts together with links to their images and supporting documentation. This is located at Digital Access to Persian Manuscripts but can also be easily found by clicking on the ‘Persian’ tab at the top of this page.

We’ve already written posts about several of these manuscripts, for example the Jalayirid Khamsah of Khvaju Kirmani (Add18113); Shah Tahmasp’s copy of Nizami’s Khamsah (Or.2265) and the late Timurid Mantiq al-Tayr by Farid al-Din ʻAttar (Add.7735), posts 1, 2 and 3 . We’ll be publishing more during the next few months so please subscribe to our blog (add your email in the box at the top of this page) to keep up with further developments.

Meanwhile, here is a selection from what we’ve digitised so far! Click on the links to go directly to the digitised folio.


The well known story of the hare who tricks the lion into drowning by attacking his own reflection in the well. From Naṣr Allāh Munshī's Kalīlah va Dimnah dated 707/1307-8 (BL Or.13506, f 52v)

The opening of Timur’s grandson Iskandar Sultan’s pocket encyclopedia containing 23 works. Copied 813-4/1410-11 (BL Add.27261, ff 2v-3r)




The fire-ordeal of Siyavush. From Firdawsi’s Shahnamah, Shiraz Safavid style, dating from the 16th century (BL IO Islamic 3540, f 98r)


 

The dragon outside its mountain cave explaining to Darab that it had been sent by God as His servant on earth. Artist: Narayan, c.1580-85. From the Darabnamah, a prose romance written in the 12th century by Abu Tahir Tarsusi (BL Or.4615, f112v)



A leaf from the Saddar (‘100 doors’), a popular compilation of 100 rules for Zoroastrians which range from justifying instant death for sodomy to the treatment of good and evil animals, and the avoidance of different forms of pollution. This copy, dated Samvat 1631 (AD 1575), is in Persian language, but transcribed in Avestan (Old Iranian) script, together with a Gujarati translation (BL IO Islamic 3043, f 137r)




Fath ʻAli Shah Qajar with two princes in attendance, receiving Mirza Riza Quli Munshi al-Mamalik. From the Shahanshah namah by Fath ʻAli Khan Saba. Qajar, dated 1225/1810 (BL IO Islamic 3442, f 64v)

Ursula Sims-Williams, Asian and African Studies

The collection of Indian paintings in the former India Office Library’s Prints and Drawings section (now British Library Visual Arts) is famous above all for its individual imperial Mughal and later Mughal paintings, forming a complement to the collection of illustrated Mughal manuscripts that came to the British Library from the British Museum’s collections.  Not so well known are the individual items from other schools of Indian painting, particularly the Rajasthani and Pahari paintings.  The collection of Pahari paintings was very small when described by Toby Falk and Mildred Archer for their seminal 1981 catalogue, and it still is, but this post will pick out the highlights of what was in the collection in 1981 and the paintings acquired subsequently.

We begin with four paintings acquired since the publication of the 1981 catalogue showing the Pahari style in its early form little influenced by Mughal painting.

Mangala, the planet Mars, holding mace and water-pot and unusually riding a tiger.  By a Mankot artist, c.1700-20.  83 by 131 mm; page 107 by 155 mm.  Add.Or.4318, acquired 1986.

Mangala wears a lotus-topped crown, a sprigged dhoti, and a muslin dupatta with flowered ends, and rides facing left on a snarling orange and white tiger.  The ground is a dark red, with a narrow band of cloud-streaked sky at the top and another of green at the bottom; the latter is lightly applied over the dark red ground, and is relieved by clumps of white daisies.  Inscribed above in white takri characters is the name Magala and on the verso is a verse detailing the consequences good or evil of seeing the planet, indicating the painting comes from a dream manual.  The iconography is unusual, since Mangala normally rides a goat. The composition is typical of early Pahari painting with the subject silhouetted against a coloured ground with flowers below and a sky above, but without any indication of space or spatial recession.  Although acquired as from Chamba, subsequent research by Goswamy and Fischer (1992, pp. 95-125) suggests Mankot as a more likely school and possibly from the hand of the artist they designate the ‘Master at the Court of Mankot’.   Our Mangala can be compared with that master’s image of Rama being worshipped by Hanuman in the Rietberg Museum (ibid., no. 52), while the tiger with its fearsome claws is close to that master’s tiger in Vasudeva crossing the Jumna with the infant Krishna in a painting now in Chandigarh (ibid., no. 43).

Rama and Laksmana are pinned by serpentine arrows.  By a Pahari artist from Bahu or Kulu, from the Shangri Ramayana, Style III, circa 1700-10.  186 by 290 mm; page 215 x 316 mm. Add.Or.5696, acquired 2010.

The Shangri Ramayana series is one of the most hotly disputed topics in Pahari painting.  A large part of this loose-leaf series is in the National Museum, New Delhi, but many paintings are also dispersed.  When it was first analysed by W.G. Archer (1973, pp. 325-29), he thought it was prepared at Kulu and discerned four separate styles between 1690 and 1710.  B.N. Goswamy and E. Fischer (1992, pp. 76-91) moved the first two styles to Bahu, an offshoot of Jammu, but this unfortunately left the last two styles in an artistic limbo, since they have absolutely nothing in common with either Bahu or Jammu paintings, and much further research is needed to resolve this.  Wherever it comes from, style III with its wonderfully human monkeys is one of the most exuberant and charming of all the Pahari styles.

Our page is from Book 6, the Yuddhakanda or Lankakanda (Book of Battles or Lanka), of the Ramayana, canto 49.  Ravana's terrifying magician son Indrajit, who has the power to make himself invisible, has successfully ensnared Rama and Laksmana in serpentine coils so that they cannot move and lie on the ground unconscious, their eyes rolled up. On the left stands the monkey king Sugriva who is seeking advice from his nephew Angada and the king of the bears Jambavan as to what to do.  All the other monkeys, including the blue crowned monkey general Nila, are terrified when they see Vibhisana, Ravana's brother, advancing on them with his club.  Vibhisana had previously abandoned his doomed brother and had come over to Rama's side, but the monkeys mistake him for the invisible Indrajit and run away in terror.

This particular artist has a peculiar trick of perspective.  The monkeys are not climbing up over each other in order to escape but are actually in a receding line:  other paintings by this artist show him resolving perspective issues of one person or monkey behind another in the same individual way.  The artist is trying to adjust his inherited style to include depth but he lacks awareness of how to do it.

This archaic style continued in use in several Pahari court styles until late in the 18^th century, even after other styles were becoming increasingly influenced by Mughal painting from the court of Muhammad Shah (reg. 1719-48).

Raja Shamsher Sen of Mandi (reg. 1727-81) enjoying a smoke.  By a Mandi artist, 1760-70.  180 by 207 mm.  Add.Or.5600, acquired 2006.  From the collection of W.G. and Mildred Archer (1967, no. 30).

Raja Shamsher Sen of Mandi is kneeling on a terrace and much enjoying the fragrant smoke from a hookah.  The artist shows the tobacco smoke rising from the hookah’s burning pan before some is drawn down and through the rosewater in the body of the hookah and then emerging from the raja’s mouth.  He is accompanied by a young attendant waving a white cloth (one of the insignia of royalty) and by another tending the hookah, both wearing the long dreadlocks fashionable at the time among young men.  Portraits of rulers sitting on terraces had by this time become standard throughout the various schools of Indian painting, but in Mandi no concession is made to depicting space even though the terrace is now separated from the plain ground beyond.  Shamsher Sen, who inherited the throne from his grandfather, the formidable Sidh Sen at the age of five, was by all accounts a fairly weak and superstitious character and his numerous portraits suggest this.

Raja Ranjit Singh of Suket (reg.1762-1791) with his younger brother Kishan Singh.  By a Kangra artist, c. 1780.  224 by 165 mm.  Add.Or.5601, acquired 2006.   From the collection of W.G. and Mildred Archer (Archer 1973, vol. 1, p. 283, vol. 2, p. 197)

Court artists in Kangra were commissioned to produce a large series of portraits of neighbouring rulers from early in the reign of Sansar Chand (reg. 1775-1823) (Archer 1973, vol. 2, pp. 196-97).  In this portrait, set within a jharoka or window frame, Ranjit Singh reclines against a red bolster and smokes from his hookah.  On the left, his brother Kishan Singh is pictured facing Ranjit Singh.  His figure is much larger in proportion to his brother, no doubt because Kishan Singh was in fact Sansar Chand’s father-in-law.   On the right, an attendant waves a morchhal (peacock-feather fan, another of the insignia of royalty) with his right hand and holds the hilt of a wrapped-up sword in his left.  Although Kangra painting has become synonymous with a naturalistic, elegant and gracious style (see below), this was not the case with its portraiture which even later than this preserved an archaic and hieratic approach.

The marriage ceremony of Vasudeva and Devaki.  Illustration to the Bhagavata Purana.  By a Guler artist at Basohli, possibly Fattu son of Manaku, c. 1760.  227 by 334 mm; page 298 by 403 mm.  Add.Or.1811, acquired 1960 (Falk and Archer 1981, no, 543).

Signs of change first became apparent in Pahari painting in 1730, with the Guler artist Manaku’s Gita Govinda (Lahore and Chandigarh Museums, and dispersed).  He and his brother Nainsukh were both exposed to contemporary Mughal painting and in their different ways in the period 1730-60 introduced stylistic change into the painting of the hills, softening the jagged outlines, moderating the fierce colours, and giving solidity to their figures and depth to their compositions.  The two brothers had six sons between them.  All of them followed the family profession and introduced the new style to the various court studios of the hills. 

A page from what is now called the large Guler-Basohli Bhagavata Purana was acquired in 1960, when 200 or so individual paintings from the set from the collection of Mrs F.C. Smith were dispersed at auction.  This dispersed series of the Bhagavata Purana is one of the most important achievements of Pahari artists and the most influential in determining the development of Pahari painting at Guler and Kangra in the illustration of poetical Vaishnava texts.  It is also among the most controversial, although most authorities agree that Manaku’s son Fattu had a hand in it.

Pahari artists introduced depth into their compositions by raising the viewpoint, so that figures could be depicted one behind the other in some kind of believable spatial setting.  That this did not come naturally to them is suggested by the somewhat awkward wall zigzagging across the picture plane, a feature of quite a few paintings from this series.  Within the high walls of the palace at Mathura and under the night sky, Vasudeva and Devaki, the future parents of Krishna, are married.  They wear the traditional marriage costumes, while the priests facing them add ghee to the sacred fire and chant the Vedic mantras.  They sit side by side beneath a canopy decorated with parakeets. Household ladies and other priests are gathered on either side, while women at the palace windows above look down on the scene or chatter among themselves.

Radha makes love to Krishna in a grove.  An illustration to the Rasikapriya of Keshav Das.  Kangra, c. 1820.  Attributed to Purkhu and his school.  248 by151 mm; page 272 by 177 mm.  Add.Or.26, acquired 1955 (Falk and Archer 1981, no. 548).

Some of the great masterpieces of the new style were produced for Sansar Chand of Kangra early in his reign, including now dispersed series of the Gita Govinda, Bhagavata Purana and Ramayana.  Sansar Chand at the age of 20 in 1786 set out to make himself the preeminent chief in the hills and was indeed so by 1806, with most of the rajas paying him tribute.  In that year occurred the disastrous Gurkha invasions from Nepal when Kangra was overrun and Sansar Chand was forced to appeal to Maharaja Ranjit Singh of the Punjab for assistance.  It was granted and the Gurkhas were expelled by 1809, but at the price of Sansar Chand having from then on to release the other states from paying tribute and indeed having to pay tribute himself to the Lahore court. 

Sansar Chand from then on lived more in retirement, but still commissioning paintings.  The first flush of brilliance in the style had passed and was replaced by a more mannered but still lyrical elegance.   Typical of this period is a very large dispersed series from around 1820 illustrating the Hindi text on poetics, the Rasikapriya, by Keshav Das.  This work classifies the various types of heroines and their lovers and proved irresistible to patrons and artists alike as a way of combining sringara rasa, the erotic sentiment of classical poetic theory, with the bhakti movement of personal devotion to Krishna, since the lover in the pictures was often identified with Krishna himself.  Goswamy and Fischer now attribute the series to the artist Purkhu with assistants (2011).

The painting illustrates the verse 1.20, prachanna-samyoga-sringara (‘hidden love in union’):

‘One day Vrishabhanu’s daughter [Radha] and Murari [Krishna] decided to hide in the forest and engage in reverse love  play.  Fully immersed in each other and groaning with pleasure they were fully enjoying each other.  During the amorous acitivity Radha’ sapphire-studded pendant tied round her neck with a black thread was moving and it seemed as Surya and Saturn were swinging’ (translated Harsha Dehejia, 2013).

In our painting in a blossoming grove by a pool, Radha, wearing a flowing pink gown, makes love to Krishna who dressed in saffron lies beneath her.   Sansar Chand was visited in 1820 by the traveller William Moorcroft whose manuscript journals and letters are in the British Library and quoted extensively by Archer (1973) for his assessment of Sansar Chand and his patronage of artists:  ‘He is fond of drawing, keeps several artists who execute the minute parts with great fidelity but are almost wholly ignorant of perspective.  His collection of drawings is very great … Many subjects from the Mahabharut are given in details, some of which for decency’s sake might have been spared, yet there were few of the latter description’ (MSS Eur D241, f. 67, quoted Archer 1973, vol. 1, pp. 262-63).

Further reading:

Archer, Mildred, Indian Miniatures and Folk Painting from the Collection of Mildred and W.G. Archer, London, 1967

Archer, W.G., Indian Painting from the Punjab Hills, London, 1973

Dehejia, Harsha V., Rasikapriya: Ritikavya of Keshavdas in Ateliers of Love, DK Printworld, New Delhi, 2013

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

Goswamy, B.N., and Fischer, E., Pahari Masters: Court Painters of Northern India, Delhi, 1992

Goswamy, B.N., and Fischer, E., ‘Purkhu of Kangra’ in Beach, M.C., Fischer, E., and Goswamy, B.N., Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp. 719-32

J.P. Losty (Curator of Visual Arts, Emeritus)