Asian and African studies blog

On 20 March 2018 Sri Sultan Hamengku Buwono X, Governor of the Special Region of Yogyakarta, visited the British Library to launch the Javanese Manuscripts from Yogyakarta Digitisation Project. Through the generous support of Mr S P Lohia, over the next twelve months 75 Javanese manuscripts from Yogyakarta now held in the British Library will be digitised, and will be made fully and freely accessible online through the British Library’s Digitised Manuscripts website. On completion of the project in March 2019, complete sets of the 30,000 digital images will be presented to the Libraries and Archives Board of Yogyakarta (Badan Perpustakaan dan Arsip Daerah Istimewa Yogyakarta) and to the National Library (Perpustakaan Nasional) of Indonesia in Jakarta. The manuscripts will also be accessible through Mr Lohia’s website, SPLRareBooks.

H.E. the Governor of the Special Region of Yogyakarta Sri Sultan Hamengku Buwono X and Ibu GKR Hemas, H.E. the Indonesian Ambassador Dr Rizal Sukma and Ibu Hana Satrijo, Roly Keating, Chief Executive of the British Library, and Annabel Gallop, Head of the Southeast Asia section, at the launch of the Javanese Manuscripts from Yogyakarta Digitisation Project at the British Library in London.

The 75 Javanese manuscripts to be digitised include 70 known or believed to have been taken by British troops following an armed assault on the Palace (Kraton) of Yogyakarta in June 1812 by forces under the command of the Lieutenant-Governor of Java, Thomas Stamford Raffles, as well as five other related manuscripts. The manuscripts primarily comprise works on Javanese history, literature and ethics, Islamic stories and compilations of wayang (shadow theatre) tales, as well as court papers, written in Javanese in both Javanese characters (hanacaraka) and in modified Arabic script (pegon), on European and locally-made Javanese paper (dluwang). Some of these manuscripts are by now well known, such as the Babad bedah ing Ngayogyakarta, Add. 12330, a personal account by Pangéran Arya Panular (ca. 1771-1826) of the British attack on the Kraton and its aftermath, published by Peter Carey (1992), and the Babad ing Sangkala, ‘Chronogram chronicle’, MSS Jav 36(B), dated 1738 and identified by Merle Ricklefs (1978) as the oldest surviving original copy of a Javanese chronicle so far known. Peter Carey (1980 & 2000) has also published the Archive of Yogyakarta, two volumes of court documents, correspondence and legal papers. However, many of the other manuscripts have never been published.

At the request of Sri Sultan, the launching of the Project commenced with a recitation from a Javanese manuscript. The manuscript chosen was a copy of the Serat Jaya Lengkara Wulang (MSS Jav 24) copied by a court scribe in Yogyakarta in 1803, and the opening stanzas written in dandanggula metre, in which the writer profers his humble apologies for all the inadequacies of his style and manners, were beautifully sung by Mr Sujarwo Joko Prehatin. The Serat Jaya Lengkara Wulang and a few other Kraton manuscripts which are now available online are shown below, and can be accessed online by clicking on the hyperlinks in the captions.

Opening of Serat Jaya Lengkara Wulang, 1803. MSS Jav 24, ff. 2v-3r

Babad Kraton, dated 1778. British Library, Add. 12320, ff. 1v-2r

Pawukon, Javanese calendrical manuscript, showing Wukir, the third wuku. British Library, Add. 12338, ff. 82v-83r

Surya Ngalam, legal text. British Library, Add. 12329, ff. 1v-2r    

In his address at the launch ceremony at the British Library, Sri Sultan Hamengku Buwono X mused upon how the small area of Gunung Kidul around Yogyakarta on the south coast of central Java had played such a pivotal role in Javanese history through the centuries. Sri Sultan expressed his profound curiosity about the particular characteristics or factors that might have made this mountainous region the birthplace of such important political and cultural movements. It is hoped that by making so many significant primary sources more widely accessible, the Javanese Manuscripts from Yogyakarta Digitisation Project will stimulate the study of Javanese history and cultural heritage, and perhaps one day help to answer these questions.


Roly Keating presenting Sri Sultan Hamengku Buwono X with a framed print from the Pawukon manuscript shown above.

References

Carey, P. B. R. (ed.), The archive of Yogyakarta. Volume I. Documents relating to politics and internal court affairs. Oxford: published for the British Academy by Oxford University Press, 1980.

Carey, Peter (ed.). The British in Java, 1811-1816 : a Javanese account : a text edition, English synopsis and commentary on British Library Additional Manuscript 12330 (Babad Bĕdhah ing Ngayogyakarta) [Pangéran Arya Panular, , approximately 1771-1826. Oxford : Published for The British Academy by Oxford University Press, c1992.

Carey, Peter and Hoadley, Mason C. (eds.), The archive of Yogyakarta. Volume II. Documents relating to economic and agrarian affairs. Oxford: published for the British Academy by Oxford University Press, 2000.

Ricklefs, M.C., Modern Javanese historical tradition : a study of an original Kartasura chronicle and related materials. London : School of Oriental and African Studies, University of London, 1978.

Annabel Teh Gallop, Head of Southeast Asia section

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Javanese - Asian and African studies blog

The Asia and African Collections department at British Library (BL) is pleased to announce an exciting line-up of talks in April-May 2018, featuring a diverse array of subjects such as Muharram, Delhi waters, Tipu Sultan’s library collection, Sufism and Persian manuscripts, Mughal musical rivalries, colonial police and food! This is a series of talks based around the British Library’s ‘Two Centuries of Indian Print’ and the South Asian collections. The speakers will range from scholars and academics in the UK and elsewhere as well as our own curators, who will share their original and cutting-edge research, followed by discussions facilitated by BL curators and other specialists in the field. The presentations will take place at the Foyle Learning Centre at the British Library, between 5.30-7.00pm.

Muharram festival, 1830-1840 (British Library Add.Or. 401) 

On 16th April 2018, David Lunn, Simon Digby Postdoctoral Fellow at SOAS,  will talk about transformations in the Shi’a festival of Muharram, which commemorate the martyrdom of Imam Hussain, in South and Southeast Asia during the colonial period. His talk entitled ‘Painting, Singing, and Telling Muharram in 19th-century India and Singapore’ focuses on various examples of art work from India in the British Library collections; the ‘Muharram processional scroll’, a painting from c. 1840 Madras now in the Asian Civilisations Museum, Singapore; and the Syair Tabut, a 146-quatrain Malay narrative poem from 1864 Singapore. These representations of Muharram will be viewed in the context of colonial era contests over public space and access to it.

‘The Jharna or Waterfall at the Kootoob’ from Sir Thomas Metcalfe’s 'Reminiscences of Imperial Delhi,' 1842-44 (British Library, Add.Or.5475 ) 

Matt Birkinshaw, who recently completed his PhD in Geography at LSE, focuses on a long history of urban water provision in Delhi on 23rd April 2018. In his talk ‘Waters of Delhi: Continuity and Change under Mughal, Company and British Rule’, he examines how Delhi transformed from being a city with a sophisticated systems of well, channels and canal under Mughal rule to becoming a dangerously unhealthy city with inadequate water and drainage concerns under British rule. In his talk he will trace how water was understood and accessed under different systems of rule, the changes and continuities in water supply and their present day relevance.

Front board of Tipu Sultan’s personal Qur’an (British Library, IO Islamic 3562) 

In our last talk in April, Ursula Sims-Williams, Lead Curator of Persian Collections, British Library, in her talk on 30th April, ‘Researching the Manuscript Collection of Tipu Sultan of Mysore’, will explore some of the rare and valuable manuscripts at the British Library that were once part of Tipu Sultan’s Library collection. Tipu Sultan of Mysore is one of the most colourful characters in the history of South Asia. On the one hand he is often castigated as a fanatical Muslim and brutal ruler but at the same time he is regarded by many as a martyr whose wars against the British foreshadowed the historic uprising of 1857 by around 50 years. On the basis of his collection, Ursula Sims-Williams will shed new light on the charismatic Tipu Sultan, whose library at the time of the fall of Seringapatam in 1799, was estimated to consist of about 2000 volumes.

List of contents from the opening of a late-sixteenth-century collection of letters teaching mystical principles (British Library, Delhi Persian 1129B) 

We will begin May with another talk from one of our curators! On Wednesday 9th May, Sâqib Bâburî, Curator, Persian Manuscripts Digitisation Project, will talk on ‘Sufism and Persian Manuscripts from the Delhi Collection’. Acquired by the Government of India in 1859, the ‘Delhi Collection’ was transferred to the India Office Library in 1876, and is now part of the British Library's collections. Sâqib Bâburi in his talk explores some of the rare manuscripts in the Delhi collection that specifically deal with Sufism, mysticism and metaphysics to help illustrate Delhi’s diverse spiritual traditions.

Nawab Muhammad ‘Abd ul-Rahman Khan of Jhajjhar entertained by members of the Delhi kalāwant lineage, 1849 (British Library Add.Or. 4680) 

Katherine Butler Schofield, Senior Lecturer in Music at King’s College London, will present on the 14th May 2018 on musical rivalries in Mughal times as part of her series of talks at the British Library entitled Histories of the Ephemeral: Writing about Music in Late Mughal India. Her talk ‘The Rivals: Anjha Baras Khan, Adarang, and What Happened to Muhammad Shah’s Court’ based on 18th and early 19th musician biographies, a genre new to writing on music at the time, will offer unusual access to the history of elite artisans on the move in late Mughal and early colonial India. The biographies offer themselves as both a product and a record of the upheaval, dispersal, diversification and innovation of those times.

Life in the Indian Police, by C.E Gouldsbury (London, 1912), p. 42  (British Library T 9029) 

On 21st May 2018, we have a talk on ‘Police in Colonial India: A Study of the Recruitment of Constabulary Labour in Late Nineteenth Century Bengal’, given by Partha Pratim Shil, Junior Research Fellow for research in History at Trinity College, Cambridge. The talk examines the archival corpus at the British Library for the study of the police establishment in Colonial Bengal. Using the police archive, Partha Pratim Shil demonstrates the different and new ways of looking at the recruitment of workers at the lowest rungs of the police, i.e., the constabulary in the Bengal and Calcutta Police establishments, in the late nineteenth century. The talk reveals how colonial police officials had to dip into the wider market of security work in Bengal to derive its constabulary, and how the operation of this labouring world shaped the colonial state apparatuses.

Left:  Sultan Ghiyas al-Din seated on his throne and right: Cows being milked (British Library IO Islamic 149) 

We end our spring talks on 30th May 2018 with a presentation by Preeti Khosla, an independent scholar, on Mughal-era cookbooks. Her talk entitled ‘Reintroducing the Celebrated Niʿmatnāmah Half a Century Later ‘brings to life the gastronomic delights, aromas and indulgences of the 16th century Malwa court using the British Library manuscript, the Niʿmatnāmah. Dedicated to the Malwa Sultans, Ghiyas-al-Din Shah and Nasir-al-Din Shah, its many illustrations and accompanying text provide a rare vista into the decadence of this Sultanate court and its obliging female retinue. Evidently an illustrated manuscript that was esteemed over the centuries, this talk takes another look at the celebrated Niʿmatnāmah more than half a century after it came to light.

No advance booking for these talks is required, and the sessions are free to attend. For further info, please contact Dr. Layli Uddin, Project Curator of ‘Two Centuries of Indian Print’ at [email protected]. Please do come along, listen and participate!

Puppy. From Seihō ippinshū by Takeuchi Seihō. 1938 (British Library ORB. 99/68 ser. 1 pt. 10)

The lunisolar calendar is used traditionally in China and other East Asian and South East Asian countries. According to it, on the 16^th of February we celebrate the arrival of a New Year: the Year of the Earth Dog. In fact, the lunisolar calendar consists of 12 cycles associated with 12 zodiac animals, which are combined with one of the Five Elements of traditional Chinese cosmology (Wu xing: Wood, Fire, Earth, Metal and Water), together forming cycles of 60 years. This is why the upcoming Chinese New Year is the year of the “Earth Dog”.

Detail from a Chinese Almanac dating from c. 956 by Zhai Fengda (British Library Or 8210/s.95). The item has been fully digitised by the International Dunhuang Project and can be discovered here

According to the Chinese horoscope, people born in the year of the Dog are responsible, practical and faithful. They show persistence and loyalty.

Illustration of a dog from the album “Coloured Drawings of Chinese Flora and Fauna”, 18^th century, China (British Library Add. 15503)

Many Chinese Emperors kept dogs as pets and treated them as if they were members of the imperial family! Emperor Qianlong even commissioned a series of paintings of his “Ten Prized Dogs” (Shijun quan十駿犬) from the Italian missionary and artist Giuseppe Castiglione (1688-1766).

Picture of Shanxing Wolf (睒星狼), a Chinese greyhound, from Ten Prized Dogs Album by Giuseppe Castiglione. Source: Wikimedia Commons

 
Hong Kong stamps for “Year of the Dog” 1970 designed by R. Granger Barrett. Both the 10c and $1.30 stamps depict a Chow. (British Library Philatelic Collections: FCO Collections, vol. 6, Hong Kong)

The Year of the Dog in Japan

Zodiac symbol for the year of the Dog from Ōyō manga by Ogino Issui, 1903 (British Library ORB.30/6167)

In Japan, dogs are traditionally regarded as symbols of loyalty and protection. They are entertaining playmates and faithful companions.

Courtesan playing with a pet dog. From Seirō bijin awase, 1770 (British Library Or.75.g.34 v.1 fol. 11r)

Dogs are also traditionally associated with easy childbirth and the protection of pregnant mothers and young children. This can be seen in the ritual of ‘obi-iwai’ in which on the first ‘Day of the Dog’ of the fifth month of a woman’s pregnancy a cotton belt (obi) is tied around her abdomen to protect the baby and ensure a safe delivery. Small dog figurines called ‘inu hariko’, often made of papier-mâché, are sold at many shrines and temples and are given to young children to protect them from ill health and bad luck.

 
A votive plaque (ema) showing a papier-mâché dog or ‘inu hariko’. Detail from Shokoku emashū, edited by Nishizawa Tekiho 1918 (British Library ORB.30/8097 vol. 1)

At the Sumiyoshi Grand Shrine in Osaka worshippers often purchase clay figures of two entwined dogs as amulets to ensure marital harmony, fertility or easy childbirth.

Mutsumi-inu from Unai no tomo, a compendium of Japanese toys, by Shimizu Seifū. 1917 (British Library ORB.30/8075 vol. 7)

A dog playing with a straw sandal. From Seihō gahakuhitsu junishi-jō, an album of 12 images, one for each of the zodiac animals, by Takeuchi Seihō. Ca. 1900-10 (British Library ORB.40/710)

The Year of the Dog in Thailand

Folio of a Thai Phrommachāt manuscript dealing with predictions for people born in the Year of the Dog. Dated 1885 A.D. (British Library, Or.3593 f.22). This item has been digitized and can be discovered here.

In the Thai tradition the Chinese zodiac was adopted for the purpose of divination and horoscope making, laid down in manuscripts called Phrommachāt. For each year, certain predictions are associated with the animal of the zodiac in combination with the constellations of planets, sun and moon.

For the Year of the Dog, the following predictions were made:  

‘A yakkhini [female ogre, demon] rides the Dog, and the element is Earth. The khvan [life essence, soul] lives in wild almond trees or in royal lotus. Mercury is the mouth, which cannot speak pleasantly, except to serve its own ends. Venus is the heart: brave-spirited and would like to serve the rulers, enjoying scenes of battle, but will be handicapped by bodily weakness. Moon is the loins: weak sensuous desires. Jupiter and Saturn are the hands: skilful and expert in crafts. Sun and Mars are the feet: no desire for travel. Liable to facial sores and to indigestion. Will have adequate wealth and enough slaves. Garden cultivation would be profitable. Will have a son as a support.’
(Wales, H. G. Quaritch, Divination in Thailand. The Hopes and Fears of a Southeast Asian People. London/Dublin: Curzon Press, 1983, p. 17).

Various types of dogs illustrated in a 19th century Thai medical treatise (tamrā phāēt). This medical treatise contains illustrations of animals that are believed to have a certain influence on peoples’ health and wellbeing. (British Library Or 16799, f025r). This item is fully digitised and can be discovered here

We wish all our readers a wonderful Year of the Dog!

Curators of East Asian and South East Asian Collections

For the past century, studies of the languages, literatures, history, culture and writing traditions of the Malay world of maritime Southeast Asia – comprising present-day Indonesia, Malaysia, Singapore and Brunei, and the southern parts of Thailand, Cambodia, Vietnam and the Philippines – have been fundamentally shaped by the collections of manuscripts held in European institutions, primarily those in the UK and the Netherlands, and those formed under colonial auspices, such as the National Library of Indonesia.  These collections themselves reflect the interests of their collectors, who were mainly European scholars and government officials from the early 19th century onwards, whose interests were focused on literary, historical and legal compositions in vernacular languages such as Malay and Javanese.  Relatively little attention was paid to works on Islam written in Arabic, or in Malay and Arabic, and hence such manuscripts are very poorly represented in institutions such as the British Library.

Map of the holy sites of Mecca, probably acquired in the Hijaz and brought back to Sumatra by a returning pilgrim, in the Mangku Suka Rame collection, Kerinci, Jambi. British Library EAP117/11/1, digitised in 2007 by Uli Kozok.

In 2004 the Endangered Archives Programme (EAP), funded by Arcadia, was established at the British Library, for the preservation of cultural material in danger of destruction. The hundreds of manuscript collections worldwide which have been documented and digitised include 16 relating to Islamic Southeast Asia, located in areas ranging from Aceh to the Moluccas, and from Sri Lanka to Cambodia.  Even the most cursory survey reveals that the profile of manuscripts still held ‘in the field’, in private and mosque collections, differs radically from those held in Western libraries, primarily through the very high proportion of Islamic texts, which probably account for around 95% of the manuscripts digitised.

Custodians of Islamic Cham manuscripts from Vietnam digitised in 2012 by Hao Phan, British Library EAP531.

The British Library and the School of Oriental and African Studies (SOAS) are now pleased to invite applications for a three year PhD Studentship, tenable at SOAS available from 24 September 2018, funded through the Arts and Humanities Research Council (AHRC) under its Collaborative Doctoral Programme. The doctoral program Shifting Landscapes: Mapping the intellectual writing traditions of Islamic Southeast Asia aims to investigate these digitised collections of manuscripts from Islamic Southeast Asia, to trace how our understanding of the landscape and ecology of the intellectual writing traditions of the region needs to be radically redrawn in the light of these newly-accessible primary source materials. The successful candidate will therefore undertake a thesis that centres on analysing collections of manuscripts written in Arabic script from Southeast Asia that have been digitised through the EAP, with reference to other collections as necessary. The thesis will be jointly supervised by Dr Mulaika Hijjas of the School of Languages, Cultures and Linguistics at SOAS and by Dr Annabel Teh Gallop, head of the Southeast Asia section at the British Library. 

  
Two manuscripts from West Sumatra on the recitation of the Qur'an (tajwīd), with charts of makhārij al-ḥurūf, ‘the places of emission of the letters’, showing the physiognomic points of articulation of the phonemes of Arabic in relation to the lips, mouth, tongue and throat. On the left, MS from the Surau Baru Bintungan Tinggi collection, EAP144/1/7, and on the right, MS from the Surau-surau Malalo, EAP144/5/21, digitised in 2007 by Zuriati.

The main digital EAP collections relating to Islamic Southeast Asia are the following:
• EAP061 The MIPES Indonesia: digitising Islamic manuscript of Indonesian Pondok Pesantren
• EAP117 Digitising 'sacred heirloom' in private collections in Kerinci, Sumatra, Indonesia
• EAP144 The digitisation of Minangkabau's manuscript collections in Suraus
• EAP153 Riau manuscripts: the gateway to the Malay intellectual world
• EAP205 Endangered manuscripts of Western Sumatra. Collections of Sufi brotherhoods
• EAP211 Digitising Cirebon manuscripts
• EAP212 Locating, documenting and digitising: Preserving the endangered manuscripts of the Legacy of the Sultanate of Buton, South-Eastern Sulawesi Province, Indonesia
• EAP229 Acehnese manuscripts in danger of extinction: identifying and preserving the private collections located in Pidie and Aceh Besar regencies
• EAP276 Documentation and preservation of Ambon manuscripts
• EAP280 Retrieving heritage: rare old Javanese and old Sundanese manuscripts from West Java (stage one)
• EAP329 Digitising private collections of Acehnese manuscripts located in Pidie and Aceh Besar regencies
• EAP352 Endangered manuscripts of Western Sumatra and the province of Jambi. Collections of Sufi brotherhoods - major project
• EAP365 Preservation of Makassarese lontara’ pilot project
• EAP450 Manuscripts of the Sri Lankan Malays
• EAP531 Preserving the endangered manuscripts of the Cham people in Vietnam
• EAP609 Digitising Malay writing in Sri Lanka
• EAP698 Digitisation of the endangered Cham manuscripts in Vietnam

As noted above, the majority of the manuscripts digitised are Islamic in content, with about half written in Arabic, and the others in Malay and Javanese. Texts include copies of the Qur’an and commentaries (tafsīr), ḥadīth collections of prophetic traditions, works on fiqh (observance of Islamic law) and on Sufism, prayers, sermons and Arabic grammars. In comparison, the historic British Library collection of approximately 250 manuscripts from Southeast Asia in Arabic script, written in Malay, Javanese and Bugis, consists of predominantly literary, historical and legal texts, with only about 30 theological works including only a few in Arabic.

  
Detail of the calligraphic opening lines of copies of the Arabic grammar al-Ajurumiyya from two East Javanese Islamic boarding schools, on the left from Pondok Pesantren Tarbiyya al-Talabah, Keranji, British Library EAP061/1/4, and on the right from Pondok Pesantren Langitan, Widang, Tuban, British Library EAP061/2/15, digitised in 2006 by Amiq Ahyad.

The successful applicant will be encouraged to take advantage of the unique research opportunities afforded by the EAP collections.  This may include investigating not individual texts, as has usually been the case with dissertations on Malay manuscripts, but groups of texts, whether demarcated by genre, place, social milieu, or material features such as binding, illumination or palaeography and calligraphy.  The study may also investigate the EAP collections as sets of texts—libraries, or remnants of libraries—from known geographical and social locations. That both the EAP collections and the Malay manuscript holdings of the British Library are digitised opens up a variety of digital humanities approaches.

Applicants should have, or be about to complete, a Master’s degree in a relevant discipline, and must have knowledge of Malay/Indonesian and/or Arabic, and ideally proficiency in reading Arabic script. Applicants are also required to meet the UK Research Councils’ standard UK residency criteria (please refer to p.17 of the RCUK website for further details). For details on how to apply, see here.

Further reading:

For an example of a study of a manuscript digitised through EAP, see:
Mulaika Hijjas, Marks of many hands: annotation in the Malay manuscript tradition and a Sufi compendium from West Sumatra.  Indonesia and the Malay World, July 2017, 45  (132), pp. 226-249.

Blogs:
26 February 2014, Indonesian and Malay manuscripts in the Endangered Archives Programme
14 April 2014, Sermons in the Malay world

Annabel Gallop, Lead Curator, Southeast Asia

Curators of the Asian and African Collections recently welcomed 45 eager doctoral students to a training day at the British Library. The session, for students in the first year of their PhDs, provided an introduction to the research materials on offer at the BL. Students came from universities throughout the UK, including Glasgow, Strathclyde and Newcastle.

 
On display at the doctoral open day: (left) Ganjifa card set featuring the avatars of Vishnu from 19^th-century Orissa, India (BL Or 13,692); (right) illustration of animals, probably for a board game. Commissioned by Richard Johnson, Lucknow, c. 1780-82 (BL Johnson Album 5,9)

We know that our vast and wide-ranging collections may be a little daunting when starting out on research. The annual doctoral open day aims to give students an understanding of the overall picture, as well as helping them to start navigating the collections in the best way for their own research.

 
(Left) a comic from the British Library’s Arabic collections: Skefkef, issue 3, published in Morocco; (right) section of Qur’an board, probably from Somalia, used for learning the Qur’an (BL Or. 16442)

The day began with a talk on research at the British Library, and an overview of the Asian and African Collections ­from the Head of Department, Dr Luisa Mengoni. Curators then gave introductions to our holdings on and from:

• Africa
• the Middle East
• Central Asia
• South Asia
• Southeast Asia and
• East Asia

There were also presentations on the India Office Records and from our Digital Research team. The British Library’s materials are in many formats – books, serials, newspapers, electronic resources, manuscripts and archives, maps, audio-visual items and philatelic material. The Asian and African Collections have material in all the major languages of Asia and Africa, and in many less widely spoken languages too.

 
A wide range of exhibits on display at the doctoral open day

After this glimpse of what’s available, students received practical help in using the catalogues as well as an opportunity to see displays of richly illuminated manuscripts, books, and other treasures from our collections. There was plenty of time to interact with curators and gain advice on individual research projects.

The Turkish and Turkic stand

The afternoon finished with a talk by Dr Richard Williams, Lecturer in Ethnomusicology at SOAS, University of London, who shared his experiences of using the British Library’s collections and provided plentiful tips for life after the PhD.

The day brought together students with a huge range of research interests, from women’s translations of the Qur’an to the medical history of refugee camps, and provided opportunities to get to know other doctoral researchers in similar or different disciplines.

95% of those completing feedback forms rated the day ‘excellent’ or ‘very good’. Most important, students’ confidence in their ability to do their research at the BL vastly increased. The proportion of those ‘confident’ or ‘very confident’ in using our collections rose from 27% beforehand to 100% at the end of the day. ‘Very useful & good day,’ one student commented. ‘Staff were very helpful and approachable.’

What next? The next Asian and African doctoral open day will be held early in 2019, for students starting their PhDs in autumn 2018.

In the meantime, current PhD students are invited to apply for a range of 3-month PhD research placements at the British Library.

These projects include:

• Afrikaans literature
• Exploring our ‘Endangered Archives’ projects in Africa
• Political cartoons in India in the 1930s and 1940s

The closing date for applications is 19 February 2018.

Marion Wallace, Lead Curator, African Collections, with thanks to colleagues for the wide range of photographs

My previous blog presented the exhibition Tales of the Malay World, now in its final month at the National Library of Singapore (18 August 2017 - 25 February 2018); today I examine two Malay manuscripts from the British Library currently on display in Singapore, Hikayat Parang Puting and Hikayat Perintah Negeri Benggala.

Hikayat Parang Puting, 'The tale of the (magic) sword', is a Malay fantastical adventure tale about a young hero, Budak Miskin, the ‘Poor Boy’, who goes through many trials to win the hand of the fairy princess. Accompanied by his magical pets - a snake, an eagle and a rat - and with the help of a sword that can cut by itself (the eponymous 'Parang Puting', parang meaning sword, and puting referring to the top part of a blade embedded in the hilt), Budak Miskin battles dragon-serpents (naga) as well as an army of 99 rival suitors before he can settle down to rule his kingdom with his hard-won wife Puteri Mengindera Sehari Bulan.

The British Library manuscript (MSS Malay D.3) appears to be the oldest of the several manuscripts known of this tale. According to the colophon it was copied in Penang for Thomas Stamford Raffles by his chief scribe Ibrahim, and was completed on 29 Syawal 1220 (20 January 1806). Ibrahim, who was born in Kedah in 1780, was the younger son of Hakim Long Fakir Kandu, a prominent merchant from the south Indian Chulia community. Ibrahim and his older brother Ahmad both worked in Penang as scribes for British employers – Ahmad for the merchant Robert Scott, while Ibrahim was employed by Raffles. Raffles must have given this copy to his close friend John Leyden, and following Leyden’s early death in Java in 1811 the manuscript was acquired by the East India Company, and is now held in the British Library.

First page of Hikayat Parang Puting. British Library, MSS Malay D.3, f. 1r 

The first page of the book is decorated with attractive triple ornamental borders, filled with floral and foliate motifs picked out in orange-brown and black ink, but it is puzzling to find a single ornamental frame on a left-hand page of a Malay manuscript book. A fundamental principle of Islamic book culture, common to all manuscripts written in forms of the Arabic script, is the centrality of the aesthetic concept of the ‘double-page spread’. Unlike books and manuscripts written in Roman script, where the first page in invariably a right-hand page and the text thence continues overleaf, in Islamic manuscripts the text almost always starts at the top of a right-hand page, and continues onto the facing left-hand page. The most common decorative adornment to an Islamic manuscript is therefore a set of double decorated frames composed across two facing pages, symmetrical about the gutter of the book, and with the illumination concentrated on the three outer sides of each page. In some cultures there is a preference for double headpieces: illuminated frames across two facing pages, but with the decoration concentrated above the text on each page. In simpler books it is also common to find ornamental frames on one page only, in the form of a single headpiece, but almost invariably located on the right-hand page of a manuscript. Shown below are examples of Malay manuscripts displaying each of these three basic formats of decorative frames:

     
Examples of standard formats of illuminated frames at the start of the text in Malay manuscripts, from left to right: a) Double decorated frames (Hikayat Isma Yatim, Add. 12379, ff. 1v-2r); b) Double headpiece (Syair surat kirim kepada perempuan, MSS Malay B.3, ff. 36v-27r); c) Single headpiece (Prayerbook, Or. 14194, ff. 44v-45r).

Returning to Hikayat Parang Puting, we find that in fact the narrative proper does indeed commence not within the decorated frames shown above, but overleaf, at the top of a right hand page. Rubrication (red ink) is used to highlight the first words Al-kisah ini hikayat, a time-honoured formula for the start of Malay stories, and then continues with words and phrases familiar from so many other Malay tales: ‘This is a tale of long-ago folks in the heavens, a truly beautiful tale, full of wonders, recounted by the teller of tales. Once upon a time, there lived a heavenly being called Dewa Laksana Dewa …’ (Al-kisah ini hikayat orang dahulu kala duduk di kayangan terlalu indah2 ceteranya, lagi dengan kesaktian maka diceterakan oleh orang yang empunya cetera ini sekali persetua seorang dewa duduk di kayangan bernama Dewa Laksana Dewa …).

Al-kisah ini hikayat, the rubricated first words of Hikayat Parang Puting. British Library, MSS Malay D.3, f. 1v (det.)

Start of the story of Hikayat Parang Puting. MSS Malay D.3, ff. 2v-3r  

So what is the point of the decorated frames on the first page of the book? They enclose the following 'stand-alone' text: ‘This is a tale of folks long ago, told by the teller of tales, the Tale of the Magic Sword, and of the (grand)son of Dewa Laksana Dewa from the heavens, it is a wonderful story, he had to battle the serpent in the sea to save the princess from being taken by the serpent, that is the story’ (Inilah cetera orang dahulu kala diceterakan oleh orang yang empunya cetera Hikayat Parang Puting anak Dewa Laksana Dewa dari kayangan terlalu indah perkataan maka ia berperang dengan naga di dalam laut dengan sabab tuan puteri hendak diambil naga itu inilah ceteranya). Thus what we have here is, in essence, the title of the story, and its contents. Very occasionally religious texts in Arabic and Malay might have a ‘title page’, comprising a few lines in a tapered triangular format giving the title and author of the work. But this is rare in literary works, and it is almost unknown for such information to be set within decorated frames. As this manuscript of Hikayat Parang Puting was copied for Raffles, it is possible that this ornamental embellishment, unusual in the Malay literary tradition, may have been created by Ibrahim to help serve as a gateway to the Malay text for his English patron.

The implication of European influence in the graphic interplay of text and image in this manuscript is reinforced by another manuscript, that of Hikayat perintah negeri Benggala, 'The tale of the state of Bengal', an account of a journey to Calcutta by Ibrahim’s brother, Ahmad Rijaluddin. Here too the main narrative, heralded with the bismillah, only starts at the top of the second double-page spread. The first two pages, with double decorated frames, serve a different purpose: they present the title of the work and an authorial statement, dated September/October 1811: ‘This is a narrative of the state of Bengal as it was at the time I, Ahmad Rijaluddin, son of Hakim Long Fakir Kandu, left my homeland to visit it.  I have composed this narrative for the benefit of posterity, commiting it to writing in the year 1226, in the year dal awal, in the month of Ramadan’, (Inilah hikayat diceterakan perintah negeri Benggala tatkala masa zaman senda Ahmad Rijaluddin ibn Hakim Long Fakir Kandu belayar / membuang diri ke Benggala.  Maka dikarang hikayat ini meninggal akan zaman diperbuat surat pada sanat 1226 tahun dal awal bulan Ramadan.) 

'Title page' of Hikayat perintah negeri Benggala. British Library, Add. 12386, ff.1v-2r

Bismillah al-rahman al-rahim, wa-bihi nasta'in: the first words of Hikayat perintah negeri Benggala. British Library, Add. 12386, f. 2v (det.)

Start of the story of Hikayat perintah negeri Benggala. British Library, Add. 12386, ff. 2v-3r

It looks as if Ahmad Rijaluddin had further planned another innovative addition to the end of his manuscript, for after the final page of text he prepared decorative frames on two facing pages. What did he plan to write - a poem? a dedication? a prayer? We will never know, for the pages have been left blank.

 
Hikayat perintah negeri Benggala, showing (left) empty decorated frames at the end of the book, and (right) the final page of the text. British Library, Add. 12386, ff. 50v-51r and ff. 49v-50r

And so these two brothers, Ibrahim and Ahmad Rijaluddin, may be credited for their original and exploratory treatments of Malay title pages. Their efforts did not spark a bibliographic revolution; that had to await the imminent arrival of the printing press in Melaka and Singapore. Nonetheless, these two Malay manuscripts - Hikayat Parang Puting and Hikayat perintah negeri Benggala - can be regarded as being in the vanguard of the movement to expand the graphic frontiers of the Malay book.

Further reading

Jamilah Haji Ahmad, Hikayat Parang Puting. Kuala Lumpur: Dewan Bahasa dan Pustaka, 1980.
Liaw Yock Fang, Sejarah kesusastraan Melayu klasik.  Jakarta: Obor, 2011. [Contains a summary of the story of Hikayat Parang Puting on pp. 188-192.]
Ahmad Rijaluddin’s Hikayat Perintah Negeri Benggala. Edited and translated by C. Skinner.  The Hague: Martinus Nijhoff, 1982.

Annabel Teh Gallop
Lead Curator, Southeast Asia

If you are in Singapore – or anywhere near – grab the opportunity to visit the exhibition Tales of the Malay World, at the National Library of Singapore, before it ends on 25 February 2018. The biggest international exhibition of Malay manuscripts ever held, the display of over a hundred Malay manuscripts and early printed books includes 16 manuscripts from the British Library, as well as 17 loans from the Royal Asiatic Society and 18 from Leiden University Library, which are being shown alongside treasures from the National Library of Singapore’s own collections.

This was not the only time that Malay books from the British Library have been exhibited in Southeast Asia. The first occasion was in Malaysia in 1990, when 22 early Malay printed books were loaned to the exhibition Early Printing in Malay (Pameran Percetakan Awal dalam Bahasa Melayu) held at Dewan Bahasa dan Pustaka, Kuala Lumpur, from 4-9 June 1990. The following year, 25 manuscript letters and books in Malay, Javanese, Balinese, Bugis and Batak travelled to Indonesia for the exhibition Golden Letters: Writing Traditions of Indonesia (Surat Emas: Budaya Tulis di Indonesia), held at the National Library of Indonesia in Jakarta and at the Palace (Kraton) of Yogyakarta in September 1991. In October 1995 five Malay manuscripts were loaned to the International Exhibition of Malay Manuscripts (Pameran Manuskrip Melayu Antarabangsa) at the National Library of Malaysia in Kuala Lumpur, including the beautifully illuminated Taj al-Salatin and the Hikayat Pelanduk Jenaka currently on display in Singapore. But apart from the two latter books, for the 14 other Malay manuscripts from the British Library featured in Tales of the Malay World, it is the first time that they have travelled back to the ‘lands below the winds’ since sailing westwards in the 19th century.

As suggested by the title, the exhibition celebrates the rich seam of Malay literature, and in the judicious hands of curator Tan Huism, deftly draws out some interesting threads. Accorded its own showcase at the very start of the exhibition is the British Library manuscript of the Hikayat Muhammad Hanafiah. This work occupies a seminal position in the Malay literary imagination, as it is cited in the Sejarah Melayu as the story for which the warriors of Melaka clamoured to be recited to give them strength and courage, the night before the fateful final attack by the Portuguese in 1511.

Hikayat Muhammad Hanafiah, on display in the exhibition 'Tales of the Malay World'. British Library, MSS Malay B.6, ff. 3v-4r

The exhibition includes many other Malay literary treasures from the British Library, including a tale of the Javanese culture-hero Prince Panji (Hikayat Carang Kulina) and the cycle of tales told by the wise parrot to detain his mistress from keeping her rendezvous with her lover (Hikayat Bayan Budiman). Yet some British Library manuscripts inevitably paled in comparison with other exhibits - our nicely-written copy of Sejarah Melayu, copied in Melaka in 1873, could not hope to attract as much attention as the Royal Asiatic Society's iconic manuscript Raffles Malay 18 of the same work, which though only copied in Java around 1814 preserves the text of the oldest known version of the work dated 1612.  Our copy of the Hikayat Hang Tuah, dating from ca. 1810, which I believe has particular value in that it is said to be copied from a manuscript belonging to the Sultan of Kedah, is much less well-known than the oldest known manuscript of the work, dated 1758, which had travelled from Leiden (Cod.Or.1762).

In some cases the exhibition enabled the material aspects of manuscripts to come to the fore. The British Library manuscript of episodes from the Mahabharata, Hikayat Perang Pandawa Jaya, copied by Muhammad Kasim in 1804 probably in Penang or Kedah, has attractive double decorated frames. However, arguably a much more important and rarer feature of this manuscript is its original binding (carefully conserved before travelling to Singapore), comprising a printed Indian cotton outer cover over an inner plaited palm lining, which was placed on display next to the book itself.

Hikayat Perang Pandawa Jaya, 1804. British Library, MSS Malay B.12, ff. 1v-2r

Hikayat Perang Pandawa Jaya, Indian cloth cover (photograph taken before conservation). British Library, MSS Malay B.12, cloth cover.

 
Hikayat Perang Pandawa Jaya, inner lining made of plaited palm, to which the cloth cover has been stitched (photograph taken before conservation). British Library, MSS Malay B.12, inner palm cover 

As well as the manuscripts and early printed books on display, clips of old Malay films based on literary classics such as Tun Fatimah (1962) and Hang Jebat (1961) were shown during the exhibition, attracting a lot of nostalgic interest. There was also a programme of talks, and workshops on reading Jawi script. The atmospheric installation - expertly overseen by project manager Alvin Koh - with its attractive graphic panels and jewel-coloured walls, greatly enhanced the evocative beauty of the exhibits.

Given below is a full list of Malay manuscripts from the British Library loaned to the exhibition ‘Tales of the Malay World’, National Library of Singapore, 18 August 2017 – 25 February 2018. All the manuscripts have been fully digitised and can be read on the Digitised Manuscripts site by following the hyperlinks:
1. MSS Malay B.2, Hikayat Pelanduk Jenaka
2. MSS Malay B.6, Hikayat Muhammad Hanafiah
3. MSS Malay B.7, Hikayat Bayan Budiman
4. MSS Malay B.12, Hikayat Perang Pandawa Jaya
5. MSS Malay D.3, Hikayat Parang Puting
6. MSS Malay D.4, Hikayat Nabi Yusuf
7. Add 12379, Hikayat Isma Yatim
8. Add 12383, Hikayat Carang Kulina
9. Add 12384, Hikayat Hang Tuah
10. Add 12386, Hikayat Perintah Negeri Benggala
11. Add 12393, Hikayat Raja Babi
12. Add 12394, Syair Sultan Maulana
13. Add 12397, Undang-Undang Melaka
14. Or 13295, Taj al-Salatin
15. Or 14734, Sejarah Melayu
16. Mss Eur.D.742/1, f 33a, Letter from Sultan Syarif Kasim of Pontianak to T.S. Raffles, 1811

Following the opening of the exhibition, on 18 August 2018 I gave a talk at the National Library of Singapore on 'Art and Artists in Malay manuscript books', excerpts of which can be watched here:

Annabel Teh Gallop
Lead Curator, Southeast Asia

Kim Văn Kiều, or the Tale of Kiều, by Nguyễn Du (1765-1820), is a jewel in the crown of Vietnamese classical writing. In Vietnam, as Nathalie Huynh Chau Nguyen (2003: 18) points out, the Tale of Kiều has been embraced by the general public, who see it as a romance, a book of divination, and a moral fable, while scholars explore its literary, linguistic, philosophical, political and social aspects. The eponymous heroine is the most acclaimed lady in Vietnamese literature, and her captivating but tragic story has inspired many artistic depictions. The most outstanding version in the British Library collection is undoubtedly a manuscript which was completed around 1894 (Or 14844), written in Hán-Nôm with illustrations of scenes from the story on each page, and a fine yellow silk binding with dragon patterns. Shown in this post are a selection of images of Kiều from this beautiful manuscript, alongside more recent portrayals from printed books.

Kiều demonstrates her talent for playing the Ho guitar. British Library, Or 14844, f. 3r

Literary critics have argued that the theme of the story is an allegory of Nguyễn Du’s guilt and conflict of interest in agreeing to work for the new regime (the Nguyễn dynasty, 1802-1945) which had been indirectly involved in the overthrow of his former master. This behaviour was unacceptable in traditional Confucian Vietnamese society as it was tantamount to betraying filial piety. Hence the theme of the story was a poignant reminder for Nguyễn Du, who was born into a high profile mandarin family, and whose father served as a high ranking minister under the Le dynasty.

Nguyễn Du was inspired by a Chinese Qing dynasty novel ‘The Tale of Chin, Yu , Ch’ia’ while he was leading a diplomatic mission to Beijing in 1813. He re-wrote the story by using ‘lục-bát’ or ‘six-eight’ verse form. The ’lục-bát’ was a commonly used and popular style in folk poetry and it was conducive to reciting. Its original title in Vietnamese is Ðoạn Trường Tân Thanh (A New Cry From a Broken Heart). However, it is better known as Truyện Kiều or Kim Văn Kiều.

The name of the story Kim Văn Kiều derives from the names of three important characters: Kim Trọng, Kiều’s fiancé and her first love; Thúy Văn, Kiều’s younger sister; and Thúy Kiều herself; the main protagonist being, of course, Thúy Kiều. Arguably the most recognised and stereotypical image of Kiều is of her playing a musical instrument, usually depicted either as a Ho guitar or a p’i p’a lute. In his English translation of the story, Lê Xuân Thủy describes her talents and beauty: "The bow of her eyes looked like two graceful autumn waves ... flowers envied her brightness, and willow shivered for not being so clear. With one sidelong glance, then another, she could subvert empires and put cities in revolution ... Being a thorough master of the Cung Thương five-tone scale, she excelled chiefly in playing Ho guitar ... (1960?: 22-23).

Kim Văn Kiều, by Le Xuân Thủy (1960?). British Library, 16690.a.40, front cover

Tryuện Kiều, by Nguyễn Thạch Giang (2010). British Library, YP.2011.b.433, back cover

Kiều was born to a family of scholars and was a vision of idealised Confucian womanhood: beautiful, chaste, obedient and loyal to her family (Nathalie 2003: 14). A virtuous and graceful young woman, however her fate was doomed, and she had to sacrifice her love and life to save her father and her family. After a noble upbringing, she gradually fell into disgrace, being forced to work as a prostitute, not once but twice, and had four husbands. At one point she even stole valuables from her master to survive. After fifteen years of suffering, she was finally reunited with her first love, Kim Trọng. However, after all she had gone through she could not see herself as his wife, and therefore remained in a platonic relationship with him, and asked her younger sister, Thúy Văn, to marry him instead.

Kiều meets Kim Trọng for the first time. British Library, Or 14844, f. 6r

The first meeting of Kiều and Kim Trọng in Truyện Kiều (2010). British Library, YP.2011.b.433, pp. [20-21]

It is hard to imagine how this pure and talented young lady faced and coped with her subsequent downfall. In the following images, the manuscript artist depicts the lowest point in Kiều’s life, when she was sold by her first husband to a brothel. Tứ Bà, the madame and owner of the brothel cajoled Kiều into prostitution: ‘Listen to this my daughter, and keep this in mind: there are seven interior attitudes and eight intimate techniques to amuse people …until you can turn them upside down like stones…you must know how to charm them, sometimes by the tips of your lips, sometimes by the corner of your eyes, sometimes by reciting alluring poems, and occasionally by the flowers of your smile’ (Le Xuân Thủy, 1960?: 176-77).

Tứ Bà taught Kiều how to use her charms to attract men. British Library, Or 14844, f. 29v

Kiều in Tú Bà’s brothel. British Library, Or 14844, f. 25r  

As Nathalie (2003: 13) points out, Kiều and this literary genre ‘stand out as a character of universal and enduring appeal, a vulnerable individual with whom those most acutely affected by change and misfortune can readily identify. For generations of Vietnamese who have experienced years of turmoil, changing regimes, colonisation, post-colonisation, war and exile, Kiều’s troubles strike a deep emotional chord.’

Kiều is kidnapped on the order of Hoạn Thư, the first wife of Kiều’s second husband. British Library, Or 14844, f. 38v  

The same scene depicted in Truyện Kiều (2010). British Library, YP.2011.b.433, p. [119]

Reflecting its popularity, Kim Văn Kiều has been widely published in various forms, and in the British Library alone, there are over thirty books on this Vietnamese classic. Literary criticisms, different interpretations and translations of Kiều, both in Vietnamese and foreign languages, continue to be published; for instance, in 2004, Vladislav Zhukov translated the story into English with his own interpretations. His version complements well other widely recognised English translations, especially those by Lê Xuân Thủy in the early 1960s and by Huynh Sanh Thong in 1973.

Further reading

Nathalie Huynh Chau Nguyen. Vietnamese Voices: Gender and Cultural identity in the Vietnamese Francophone Novel. DeKalb: Illinois: Northern Illinois University, 2003.
Kim Văn Kiều: English translation, footnotes and commentaries, by Lê Xuân Thủy. Fort Smith, Arizona: Sống Mới, [1960?]
Ta Quang Khôi. Nhân vật truyện Kiều, in Hồn Việt. Vol. 36, No. 323 & 324, January-February 2011, pp. 138-143.
Nguyễn Du. Truện Kiều : thơ và tranh. Nguyễn Thạch Giang, dịch. Hà Nội : Văn học, 2010.

Sud Chonchirdsin, Curator for Vietnamese