On display in London, natural history paintings by an obscure 19th-century Bengali artist by Malini Roy from Scroll.in

The British Library has loaned 20 paintings and manuscripts to the Wallace Collection in London for the “Forgotten Masters” exhibition, running through April 2020. Included are a selection of four works by the relatively unknown artist Haludar, whose natural history drawings are on display for the very first time.

When the exhibition curator William Darymple started scoping paintings to be included in the exhibition, I brought to his attention the natural history drawings in the collection commissioned by the Scottish surgeon Dr Francis Buchanan-Hamilton – 1762–1829, hereafter referred to as Buchanan – at the turn of the 19th century. When I showed him the delicate paintings of a moloch gibbon, a sloth bear, a long-tailed macaque and the gerbils painted by the artist Haludar, Dalrymple was intrigued and we started considering the conservation aspects in displaying these works for the first time.

Sloth bear drawn for Francis Buchanan by Haludar, circa 1799-1806. Credit: British Library (CC Public Domain)

In researching the Buchanan collection at the British Library, which consists of several hundred natural history alongside countless volumes of his notes, I met with Dr Ralf Britz an ichthyologist, or fish scientist, at the Natural History Museum, who was working on Buchanan’s volume on Fishes of the Ganges held in the British Library. When I mentioned my plans to work on the drawings of mammals in the Library’s collection and researching the artist Haludar, he immediately sent me a scientific article by the French zoologist Henri de Blainville. In 1816, de Blainville wrote in the science bulletin, par la Société philomathique de Paris, that a new species of Cervus niger could be identified “after a very beautiful coloured drawing that was completed on site by Haludar, an Indian painter”. After reading this article, I started to look at other early 19th century periodicals to see if any other zoologists were looking at de Blainville’s work or by chance also mentioned Haludar.

Indian sambar deer, Cervus Niger, drawn for Francis Buchanan by Haludar, circa 1799-1806, Barrackpore. Credit: British Library (CC Public Domain)

I discovered that in 1819, the German naturalist Lorenz Oken’s periodical Isis also made reference to Cervus niger, stating it was “painted on the spot by the master painter Haludar”. Both references to Cervus niger, which is an Indian Sambar deer, provided only brief descriptions of the species, and omitted to give details regarding the source of the scientific information as well as the location of the artwork by Haludar. However, in cross-referencing C niger with Haludar, we are directed to a single drawing in the British Library’s collection that was commissioned by Francis Buchanan inscribed with the artist’s name, that had been deposited at the Company’s library on Leadenhall Street, London in 1808. This painting of Cervus niger is one of 28 natural history drawings now held in the British Library that are inscribed Haludar Pinxt and that were prepared between 1795 and 1818, when Buchanan was working as a surgeon for the East India Company and actively documenting botanical and zoological specimens during his travels across the subcontinent.

This article first appeared on British Library’s Untold Lives blog.

More: https://scroll.in/article/952818/on-display-in-london-natural-history-paintings-by-an-obscure-19th-century-bengali-artist

A Judeo-Persian epic, the Fath Nama (Book of Conquest) – British Library Blog

By Ilana Tahan, Lead Curator Hebrew and Christian Orient Studies

While art historical research has focused on the beauty and splendour of Persian miniature paintings, the study of Judeo-Persian manuscript art has lagged behind, receiving only more recently the attention and recognition it deserves. These paintings form part and parcel of manuscripts that have been copied in Judeo-Persian, that is a language that is a combination of Persian, Hebrew and Aramaic written in Hebrew script. The major obstacles to studying these significant hand-written books have been a lack of knowledge of the language, unfamiliarity with the Persian and Judeo-Persian literary traditions, and also with the history of Persian manuscript art in general.

While art historical research has focused on the beauty and splendour of Persian miniature paintings, the study of Judeo-Persian manuscript art has lagged behind, receiving only more recently the attention and recognition it deserves. These paintings form part and parcel of manuscripts that have been copied in Judeo-Persian, that is a language that is a combination of Persian, Hebrew and Aramaic written in Hebrew script. The major obstacles to studying these significant hand-written books have been a lack of knowledge of the language, unfamiliarity with the Persian and Judeo-Persian literary traditions, and also with the history of Persian manuscript art in general.

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More: http://blogs.bl.uk/asian-and-african/2017/09/a-judeo-persian-epic-the-fath-nama-book-of-conquest.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29#

Further reading
Moreen, Vera Basch, Miniature Paintings in Judaeo-Persian Manuscripts (Cincinnati: Hebrew Union College Press, 1985), pp. 40, 49-50.
Moreen, Vera Basch and Orit Carmeli, The Bible as a Judeo-Persian epic: an illustrated manuscript of Imrani’s Fath-Nama (Jerusalem: Yad Ben-Zvi Press, 2016). On Ms 4602 of the Ben-Zvi Institute in Jerusalem.
David Yeroushalmi, Emrānī”, in Encyclopædia Iranica (1995).

 

A 17th century copy of Saʻdi’s collected works from the British Library Blog

The Persian writer and poet Musliḥ al-Dīn Saʻdī of Shiraz (ca.1210-1291 or 1292) are without a doubt one of the best-known and most skilful writers of classical Persian literature. With an established reputation even during his lifetime, his works have been select reading for royal princes and ʻset textsʼ for more humble students of Persian the world over. It is hardly surprising then that a corresponding number of deluxe copies survive of his works. A previous post (What were the Mughals’ favourite books?) described some copies of his best known works, the Būstān (ʻFragrant Gardenʼ or ʻOrchardʼ) and the Gulistān (ʻRose Gardenʼ), in the Library’s collection. Another sumptuous manuscript, which has also been digitised, is an early 17th century copy of his Kullīyāt (ʻCollected Worksʼ)IO Islamic 843 which was completed in 1034 (1624/25) by Maḥmūd, a scribe of Shiraz (al-kātib al-Shīrāzī), during the reign of Shah ʻAbbas (r. 1588-1629).

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Very little is known about the poet’s life. Born in Shiraz, Saʻdī left his hometown to study in Baghdad. After a period of study at the Nizamiyah Madrasah, Baghdad, he set off on travels that lasted over thirty years. His experiences and adventures found their way into his writings, including being a prisoner of the Crusaders in Syria, visiting Kashgar, and killing a temple priest at Somnath in India. Many of these tales, however, have been proved to be anecdotal rather than biographical. Saʻdī returned to Shiraz in 1257, already a widely recognised poet and completed his two most famous works: the Būstān in 1257 and the Gulistān in 1258. These two works of poetry and prose respectively, contain anecdotes from the life of the author, moral teachings, and advice for rulers. Many stories communicate elements of Sufi teachings through their dervish protagonists. Other works reflect the changing political situation in Shiraz. Several of his poems are dedicated to the Salghurid dynasty, which ruled in Fars from 1148 to 1282, while later works are addressed to their successors the Mongols and their administrators.

More: http://blogs.bl.uk/asian-and-african/2017/04/a-17th-century-copy-of-sa%CA%BBdis-collected-works-io-islamic-843.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29

A History of Mughal Cuisine through Cookbooks from The Heritage Lab

544322_10151555158737139_1234962013_nPreparation of betel for the Sultan Ghiyath al-Din, from The Ni'matnama-i Nasir al-Din Shah, 1495-1505 (opaque w/c on paper)from The Ni'matnama-i Nasir al-Din Shah, 1495-1505 (opaque w/c on paper)coffee_route_06_0h_sp2l_same_size_seq_or_stack_photo_2_of_4_high_res_bl_751430_mincing__lg-1024x714i_sp2l_same_size_seq_or_stack_photo_3_of_4_high_res_bl_751422_detail_c_lg-800x445j_sp2l_same_size_seq_or_stack_photo_4_of_4_high_res_bl_751431_2_lg-1024x527o_sp4l_high_res_bl_751431_sherbet_detail3_smshah-tahmasp-i-and-mughal-emperor-humayun-meet-mural-chehel-sotoun-palace-isfahansweetsa70459bc-b17d-4140-8df6-f16ebdd9600egoldspoonmughal

On any given weekend, my head is usually occupied with the thoughts of food. The taste buds have been working over time for a year now – ever since I started following my friend Richa’s amazing food stories. Turns out that Kings and Royalty had a thing for food too. The cookbooks of Akbar, Shahjahan and Aurangzeb give us an idea of the history of Mughal cuisine. Apart from royal food, you also get to look into their kitchen! For instance, the Ain-i-Akbari mentions that during the reign of Akbar, there was a Minister for Kitchen! He had his own budget, an independent accounts department and ran an army of cooks, tasters, attendants, bearers and other sundry designations. It is true – there was a time when people really lived to eat (and life sounded like Harry Potter books)!

More: http://www.theheritagelab.in/mughal-recipe-history/

Hell hath no fury like a woman scorned: the legend of the bell of Dōjō-ji – British Library Blog

This famous English saying – often misattributed to William Shakespeare, but actually a partially paraphrased quotation from William Congreve – could apply to many tragic tales from all over the world through the centuries. Here we will introduce a famous Japanese story featuring one such jilted woman, associated with the ancient temple of Dōjō-ji 道成寺 in Kii province (modern Wakayama) in Japan.

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More: http://blogs.bl.uk/asian-and-african/2016/09/hell-hath-no-fury-like-a-woman-scorned-the-legend-of-the-bell-of-d%C5%8Dj%C5%8D-ji.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29

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A Mughal Shahnamah – British Library Blog

By Ursula Sims-Williams, Asian and African Collections

More: http://britishlibrary.typepad.co.uk/asian-and-african/2016/06/a-mughal-shahnamah.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29

This copy of the Shāhnāmah is thought to date originally from the 15th century. Unfortunately it has no colophon but it was extensively refurbished in India at the beginning of the 17th century when the 90 illustrations were added. These are numbered consecutively 1-91, only lacking no. 37 which, together with a gap of about 150 verses, is missing at the beginning of the story of Bīzhan and Manīzhah between folios 201v and 202r. The manuscript was altered again in the first half of the 18th century when elaborate paper guards and markers were added. The magnificent decorated binding, however, dates from the early 17th century.

The Shahnameh as propaganda for World War II

The British Library’s newly opened exhibition Propaganda: Power and Persuasion includes a number of exhibits relating to Asian and African Studies, one of which is a series of postcards dating from World War II based on an episode from the famous Persian epic the Shahnameh, or ‘Book of Kings.’

The postcards on display in the current exhibition use the myth of the tyrant Zahhak in an attempt at rendering anti-German propaganda more relevant to Iranian cultural sensibilities. The Iranian scholar Mojtaba Minovi (1903 -1976) was working for the BBC Persian service during World War II, editing the pro-Allied newspaper Ruzgar-i Naw. When asked for advice on an effective propaganda campaign for Iran, he suggested using stories and imagery from the Shahnameh (see Wynn, p. 4) to appeal to the Iranian people. Minovi’s advice was taken and the images were created in 1942 by Kimon Evan Marengo (1904-1988), known by the sobriquet Kem, a prolific creator of propaganda cartoons for the British during the war.

 

See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2013/05/the-shahnameh-as-propaganda-for-world-war-ii.html#sthash.WFwYcWGy.dpuf

 

Further Delhi paintings on ivory by J.P. Losty, Curator of Visual Arts (Emeritus) – British Library Blog

Previous posts on the subject of late Mughal or Delhi miniature paintings on ivory have dealt with portraits, with which the Visual Arts collection is well endowed. Not so well represented in the earlier collection are topographical paintings on ivory, so it was especially gratifying to be able to acquire two superb examples of the genre during my time as Curator of Visual Arts.  See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2016/04/further-delhi-paintings-on-ivory.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29#sthash.wIWEDnVZ.dpuf

See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2016/04/further-delhi-paintings-on-ivory.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29#sthash.wIWEDnVZ.dpuf

Cats in Persian manuscripts – From Asian and African Studies Blog, British Library

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Double-page opening to the tales of the two jackals Kalilah and Dimnah, by Naṣr Allāh ibn Muḥammad, dated AH 707/1307-8. Here the king is enthroned on the left, surrounded by courtiers with two lions beneath and, on the right, hunting cheetahs, a horse and a hawk – See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2015/08/cats-in-persian-manuscripts.html#sthash.zofw507e.dpuf

Since August 8th is International Cat Day, it seemed a good excuse to publish some of the more picturesque felines from the manuscripts we have been working with during the last three years of our project ‘Digital Access to Persian Manuscripts’. – See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2015/08/cats-in-persian-manuscripts.html#sthash.zofw507e.dpuf

More: http://britishlibrary.typepad.co.uk/asian-and-african/2015/08/cats-in-persian-manuscripts.html

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A Fine Balance ©

A blog about work, life and the pursuit of balance.

Shapes of Space

The shape of space to come

Sufi Events

"We carry inside us the wonders we seek outside us." - Rumi

RoamingArtist's Blog

Artandtravel.com weblog

Pakistan Travel & Culture

Pakistan Travel & Tourism, culture, history and news articles.

History and Chronicles

INDIAN HISTORY

All About Asia

The Asian Diaries

Drawn&made

Hello, this is the creative blog of Mark & Heather, we're freelance designers.

ARThound

Geneva Anderson digs into art

ASHA: Blast From The Past

The Blog of Aligarh Society of History and Archaeology [ASHA]

hmmlorientalia

Some remarks—often with photos!—about manuscripts and the languages, literature, scholarship, and history of Christian culture in the Middle East.

ہم سب

ہم سب مل کر چلیں گے

A Fine Balance ©

A blog about work, life and the pursuit of balance.

Shapes of Space

The shape of space to come

Sufi Events

"We carry inside us the wonders we seek outside us." - Rumi

RoamingArtist's Blog

Artandtravel.com weblog

Pakistan Travel & Culture

Pakistan Travel & Tourism, culture, history and news articles.

History and Chronicles

INDIAN HISTORY

All About Asia

The Asian Diaries

Drawn&made

Hello, this is the creative blog of Mark & Heather, we're freelance designers.

ARThound

Geneva Anderson digs into art

ASHA: Blast From The Past

The Blog of Aligarh Society of History and Archaeology [ASHA]

hmmlorientalia

Some remarks—often with photos!—about manuscripts and the languages, literature, scholarship, and history of Christian culture in the Middle East.

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