Nasir Shah’s Book of Delights from the British Library Blog

To celebrate our new series of South Asian seminars and especially the focus on food with Neha Vermani’s talk this evening Mughals on the menu: A probe into the culinary world of the Mughal eliteI thought I would write about our most ʻfoodyʼ Persian manuscript, the only surviving copy of the Niʻmatnāmah-i Nāṣirshāhī (Nasir Shah’s Book of Delights) written for Sultan Ghiyas al-Din Khilji (r.1469-1500) and completed by his son Nasir al-Din Shah (r.1500-1510). We are planning to digitise this manuscript in the near future but meanwhile I hope some of these recipes will whet your appetite.

 

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More: http://blogs.bl.uk/asian-and-african/2016/11/nasir-shahs-book-of-delights.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29

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Firdausi’s Shahnama is a manual on kingship, wisdom, love, and magic

Ismailimail

I’ve reached the end of this great history
And all the land will talk of me
I shall not die, these seeds I’ve sown will save
My name and reputation from the grave,
And men of sense and wisdom will proclaim,
When I have gone, my praises and my fame.

Firdausi
Extracted from Shahnameh: The Persian Book of Kings, translated by Dick Davis
firdausis-shahnama

The Shahnama (The Book of King), composed by the Persian poet Firdausi (940-1020) around the year 1000, comprises more than 60,000 rhyming couplets, telling the story of Persia (modern-day Iran) from the time of creation to its conquest by Muslims in the seventh century. Partly legend, partly historic, it is also a manual on kingship, a collection of heroic tales, and a long essay on wisdom, love, warfare, and magic, structured around four successive dynasties, each representing the various phases of human history, seen from the Iranian…

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The Sixteen Sacred Lands of Buddhism, San San May, Curator for Burmese, British Library

Siddhartha Gautama, the founder of Buddhism, was brought up to become a king, but he left his life of great comfort after encountering the ‘four signs’: an old man, a sick man, a corpse, and an ascetic. After six years of hardship, working to find the right spiritual path, he attained his ‘Great Enlightenment’, and became the Buddha. During the following forty-five years of his mission until he passed into Mahaparinirvana (the state of reaching the end of suffering) at the age of eighty, the Buddha walked widely throughout the northern districts of India, delivering his teachings to thebhikkhus (Buddhist monks) and laity in the places that he visited. The sixteen lands where he spent time during his long ministry can be found illustrated in many Burmese Buddhist cosmology manuscripts.

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Shown below is a depiction of the sixteen sacred lands in a Burmese folding-book paper manuscript. The Buddha is seated in Bhumisparsa mudra (earth-touching posture) on a throne under the Bodhi tree at the centre. Around him are depicted the sixteen lands, with indications of the distances between the centre and each of these regions, varying from one day to two months of travel. The sixteen lands are labelled (clockwise from the top) Mithila, Sankassa, Jetuttara, Takkasila, Savatti, Kosambi, Kalinga, Mudu, Koliya, Kapilavastu, Campa, Varanasi, Rajagaha, Vesali, Pataliputta, and Pava.

More: http://britishlibrary.typepad.co.uk/asian-and-african/2016/07/the-sixteen-sacred-lands-of-buddhism.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29

Revisiting the provenance of the Sindbadnamah, by Ursula Sims-Williams, Asian and African Studies, British Library Blog

While recently looking for documentation on the Library of Tipu Sultan, Sultan of Mysore (r. 1782-1799), my eye fell on this entry in Charles Stewart’s Descriptive Catalogue of the Oriental Library of the late Tippoo Sultan of Mysore (Cambridge, 1809), pp. 72-3:

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XCIV. Diwāni Sindbād Hakīm. Thick quarto, common hand, ornamented with pictures, &c. The instructions of the philosopher Sindbād to his pupil, the ignorant son of a king; in a series of interesting and facetious stories. The author is unknown; but it is dedicated to Shāh Mahmūd Bahmeny of the Dekhan, A.D. 1374.

More: http://britishlibrary.typepad.co.uk/asian-and-african/2016/06/revisiting-the-provenance-of-the-sindbadnamah-io-islamic-3214.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29

 

 

A Mughal Shahnamah – British Library Blog

By Ursula Sims-Williams, Asian and African Collections

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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.

Artistic visions of the Delhi Zenana by J.P. Losty Curator of Visual Arts, Emeritus – British Library Blog

Three interesting portraits on ivory of Mughal ladies of the imperial zenana were acquired by the Visual Arts section in 2012, now numbered Add.Or.5719-5721.  All three were mounted in one frame with pasted down inscriptions below relating to the subject and the artist, while attached to the back of the frame were three envelopes which once contained the miniatures and which were written further particulars.  The paintings were sold in Delhi in these envelopes in 1900 by Sultan Ahmad Khan, who styles himself the son of one painter Muhammad Fazl Khan and grandson of another painter Muhammad ‘Azim, both of whom are named as artists in the inscriptions.  The purchaser must have put them into their present gilt frame and fortunately also preserved the various inscriptions and attestations.  All three are supposed to be portraits of some of the wives of the Mughal Emperor Akbar II (r. 1806-37).  For a more correct appreciation of who they might be, we rely on that invaluable on-line resource, The Royal Ark.  None of these ladies’ names unfortunately appears among the numerous wives of Akbar II, but that does not necessarily detract from the validity of the inscriptions of artistic interest.

 

See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2014/12/artistic-visions-delhi-zenana.html#sthash.XpaRep9e.dpuf

A Dictionary Packed with Stories from Eighteenth-Century Delhi, British Library Blog

 

 

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