Cotsen’s Covert Collections: The First Illustrated Book Printed in Turkey

Posted on February 29, 2016 by Ian Dooley

The other day I was perusing the catalog, looking at records in some of Cotsen’s smaller language collections. When I searched for our holdings in the Turkish language, I found something really surprising and rare (okay you caught me, I was looking for blog post material). Cotsen’s Turkish language holdings are relatively small compared with other languages in the collection. But we still hold around 130 items, mostly pamphlets and educational material printed in the 1980’s and 90’s, some earlier 20th Century material, and one copy of Musavver tarih-i hayvanat (Encylopedia of Wild-life) printed in 1892 (Cotsen 102716).

So you might imagine my surprise when I came across this book in the catalog: Tarih ul-Hind il-Garbi; el musemma bi-Haidis-i nev; the first illustrated book printed in the Turkish language and the Muslim world.

Rebound in blind-tooled morocco, probably 20th Century. Cotsen 3134.

Rebound in blind-tooled morocco, probably 20th Century American. The leaves of Cotsen’s copy, probably rearranged when rebound, were collated in 1980 and found to be out of order, especially at the beginning and end of the text block. Since Ottoman Turkish reads right to left, this mistake is understandable. Page citations below follow these reviewed pagination marks when available. Tarih ul-Hind il-Garbi… Constantinople: Ibrahim Muteferrika, [1730]. (Cotsen 3134)

Tarih ul-Hind il-Garbi; el musemma bi-Haidis-i nev (The History of the India of the West according to recent discoveries) was printed in 1730 (1142 AH) by Ibrahim Müteferrika in Konstantiniyye (Constantinople, not changed to Istanbul until 1929). Muteferrika is an honorific title meaning “court-steward”, which Ibrahim received between 1705 and 1711. Though his original name remains unknown, he was born in Kolozsvár, Transylvania between 1672 and 1675 as a Unitarian Christian who only later converted to Islam.¹

An Arabic Quran had been printed in Italy as early as 1537. Jewish and Christian millets (minority religious communities within the Ottoman Empire abiding by separate legal courts) had already been operating presses by Müteferrika’s times. But he would prove to be a true reformer; becoming the first Muslim printer and the first to print with movable type in the Ottoman Turkish language (written in a Perso-Arabic script until the Latin alphabet was adopted in 1928).

Ibrahim Müteferrika

Agitating against a manuscript culture over eleven hundred years old, Müteferrika lobbied for a state supported printing press in 1726. Facing initial heavy opposition from court appointed calligraphers and a few Ottoman Ulama (religious authorities), he was granted permission to print non-religious and non-legal works the next year. By 1729, Müteferrika issued his first printed work: Kitab-ı Lügat-ı Vankulu (Sihah El-Cevheri), an Arabic and Turkish lexicon. The press ran until 1742, and in just fourteen years he printed seventeen works totaling 13,200 volumes. Most volumes, including Tarih ul-Hind il-Garbi (Müteferrika’s fourth work), were printed in 500-copy editions and only received one printing.

Müteferrika’s publishing choices, some of which he authored himself, demonstrate his diverse knowledge and the interests he developed during his official capacity as an Ottoman diplomat. He published books on history, geography, astronomy, translation, military matters, and polemics for the modernization of the Ottoman state. Tarih ul-Hind il-Garbi, demonstrates his interest in the first three subjects.

Originating from a Turkish manuscript by an unknown author written around 1580, the book opens with a short discussion regarding cosmology, particularly the geocentric vs. heliocentric models of the universe, and then moves on to a general geographical discussion. Though rebound to the back of our copy (in this case meaning the left-hand side), this section includes beautifully executed plates:

Geocentric model of the universe. Fold-out chart [95]

Map of the known world. Spread [93]

Western and Eastern hemispheres. Spread [94]

The bulk of Tarih ul-Hind il-Garbi, however, focuses on Central and South America; the regions’ 16th Century conquest by Spain, their peoples, places, flora, and fauna. This material consists entirely of translations taken piecemeal from five 16th Century Spanish volumes about the conquest of the New World. The content of these five volumes was probably made available to the original Turkish author via Italian translations. Venetian printers, after all, were among the few European traders who had access to Turkish markets for much of the late Medieval and Renaissance eras.²

Possible title pages or chapter headings for these different sections. Leaves [4] and [1] respectively.

Müteferrika’s choice to publish Tarih ul-Hind il-Garbi as his first illustrated book is significant. Given that much of the source material borders on fantasy (many of the original Spanish authors never even visited “New Spain”) the woodcuts executed by an unknown artist working solely from the descriptions in the text are highly imaginative:

Mermen in an altercation with locals. Leaf 49, recto.

Waterfowl . . . and some other kind of four legged bird? Leaf 55 verso

Hunting. Perhaps a jaguar in the top right? Leaf 86, recto

The bountiful New World, where women grow from trees. . . Leaf 15, recto

The illustrations appear to be chosen for their wow factor, depicting images of the most unusual and foreign aspects of this unknown land. In the Muslim world, Tarih ul-Hind il-Garbi remained the definitive text about the New World for a culture that would share only limited contact with these far away lands until the 19th Century.

Hunting a tree demon? With your trusty lama (who may be under attack by a bird)? Leaf 5, verso

Two birds with what might be a jobo and banana tree. Leaf [89] verso

Tapirs? Leaf 46, verso

In 1745, three years after Müteferrika’s print shop closed for good, he died. Whether or not his press was closed due to political and religious pressure, remains speculative. What is known, however, is that for almost forty years after Müteferrika’s death, Muslim printing died with him. Besides a re-issue of his first work in 1755, printing would not be re-introduced to Constantinople and the Muslim world until 1783.

His scholarly and reformist initiative was hard won and influential. He remains a seminal figure in the history of printing and a figure remembered (but largely unheeded in his time) for his attempts to modernize and revitalize a waning empire. Perhaps Müteferrika read the writing on the wall for an empire that was just beginning to show the technological and political stagnation that would earn it the nickname of the “sick man of Europe”, around a hundred years after Müteferrika’s death.

Untranslated inscriptions. First blank [1]

Watson, William J.. “İbrāhīm Müteferriḳa and Turkish Incunabula”. Journal of the American Oriental Society 88.3 (1968): 435–441. Web… ↩
Goodrich, Thomas D.. “Tarihi-i Hind-i Garbi: An Ottoman Book on the New World”. Journal of the American Oriental Society 107.2 (1987): 317–319. Web… ↩

Monkey Craze!

Posted on February 12, 2016 by Minjie Chen

a Monkey King performer on the street of New York City

A handsome Monkey King on the street of New York City. The soft-spoken performer, whose name I neglected to ask, was from Wenzhou, a coastal city in the province of Zhejiang, China. Photo taken on January 3, 2016.

Front: [The Monkey King Cannot Somersault out of Buddha’s Palm] An amulet based on the legend of Monkey’s fight again Buddha. Made by the “lost wax method” of casting in brass, 32 mm. Acquired in Bangkok, Thailand. Curtesy of Tara McGowan, Japanese Metadata Assistant at Cotsen, and Kaja McGowan, the Director of the Southeast Asia Program at Cornell University.

The lunar new year of 2016, or the Year of the Monkey according to Chinese zodiac, kicked off on Monday, February 8th. This new year is perhaps the most beloved of all to the Chinese, even more popular than the Year of the Dragon, mainly because the humanoid animal ties to the Monkey King, a folklore character and supernatural being that has fascinated the Chinese for centuries. The Monkey’s story was loosely based on the pilgrimage of Xuanzang (玄奘), a monk who took the Silk Road in the early Tang dynasty to obtain original Buddhist scriptures from India. In folk imagination as well as in Journey to the West (西游记, hereafter Journey), a Chinese novel published in the sixteenth century, Monkey is a rebel-turned disciple and escort of a fictionalized Xuanzang, who is destined to conquer eighty-one ordeals before attaining Buddhahood. Hero and trickster rolled into one, brave and defiant, funny but flawed, Monkey has been a perennial source of inspiration for every medium and format of literature, art, and entertainment ranging from shadow plays to children’s literature to video games. Journey has also circulated widely in Japan and other East and Southeast Asian countries. To celebrate the Year of the Monkey, we gingerly awakened more than a dozen monkeys from the stacks of the Cotsen Children’s Library and invite them to greet the world–gingerly, because, if you are familiar with Journey, Monkey is known to wreak havoc when rubbed the wrong way.

Monkey King From the Chinese Collection

The Illustrated and Annotated Journey to the West (繪圖加批西遊記). 上海: 共和書局, 1919. 8 volumes. (Cotsen 75021)

Monkey (lower left) as depicted in an illustrated version of the Journey published in the early Republic of China. Other figures in the picture include his master Xuanzang, his fellow disciples Pigsy and Sandy, Emperor Taizong of Tang, and Chancellor Wei Zheng.

Journey to the West (西遊記). China, [1920s?] Hanging scrolls. (Cotsen 72805)

One panel from a set of hanging scrolls illustrates a scene from Chapter 3 of Journey, “The Four Seas and Thousand Mountains All Bow to Submit.” Wild beasts and demon kings come to pay homage to Monkey, after he successfully obtains weapons for his monkey kingdom. Their outfits closely resemble costume of traditional Chinese opera.

Little Friends (小朋友). 1956, no. 6. Cover art by Ye Jun (叶軍) and Dong Tianye (董天野). (Cotsen 153026)

First launched in Shanghai in 1922, Little Friends is the longest-running children’s magazine in China. The cover of this issue depicts the legendary battle between Monkey and Erlang, a deity.

Drawing for Young People (少年儿童图画). Volume 7. 上海: 少年儿童出版社, 1963. “The Show is On!” by Yao Zhongyu. (Cotsen 63786)

A picture in a fine arts textbook for the fourth grade in elementary school. Two children play puppet theatre on a make-shift stage, admired by a loyal audience that is their toys. Monkey, the main character of the show, wears a facial mask in the signature style of Peking Opera.

The Diary of Lei Feng (雷鋒日記). 北京: 解放軍文艺社, 1963. (Cotsen N-000034)

The heroic Monkey even found his way into another hero’s diary. Lei Feng (1940-1962) was a soldier of the People’s Liberation Army of China and, after his death from an accident, was characterized as a selfless Communist for the entire nation to emulate. In his posthumously published diary, Lei commented on Monkey Thrice Subdues the White-Bone Demon, a movie he watched in February 1962. He analyzed each character in the political context of Communism-Imperialism conflicts and concluded that a feisty and sharp-eyed Monkey has a lot to teach about fighting revisionist enemies.

Sun Wukong Wreaks Havoc in the Atomic World (孙悟空大闹原子世界) / Guo Yishi (郭以实); illustrated by Yan Shanchun (阎善春). 上海: 少年儿童出版社, 1980. (Cotsen 42623)

Will his ancient magic power keep Monkey invincible in a futuristic world driven by atomic science? We shall find out from this science fiction published in post-Cultural Revolution China, after its new leader Deng Xiaoping navigated the nation away from class struggle and emphasized science and technology as forces of productivity.

Seventy-two Transformations (七十二变) / by Su Gang (苏刚). 成都: 四川人民出版社, 1980. 14 leaves. (Cotsen B-000003)

This split-page book is based on one of Monkey’s famous powers: transformation. He would have been an A+ student if he were in Professor McGonagall’s Transfiguration class, because he excels in freely transforming himself into any age, gender, species, object, and size. During the treacherous pilgrimage, Monkey has to resort to his transformation skills often to save everybody’s skin. Each of the 14 leaves of the book is divided into three parts: head, upper body, and lower body. The preface informs young readers that, instead of the proverbial 72 transformations that Monkey is known to be capable of, this book allows him to achieve 2,744 types of shapeshifting. Is that true? You do the math.

Sun Wukong (孙悟空). 1985, no. 2. 北京: 中国电影出版社. (Cotsen 90239)

That Monkey’s name “SUN Wukong” was adopted by a children’s magazine as its title attests his enduring charm. Launched by the China Film Press thirty-six years ago in 1980, another year of the Monkey, SUN Wukong was a bimonthly pictorial magazine devoted to animated films and comic strips. Its main offering was animated spin-offs printed in full color, which must have been welcomed during much of the 1980s, when household ownership of television sets in China was so low that many Chinese used to gather at a neighbor’s house to watch TV. The magazine title on its cover is the brush calligraphy of SONG Qingling (宋庆龄, 1893-1981), the widow of President SUN Yat-sen and a leader of children’s literacy and welfare issues in China. Cotsen’s copy of the magazine was formerly part of the collection of an elementary school library in Beijing.

Journey to the West: Wukong Takes in Bajie (西游记: 悟空降八戒). [1980s] 11 sheets. (Cotsen 92466)

The episode in which Monkey takes in Pigsy as his fellow disciple is the subject matter of a set of ten postcards issued by the Nanjing Post Office in the 1980s. Cotsen’s holding is the original art work, which was outlined in pen and colored. The visual style of Monkey and Pigsy are vaguely reminiscent of shadow puppets.

Little Friends (小朋友). 1985, no. 10. “Golden Snub-Nosed Monkeys Visit Japan,” papercutting by Kuromiya Masae (黒宮正栄). (Cotsen 153026)

As a segue into Monkey in the Japanese collection, this last picture was created by a Japanese papercutting artist but published in the Little Friends magazine in China. Two amiable-looking monkeys fly towards Mount Fuji through a sky that rains cherry blossom petals. The image refers to an exhibition of endangered golden snub-nosed monkeys sent from China to Japan as part of animal diplomacy. A subtle reference to the Monkey King–traveling by riding a cloud is another of Monkey’s famous skills–sweetens the message of Sino-Japanese friendship, because it implies that these monkey ambassadors would be warmly received in Japan, just like the legend of Monkey had become part of Japanese popular culture. The two countries experienced a honeymoon period during the 1980s, when Chinese public memory of Japanese war crimes remained dormant and Japan’s wartime atrocities and responsibilities had not begun to dominate public discourse on Sino-Japanese relations.

Monkey King From the Japanese Collection

Shelves and shelves of Monkey King stories or editions and adaptations of Journey to the West in the Cotsen Children’s Library. Photo taken from Cotsen’s Japanese section.

The earliest Japanese translations of Journey in the Cotsen Children’s Library were dated in the 1780s. Monkey’s story has inspired illustrated editions, retellings, sequels, playing cards, sugoroku games, and media adaptations in Japan.

Journey to the West (繪本西遊記初編) / translated by Kutsuki Sanjin (口木山人); illustrated by Ōhara Tōya (大原東野). [大坂]: 前川文榮堂, [1806?]. (Cotsen 90024)

Xuanzang, Monkey, and Pigsy as imagined in one of the earliest illustrated Japanese editions of Journey.

Journey to the West (西遊記) / by Nakagawa Ryūgai (中川史英); illustrated by Yoshimoto Yuki (吉本有機). 東京: 富里昇進堂發行, 1910. (Cotsen 99402)

A picture book version of Journey. This page portrays the battle between Monkey and Princess Iron Fan. In what seems like a prescient adoption of DNA cloning technology, Monkey produces copies of himself from his own hair to outnumber enemies in desperate situations.

Sun Wukong’s Journey to the West: A Sugoroku Game (孫悟空西遊記雙六) / illustrated by Tani Senba (谷洗馬). 東京: 日本飛行研究會, 1920. (Cotsen 153579)

A sugoroku gameboard based on Journey, beginning with how Monkey assumes leadership by discovering a hidden cave behind a waterfall for his fellow monkeys and ending with a visit he pays to the moon palace.

Xuanzang’s Work

Tripiṭaka. Sūtrapiṭaka. Prajñāpāramitā(大般若波羅蜜多經). Volume 429 / translated by Xuanzang. China, 1117. (Scheide Library 3.1.16)

It wouldn’t be complete to end this post without mentioning the Buddhist canons that had spurred Xuanzang’s trek to India. Princeton University Library houses multiple editions of Tripiṭaka. Sūtrapiṭaka. Prajñāpāramitā(大般若波羅蜜多經), which Xuanzang is attributed to have translated from Sanskrit into Chinese. The earliest three volumes held at Princeton were printed between AD 1112 and AD 1310 during the Song dynasty (East Asian Library and William H. Scheide Library). Volume 358 of the scripture, copied in brush pen on a scroll by a Japanese monk in AD 1259, has been shared at the Princeton University Digital Library.