BabelStone

Thursday, May 15, 2008

A Throng of Fifty Warriors Routed by a Single Scholar : An Exercise in Ogham Decipherment

The discovery of an Ogham stone during an episode of the cult British archaeology programme, Time Team, is something that I have been longing to blog about ever since I saw the first broadcast on January 14th last year. But the only images of the stone and its inscription available on the Time Team website are pitifully small and utterly useless, so I was unable to do anything meaningful ... that is, until the programme was repeated last week, and thanks to 4oD (Channel 4's TV and Film on Demand service) on Monday I was able to download the programme to my computer and take some good quality screen shots of the stone and its inscription.

The Ogham stone in question is a smallish slate slab (about 32cm x 20cm in size) that was found within the subsoil near a grave in Trench 2 of the Time Team excavation at the Speke Farm keeill (chapel) by the seventh fairway of the Mount Murray golf course five miles southwest of Douglas in the south of the Isle of Man. The keeill was built in about the early 11th century on the site of a Christian cemetary (with burials dating from as early as the late 6th century), which itself was on the site of a bronze age burial ground.

The Ogham stone and other artefacts from the dig were donated to Manx National Heritage, and since July 2007 have been on display at the Viking & Medieval Galleries at the Manx Museum in Douglas.



The flat stone has an untidy inscription in the Ogham script on one face, roughly running parallel to two of the four edges of the stone (click on the picture below to see a high resolution stitched image of most of the inscription) :



Before looking at the inscription, it must be noted that Ogham inscriptions can be very difficult to read, for a number of reasons. Firstly, Ogham is more like a cipher than an alphabet, with letters of the Latin script represented by groups of one to five lines branching out from or intersecting a stemline (if you are seeing empty boxes, download a font that supports Ogham, such as Code2000, DejaVu Sans or BabelStone Ogham fonts) :

  • The B/L/F/S/N series of letters comprises 1-5 lines branching out below the stemline (ᚁᚂᚃᚄᚅ)
  • The H/D/T/C/Q series of letters comprises 1-5 lines branching out above the stemline (ᚆᚇᚈᚉᚊ)
  • The M/G/NG/Z/R series of letters comprises 1-5 long lines intersecting the stemline diagonally (ᚋᚌᚍᚎᚏ)
  • The A/O/U/E/I series of letters comprises 1-5 short lines intersecting the stemline (ᚐᚑᚒᚓᚔ)

Because the "letters" formed by these groups of lines are geometrical, and so can be interpretted as letters whichever way up you look at them, it is often not easy to be sure what the orientation of the writing is, especially in the case of inscriptions on flat surfaces (as opposed to the classic Ogham inscriptions that go up and down the arris of a monumental stone). If you look at an inscription one way lines branching up from the stemline appear to be the letters H/D/T/C/Q, but if you rotate the inscription 180° the same lines now appear to be the letters B/L/F/S/N..

Secondly, although Ogham letters written in medieval manuscripts are usually quite clearly distinguished, it is another matter entirely when the letters are scratched onto a stone. Because the lines of Ogham letters on inscriptions on stone or bone are often irregularly lengthed and oriented the M/G/NG/Z/R and A/O/U/E/I series of letters can be easily confused. And then because of irregular spacing within groups of lines forming a letter as well as between different groups of lines, it can be difficult to be sure whether an irregularly spaced sequence of lines constitutes a single letter or two or more separate letters.

Thirdly, weathering and damage to the stone on which an inscription is made can cause damage to or loss of individual letters or whole sections of the inscription. For example, damage can cause one side of a line that originally intersected the stemline to be obliterated, with result that it appears to be a letter from a different series; and if one line of a group of lines is lost then it would appear to be a different letter.

Finally, even if you do get hold of an unweathered inscription neatly inscribed with clear and unambiguous Ogham letters, you are still left with the task of actually reading and making sense of the inscription. Classic Ogham inscriptions are written in Primitive or Old Irish, but later inscriptions may be in either Middle Irish or some other language—many of the Scottish Ogham inscriptions are in an undeciphered language that may be Pictish. And even if you know what language the inscription is in, as there is usually no separation between words in an Ogham inscription, the reader has to take the raw string of letters and divide them into lexical units themself in order to comprehend the sense of the inscription. This task is made harder by the fact that the writers of Ogham inscriptions did not have dictionaries to guide their spelling, and futhermore Ogham orthography can differ subtly from the orthography used to write the same words in the Latin script (gemination of consonants is a common feature of Ogham orthography compared with Latin orthography).

Bearing all this in mind, one can sympathise with Kate Forsyth of the University of Glasgow when Time Team demanded of her a translation by close of play on Day 3 of the Ogham inscription that they had unearthed on Day 2. I can only imagine the words of caution that Dr. Forsyth must have attached to her preliminary attempt to decipher the inscription, but any doubts that she may have had were swept away for the sake of reality archaeology by the bold assertion of the Time Team archaeologists that the inscription was in 11th century Gaelic, and that Dr. Forsyth was able to read the inscription and had a translation. With a triumphant flourish one of the archaeologists holds up the stone and carefully and knowledgeably points out that this word on the left is BAC meaning 'corner', and that this word in the middle is OCOICAT meaning 'fifty', and that this word on the right is IALL meaning 'group', 'gang', 'throng' or possibly 'throng of warriors'.



Unfortunately, she was holding the stone the wrong way up, and so when she indicated the word BAC 'corner' she actually pointed to the Ogham letters reading IALL, and conversely when she indicated the word IALL 'group' she actually pointed to the Ogham letters reading BAC. Here, with the images rotated to show the correct orientation, are the three words that Dr. Forsyth read on the inscription :



The language of these words is Middle Irish, which was the ancestor of modern Irish, Scottish Gaelic and Manx. With the help of the electronic Dictionary of the Irish Language (the standard dictionary of Old and Middle Irish) we can see that bacc means 'angle', 'bend', 'corner'; coíca, coícad or coícat (in numerous variant spellings, but never with an initial vowel) means 'fifty'; and that íall is a word meaning 'thong', 'strap', 'leash', 'shoe-string' or 'caul', but with an extended meaning of 'flock', 'flight', 'birds', 'company', 'troop' or 'band' (a 'string' of birds = a flock). As the Time Team archaeologists were speaking to Dr. Forsyth over the phone, it seems that as well as getting the orientation of the inscription wrong, they also misheard 'thong' as 'throng' to get a 'throng of warriors'.

The Time Team spin was that the inscription records an incident involving a band of fifty warriors (presumably fifty Irish warriors fighting against the marauding Vikings). I am really very sceptical about such an interpretation (although to be fair, Mick Aston also expressed some doubts about the inscription). If a battle between the original Irish inhabitants of the Isle of Man and the invading Vikings were to be commemorated then any memorial inscription would be on a large memorial stone or pillar (as so many Ogham inscriptions are), not on a small, unshaped stone slab that can be held in one hand. Nor does it seem likely that it marked the mass grave of fifty brave warriors killed in battle as they is no archaeological evidence of a mass grave where the stone was found. So I think that we can discount the possibility that this stone was a monument commemorating a battle or the death of fifty warriors. But if not a memorial to fifty warriors then what is it ? Well, the Ogham script was not normally used for inscribing random messages on stones, but was almost exclusively used for commemorating the dead or marking land ownership of the living. Of the other eight Ogham inscriptions known from the Isle of Man, six are in the form "X, son/grandson of Y", and the other two are simply the Ogham Abecedarium. I would be very surprised if the Time Team Ogham stone turned out to be an exception to the general rule that Ogham stone inscriptions rarely include anything more than the name of a person.

As Time Team's Ogham stone was found next to a grave (unfortunately it is not clear what the age of the grave is) I think that the most likely explanation is that the stone was used as a grave marker, and its inscription indicated who the occupant of the grave was.

Let's take a closer look at the inscription :



Several things stand out. Firstly the Ogham letters are not the type normally found on classic Ogham memorial stones, but are a form of letters known as "Bind Ogham", in which the strokes forming a single letter are bound together along their tips by a line parallel to the stemline. This makes the identification of individual letters somewhat easier, so, for example, the four strokes at the end of the inscription (at the far left of the above image) can be identified as two letters, LL, rather than a single letter, S, because the strokes are bound into two groups of two. This form of Ogham writing is typical of later inscriptions, and together with the fact that the inscription is made on a flat surface using an artifical stemline, tends to corroborate the early 11th century date that the archaeological context apparently implies.

Secondly, the stemline extends on the left hand side beyond the end of the inscription (you can also see this empty stemline extension clearly on this image of the raw stone). The most likely reason for this was that the writer of the inscription incised the stemline first, estimating how much space he would need, but in the end the inscription did not take up all of the space reserved by the stemline. The implication of this is that the inscription starts at the right hand side, and the empty stemline at the left hand side is at the end of the inscription. That is to say, the inscription reads left to right if we rotate the stone 180° (as Dr. Forsyth proposes). It should be noted that there are no other physical indications of directionality to rely on in this inscription (such as the presence of a feather mark at the start of the inscription; or the angle of the strokes of the B/L/F/S/N and H/D/T/C/Q series of letters, which in some inscriptions are written at an angle so that the tail-end of the strokes trail behind), so the only test of directionality is to try reading from both directions and seeing which makes most sense. If we do try to read the inscription the opposite way to Dr. Forsyth (i.e. from left to right in the above picture) we get DDAIFASIOSO SAH     ᚇᚇᚐᚔᚃᚐᚄᚔᚑᚄᚑ   ᚄᚐᚆ  which does not make any immediate sense, so I think that directionality proposed by Dr. Forsyth is probably correct, and that the proposed reading of BAC OCOICATIALL  ᚁᚐᚉ   ᚑᚉᚑᚔᚉᚐᚈᚔᚐᚂᚂ     is more likely.

Thirdly, there is a large gap between BAC and OCOICAT. I haven't got a good close up image of this portion of the inscription (the close up panning of the stone on the programme starts with OCOICAT and works it way up to IALL), so I am not sure whether the gap is deliberate or due to damage to the original inscription. Given that BAC does not make much sense by itself, and there is an unexplained letter O in front of the proposed word COICAT 'fifty' it seems most likely to me that the gap is due to damage, and that there are some missing Ogham letters between BAC and OCOICAT. Indeed, the picture of the part of the stone with the word OCOICAT highlighted (see above) shows what could be part of the stroke of a B/L/F/S/N series letter in front of the letter O. And then the picture of the part of the stone with the word BAC highlighted (see above) shows a single stroke (possibly part of a vowel letter) somewhere before the start of the inscription, suggesting that BAC may not be the start of the inscription. This leads to the conclusion that BAC is only the surviving part of a longer sequence of letters that starts the inscription. So this gives us a raw reading of :


 ᚁᚐᚉ   ᚑᚉᚑᚔᚉᚐᚈᚔᚐᚂᚂ    

...BAC......OCOICATIALL


But the question now is how to divide this up into individual words ? Dr. Forsyth sees the word COICAT 'fifty', but is this what was meant by the writer, or just coincidence ? Are there other ways of dividing up the inscription that makes sense ? In particular, is there a personal name hidden amongst these letters ?

Well, by far the most common element in Ogham inscriptions is MAQI 'son of' (the Mac of MacDonald). Although at first glance this does not seem to occur in the inscription, I think that with a little imaginative reconstruction (the essential tool of an epigrapher) we can in fact see this word. If we look at BAC it is not hard to imagine that the letter B is a damaged letter M (stroke above the stemline obliterated), that the letter C is a damaged letter Q (final stroke of the letter missing), and that the gap between BAC and OCOICAT was originally filled by the letter I (just about a perfect fit for the gap).

At this point I am reminded of a very different Isle of Man Ogham inscription, one that occurs on a stone pillar that was discovered at Ballaqueeney in 1874 (now held at the Manx Museum in Douglas) :



The inscription on this stone reads BIVAIDONASMAQIMUCOI CUNAVA[LI]  ᚁᚔᚃᚐᚔᚇᚑᚅᚐᚄᚋᚐᚊᚔᚋᚒᚉᚑᚔ   ᚉᚒᚅᚐᚃᚐ "Of Bivaidonas, son of the tribe Cunava[li]", where MUCOI means "of the tribe of". The formula X maqi mucoi Y "X son of the tribe of Y" is found on many other Ogham stones of the early period, including the famous Silchester Ogham Stone, which has the inscription TEBICATO[S] [MAQ]IMUCO[I] ...  ᚈᚓᚁᚔᚉᚐᚈᚑᚄ   ᚋᚐᚊᚔᚋᚒᚉᚑᚔ  "Of Tebicatos, son of the tribe of ...".

On the Time Team Ogham stone the O of OCOICAT is right on the edge of the damaged section of stone, and it seems to me quite possible that it is missing a stroke, which if it were the case would make the apparent letter O actually the letter U . Then, what about the stray stroke we see in front of OCOICAT ? I believe that it may be all that the remains of a letter M between the missing I of MAQI and the reconstructed letter U, yielding MUCOI following the reconstructed MAQI. But if we are to read the first part of the inscription as MAQI MUCOI "son of the tribe of", then we need a personal name in front of it. And indeed there does appear to be an isolated stroke before the reconstructed MAQI that may be a letter A, and all that remains of the commemorated person's personal name.

In summary, this is my tentative reconstruction of the inscription :


 ᚐ  ᚋᚐᚊᚋᚒᚉᚑᚔᚉᚐᚈᚔᚐᚂᚂ    

...A...MAQ[I]MUCOICATIALL

..A...MAQI MUCOI CATIALL[I]

..., son of the tribe of Catiall[i]


As to the tribal name CATIALL, other than the fact that it seems to be missing something at the end—the letter I probably, which would nicely fill the trailing stemline that we see after CATIALL—this seems to me like a very plausible tribal name (the name has resonances with the much earlier Catuvellauni of south-eastern Britain and the Catalauni of Belgic Gaul).

There are perhaps a few too many ifs, buts and maybes for my reconstructed reading of the Time Team Ogham stone to be wholly convincing, but I feel in my bones that I am basically correct, and that a close examination of the stone in the hand may be able to confirm my reading.

However, my reading does leave us with one last problem. The fact that the inscription is on a flat surface and uses bound letters suggests a late date, and Dr. Forsyth's reading suggests that it was written in Middle Irish and dates to around the 11th century. But my reading harks back to the Old Irish of the classic Ogham memorial stones, and would suggest a much earlier date, perhaps 6th to 8th century. My feeling is that the flat surface inscription and artificial stemline are not conclusive proof of a late date (the Silchester Stone has an artificial stemline on a flat surface, and it is dated to the 4th or 5th century), and that it is quite possible that bound letters developed earlier than is currently thought, so I do not think that it is impossible that the stone could date to the pre-Viking period of Manx history. I think that the solution to this riddle must lie in the dating of the grave next to which the Ogham stone was found. If this grave dates to the late 6th century, which is the date that carbon dating suggests for the grave of a woman with a preserved knot of plaited hair, then I think my reading is vindicated; but if, on the other hand, the grave proves to be contemporary with the construction of the keeill (i.e. late 10th or early 11th century), my reading is more problematic.

Sunday, April 27, 2008

What's new in Unicode 5.2 ?

Previously discussed :

As most of us are still trying to get to grips with Unicode 5.1, which was only released three weeks ago, it may seem a little premature to start talking about Unicode 5.2, but I'm blogging about it early this time because 5.2 promises to a very important release of Unicode, with 12,799 new characters and a record 16 new scripts, including the long awaited CJK Extension-C (4,149 characters), major historical scripts such as Egyptian Hieroglyphs (1,071 characters) and Tangut (5,910 characters), as well as the famous woman's writing of southern China.

Unicode 5.2 will correspond to Amendments 5 and 6 of ISO/IEC 10646: 2003. Amendment 5 has now completed its technical ballots, and no more changes will be made to its repertoire. On the other hand Amendment 6 is just starting its two rounds of technical ballots, which will take a year to complete, and there will undoubtedly be changes and additions to its repertoire. I will update this post in six months time, and then again after a further six months, to reflect any changes made to the repertoire of Amendment 6. On the basis of the current schedule for Amendment 6, it is anticipated that Unicode 5.2 will be released sometimes during the Summer of 2009.



Amendment 5 (5,611 characters)

Amendment 5 is fixed now, and there will be no further changes to its repertoire, character names or codepoint positions. The code charts for Amendment 5 (excluding CJK-C) are available as Document N3465, and the CJK-C code charts will be the same as shown in the FPDAM5 ballot documents.


New Scripts


Other New Blocks


Additions to Existing Blocks


Glyph Changes

Amendment 5 will also introduce changes to the representative glyph shape used in the code charts for the following characters (the new glyphs are given in N3465) :

  • 04A8 CYRILLIC CAPITAL LETTER ABKHASIAN HA
  • 04A9 CYRILLIC SMALL LETTER ABKHASIAN HA
  • 04BE CYRILLIC CAPITAL LETTER ABKHASIAN CHE WITH DESCENDER
  • 04BF CYRILLIC SMALL LETTER ABKHASIAN CHE WITH DESCENDER
  • 11EC HANGUL JONGSEONG IEUNG-KIYEOK
  • 11ED HANGUL JONGSEONG IEUNG-SSANGKIYEOK
  • 11EE HANGUL JONGSEONG SSANGIEUNG
  • 11EF HANGUL JONGSEONG IEUNG-KHIEUKH
  • 1680 OGHAM SPACE MARK
  • 19D1 NEW TAI LUE DIGIT ONE


Amendment 6 (7,188 characters)

Amendment 6 has two rounds of technical ballots to go before it is fixed, and so there will certainly be some changes in its character repertoire, and it is even possible that some of the scripts listed below will be removed from the amendment (as for example Lanna (Tai Tham) was moved from Amendment 4 to Amendment 5). The code charts for Amendment 6 are available as Document N3466.


New Scripts


Other New Blocks


Additions to Existing Blocks



I hope to look at some of the new scripts in more detail in the future, but to start with, next month perhaps, I will be discussing one script that has recently been proposed for encoding, but which will not be in Unicode 5.2 or probably even the version after that.

Sunday, April 06, 2008

BabelMap Version 5.1.0.0

To coincide with Friday's release of Unicode 5.1.0 I am releasing an updated version of BabelMap which supports all 100,713 characters encoded in Unicode 5.1 (1,624 new characters and 11 new scripts).

In addition to the support for Unicode 5.1 this version also has the following improvements (most of which I only added in last week, which is why it was released two days late). However, I am still working on a major new version for release later in the year which will solve (what I consider to be) the main problem with BabelMap—the fact that the "edit buffer" only supports a single font, and so text in multiple scripts may display badly or as boxes.

1. A new "Font Info" dialog box has been added (available from the Tools menu or as a button in the Font Analysis utility). This gives detailed information about the currently selected font, currently all the information from the font's NAME table (for all platforms, encodings and languages supported by the font) and a list of all CMAP subtables in the font. This is my first experiment in providing information directly from the font tables, and in the future I might include more information from other tables if there is a demand. You can find out some very interesting things about your fonts from this dialog; for example I was very surprised to see just how many fonts there are that have a Unicode 1.0 or 1.1 semantics CMAP subtable, even though I very much doubt that the subtable mappings really do accord to Unicode 1.0 or 1.1 (i.e. Hangul symbols are mapped to where CJK-A now is).


2. The Composite Font configuration dialog ("Configure" button next to the "Composite Font" radio button) has been improved and simplified (largely in response to suggestions by John Cowan). There is now a simple correspondence between a single Unicode block selected and a list of fonts that are available for mapping to that block. This makes the configuration tool much easier to use, although it does mean that it is no longer possible to map a single font to multiple Unicode blocks in a single operation. The list of fonts covering a particular Unicode block are now also sortable by name or by number of characters that they cover, which should make it easier to find the font with the best coverage for any block.

I have also added an "Auto" button that will attempt to automatically configure the best composite font by mapping the font with the best coverage for each block, whilst at the same time using as few different fonts as possible. The results produced may not always be brilliant because the number of characters in a font's CMAP table is not necessarily the best indicator that the font has good coverage and support for a particular Unicode subset, especially for complex scripts. Another problem is that some fonts distort their actual coverage by including explicit blank or not defined glyphs for characters that they don't cover, which may make them seem as if they have good coverage, when in fact they don't (for example "Ming(for ISO10646)" has mapping for all 6,582 CJK-A characters but only a handful of them are non-blank). To avoid running the risk of getting every block mapped to a last resort font, I have explicitly excluded from the auto-configuration process any font which includes the string "last resort" or "fallback" in its name.

And as a final touch I have added coverage statistics for the current configuration—a prize to the first person to achieve 100% coverage!


3. Related to the changes in the way the Font Configuration dialog works, I have also improved the the way that the default font mappings are assigned the first time that the application is run. This means that there may be a delay of several seconds the first time BabelMap is run (and also the first time it is run after upgrading from a version of BabelMap that supports a prior version of Unicode). This time is used to auto-configure the composite font and determine which font on your system has the greatest coverage, so that it can be set as the initial single font.


4. The Character Properties dialog (the "?" button or F9) has been extended to include the following additional information about characters :

  • XID_Start and XID_Continue have been added to the list of binary properties for each character.
  • Joining Type and Joining Group (for Arabic and related scripts) have been added.
  • All ideographic variation sequences (IVS) that are defined in the Ideographic Variation Database (currently only the Adobe-Japan1 collection) are listed under both the relevant base character [a CJK unified ideograph] and the relevant variation selector [VS17 through VS31] (e.g. <9089 E010E> [Adobe-Japan1 CID+20233] is listed under both U+9089 and U+E010E).
  • All currently defined named sequences and provisional named sequences are listed under the first character in the sequence (e.g. <0045 0329> LATIN CAPITAL LETTER E WITH VERTICAL LINE BELOW is listed under U+0045 LATIN CAPITAL LETTER E).

5. The character grid font size can now be adjusted from the new "Fonts" menu. Generally speaking, most glyphs for most fonts fit in their cell comfortably at the default font size, but some fonts have glyphs that are smaller or larger than typical at the default font size, and may not display well. This new feature allows you to adjust the font size used for the character grid display if you are having display problems.



Finally, a new version of BabelPad supporting Unicode 5.1, with at least one major new feature, should be released within the next couple of weeks.

[2008-05-01] Not quite ready yet, but a beta is available for testing from my website. Please let me know (via comments to this post or email) if anything is not working correctly (NB I'm still working on the Find/Replace functionality, so case insensitive find/replace is disabled, and whole word find next/previous does not work). I am particularly interested to hear from Vista users as to whether they have any problems or not running BabelPad and/or BabelMap.

Wednesday, February 06, 2008

Pigpen and Fowl Fonts

As a respite from the interminable rewriting of BabelMap and BabelPad, over the last few days I have been creating a few fun cipher fonts for my children. I am still working on several more, but to celebrate the end of the Year of the Pig I thought I would release what I have done so far, so that children of all ages might enjoy them. You may either download a zip of all of these fonts or each font individually :



BabelStone Pigpen

BabelStone Pigpen is an extended pigpen cipher font. There are many different variants of the pigpen cipher—this is one of the most common variants, with two # pens and two X pens for the letters A..Z/a..z (upper and lower case letters are not distingushed in this font). It also has an extra pigpen for the numbers 1..9 (zero is the same as the letter "O"), as well as various additional punctuation marks, symbols and letters to cover all of the graphic characters in the Basic Latin and Latin-1 Supplement blocks (U+0000..U+00FF).




BabelStone Club Penguin

BabelStone Club Penguin is a font for the Secret Agent code used in Club Penguin. It is based on "Babelstone Pigpen", but with the Club Penguin forms of the letters A..Z/a..z, and the unknown character mapped to the question mark.




BabelStone Leeson

BabelStone Leeson is a font for the variant form of pigpen cipher found on the gravestone of James Leeson (died 1794) in the graveyard of Trinity Church on Broadway in New York. This cipher represents the 24-letter alphabet of the 18th century, so that I/J and U/V are not distinguished. There are three spare berths in the third pigpen, which I have assigned to ampersand, question mark and exclamation mark.




BabelStone Centaurian

BabelStone Centaurian is based on the Centaurian alphabet used in the UK edition of Artemis Fowl : The Arctic Incident by Eoin Colfer. A version of the Centaurian font is also available from Artemis Fowl FanGathering, but not only are some of the glyphs rather poorly designed ("O" and "R" are particularly bad), but the font's creator has mistakenly created a glyph for the letter "T" (which should be blank) and has a blank glyph for the space characters (which should not be blank), so it cannot be used to replicate the actual Centaurian text used in the book.

Creating a non-blank glyph for the space character proved to be quite problematic as Windows apparently always uses the space character (U+0020) as the break character regardless of what you define the break character to be in the font (the usBreakChar member of the OS/2 table), and if the glyph mapped to U+0020 is not blank all sorts of unpleasant things happen when you try to use the font (see Sorting It All Out for further details). In my font I hack around the problem using advanced OpenType features—I make the glyph for U+0020 blank, but unconditionally substitute the desired non-blank glyph for the space character in the GSUB table. This works on Windows as long as your system has Uniscribe version 1.420.2600.2180 or later of installed (i.e. you are running Windows XP SP2 or later). If you are running an earlier version of Windows (e.g. Windows 95, 98 or Me), or if you want to use the font with an application that does not support advanced OpenType features, you can access the special space glyph by using the underscore (_) character.

None of the text samples in Centaurian that I have access to use the letters "J" or "Z", so I have devised my own glyphs for these two letters. I have also devised my own glyphs for the digits 0..9 and all the punctuation marks and symbols in the Basic Latin block (U+0000..U+007F). Note that uppercase and lowercase letters are identical.



Sunday, January 13, 2008

Caveat Emptor : A Buyers' Guide to Seals

Every now and then people ask me for advise about some fine object that they have bought on ebay, and usually it makes me glad that my job does not pay me enough to develop an ebay habit. But just in case any of my more affluent readers are tempted to start collecting antique Chinese or Tibetan seals, I thought that it might be useful to take a look at three seals that I have recently seen for sale :


Not the Seal of the Imperial Preceptor of the the Great Yuan Dynasty

The first seal is described as an old carved wooden and ivory seal that the seller acquired directly from a Tibetan family in the Ali region of Tibet. The image of the seal face on the seller's site shows the inscription to be in the Tibetan style of Phags-pa script (hor yig) with one line of Tibetan script below (image has been mirrored to make it easier to read) :



The quality of both the Phags-pa inscription and the Tibetan inscription is quite poor, and several of the letters appear to be corrupt. The Phags-pa inscription reads mkhan po --m (rim ?) pa'i las tham [kha ?] bkra shis "Seal of the Abbot ..., good luck" (I'm not quite sure what the first letter of the second column is, and the symbol at the bottom of the third column is perhaps a corruption of kha). The Tibetan text is much the same, reading mkhan po rim pa'i tham ga མཁན་པོ་རིམ་པའི་ཐམ་ག (the letters kha and ga are both corrupt).

It is a little suspect, but this is not actually the seal I want to talk about, so we'll say no more. The strange thing is that when the person who bought this seal opened up the package he found that the seal sent to him (on the left) was not quite the same as the advertised seal (on the right) :



Although the bodies of the two seals are both made of wood and are stylistically very similar, and the seal faces are both (supposedly) made of ivory, their inscriptions are very different indeed. As we have seen, the inscription on the advertised seal is in Tibetan written in the Tibetan style of Phags-pa script, which is found on seals dating from the late 16th century up to the present day. However, the inscription on the seal that the buyer actually received is in Chinese written in the "seal script" style of the Phags-pa script that is found on seals dating from the Yuan (1271-1368) and and Northern Yuan (1368-1402) periods, but rarely any later (image has been mirrored to make it easier to read) :



The inscription is very clear and reads thung ling shi gyaw tay 'wen guė shhi, which can be interpreted as a phonetic representation of the Chinese tongling shijiao dayuan guoshi 統領釋教大元國師, meaning "Leader of the Buddhist Faith and Imperial Preceptor of the the Great Yuan dynasty". This is a well-known title that was bestowed by Khublai Khan (reigned 1260-1294) on the Phags-pa Lama (c.1239-1280) and his successors, so if it were genuine it would be a very important historical artefact and extremely valuable.

Unfortunately there are several reasons why it must be a fake, and not worth a penny :

  • the lettering, although calligraphically acurate, is extremely crude
  • the wooden body of the seal is typical of recent Tibetan seals, but not of seals dating to the Yuan dynasty
  • seals bestowed on religious leaders by emperors of the Mongol empire were generally made of precious materials such as gold, silver or jade, and not made from wood

In fact, at least two genuine examples of jade seals dating to the Yuan dynasty, with exactly the same Phags-pa inscription, are known. This one is held at the Tibet Museum in Lhasa (image of seal face has been mirrored to make it easier to read) :



However, our seal most closely matches a seal that is held at the Norbulinka Palace in Lhasa :



The letterforms on our seal exactly match those on the above seal imprint, but are very crudely carved, and we can only conclude that it is a poor imitation of the real thing.


Seal of the Assistant Military Commander

The second seal I want to look at today is a very fine-looking bronze seal that is advertised by the seller as dating to the Yuan dynasty (1271-1368), with a four-character inscription in Chinese "nine-fold" seal script (九叠篆) characters (image of seal face has been mirrored to make it easier to read) :



Well, it certainly does look good to me, although if it is genuine it actually dates to the Jin dynasty (1115-1234) not the Yuan dynasty (1271-1368). The key to dating is the inscription, which reads futongzhiyin 副統之印 "seal of the assistant military commander". The post of assistant military commander (副統) was established in 1215, near the end of the Jin dynasty, and several bronze seals dating to the late Jin dynasty have exactly this inscription (but no Yuan dynasty seals as far as I know) :

  • one held at the Palace Museum in Beijing
  • one held at Jinzhou City Museum in Liaoning
  • one discovered in Dalian in Liaoning
  • one discovered in Changle in Shandong in 1984
  • one held at the Gaomi Museum in Shandong, with an inscription on the back of it dated Zhenyou 4 (1216)
  • two discovered near Harbin in Heilongjiang in 1971 and 1984, both with an inscription on the back dated the Year of the Pig (i.e. 1218 or 1223)
  • one discovered near Harbin in Heilongjiang in 1976
  • one unearthed at Russian Far East

Although the above list may give the impression that this is a common seal, Jin dynasty bronze seals like this are very rare, and especially hard for the private collector to acquire. In my opinion, the price asked for this seal ($950) is very reasonable if it is genuine, and from the pictures of the seal on the seller's site it does look genuine to me.


The Seal of Long Ying

The third seal is a Yuan dynasty bronze seal with a Chinese inscription in standard Yuan dynasty style Phags-pa script (image of seal face has been mirrored to make it easier to read) :



This is a good example of a Yuan dynasty personal signet seal, which were used by individuals to seal their name on documents. A large number of such seals are known, many of which have the name of their owner engraved in the Phags-pa script or jointly in Phags-pa letters and Chinese characters. The Phags-pa inscription on this particular example reads leung -ing, which is almost certainly a Chinese name, Long Ying (龍/隆 應/英). On the side of the seal are engraved the Chinese characters he tong 合同 "agreement", indicating that the seal was used in sealing agreements.

There is no doubt in my mind that this particular seal is genuine, although I am afraid that it is seriously overpriced.

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