En'am suresini okumaya başlamadan önce ve sonra okunması gereken dualar ile bazı sayfa kenarlarındaki Türkçe açıklamalar kitabın başına (y. 1b-2a) sonradan eklenmiştir.Binding: Kitabın salbekli gömme şemseli kestane rengi deri cildi 20. yüzyılda yapılmış olmalıdır.Illuminations: En'am suresi, mavi renkte uzun tığlı unvan tezhibiyle başlar (y. 2b). Unvan tezhibinin ortasındaki altın zeminli kartuş içine sure ismi ve kaç ayet olduğu sülüs hatla yazılmıştır. Kartuş dışındaki alana lacivert zemine altın naif dallar ve çiçekler yapılmış, minicik köşebentler altın zemine altın rumilerle süslenmiştir. Sayfalar siyah tahrirli altın cetvellidir. Her yaprakta metin bir satır muhakkak, üç satır harekeli nesih hat düzeninde yazılmış, koltuklara tezhip yapılmamıştır.Measurements: 25,7 x 16,3 cm; 31 yaprak, sayfada 9 satırScript: Nesih; Muhakkak; Naskhī; Muḥaqqaq
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 441Origin: Origin: Dates in dated pieces range from 1080 [1669 or 70] to 1323 [1905 or 6]. Some pieces possibly earlier. Binding late 19th or early 20th century, likely produced in Yıldız Palace workshop and certainly not earlier than 1882 when the arma was finalized by Sultan Abdülhamit II.Former shelfmark: "208" inscribed in pencil on opening panel.Binding: Heavy boards covered in red leather ; Western style binding ; interior of boards (and facing panels) lined with white, textured paper (satin-like pattern) ; upper and lower covers carry central panel gold-stamped with the Ottoman arms (upper cover) or crescent and star (lower cover) at center, outlined in gold-tooled stars and bordered in gold-stamped (with olive green leather onlays) decorative panels in vegetal designs with crescents gold-stamped on olive green leather onlays at the four corners ; board edges heavily beveled and gold-tooled ; edges of panels gold-painted ; sewn in heavy pink cord ; overall in fairly good condition with minor abrasion, lifting and losses of onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted, marbled or silhouette ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper (resembling reptile hide) with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes).Script: Muḥaqqaq (muhakkak), naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: Twenty-one heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.42. fol.21b : [blank].41. fol.21a : piece in thuluth and naskh signed by the calligrapher Mehmet Hilmi (نمقه السيد محمد حلمى) and dated 1287 [1870 or 1].40. fol.20b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding pieces (from fol.10a).39. fol.20a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.38. fol.19b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.37. fol.19a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.36. fol.18b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.35. fol.18a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.34. fol.17b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.33. fol.17a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.32. fol.16b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.31. fol.16a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.30. fol.15b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.29. fol.15a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.28. fol.14b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.27. fol.14a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.26. fol.13b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.25. fol.13a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.24. fol.12b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.23. fol.12a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.22. fol.11b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.21. fol.11a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.20. fol.10b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.19. fol.10a : piece in nastaʻlīq (talik) signed by the calligrapher Yesari Mehmet Esad Efendi (d.1798) (الفقير محمد اسعد اليسارى) and undated, likely (with the following pieces fol.10b-20b) concluding piece of a meşk murakkaa.18. fol.9b : piece in thuluth and naskh signed by the calligrapher Hocazade Mehmet (d.1695) (سوده الحقير محمد الشهر بخواجه زاده) and dated 1080 [1669 or 70].17. fol.9a : piece in thuluth and naskh signed by the calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876) (بندۀ ال عبا سيد عزت مصطفى) and possibly dated 1278 [1861 or 2].16. fol.8b : piece in thuluth and naskh signed by the calligrapher Hasan Rıza Efendi (d.1920) (حرره الحاج السيد حسن رضا ) and dated 1323 [1905 or 6].15. fol.8a : piece in thuluth and naskh signed by the calligrapher İsmail b. Abdullah student of İbrahim Rodosi (d.1787) (مشقه العبد المذنب اسمعيل بن عبد الله من تلاميذ ابراهيم الردوسى) and undated.14. fol.7b : piece in thluth signed by the calligrapher Usturacızade Mehmet Şehri (d.1740) (سوده محمد الشهرى) and undated.13. fol.7a : piece in thuluth and naskh signed by the calligrapher Hasan Rıza Efendi (d.1920) (حرره الحاج السيد حسن رضا ) and dated 1323 [1905 or 6].12. fol.6b : unsigned piece in thuluth and naskh, undated.11. fol.6a : piece in naskh signed by the calligrapher Deli Osman Afif Dâmâdı (d.1805) (كتبه الفقير السيد عثمان المعروف بداماد العفيف) and dated 1205 [1790 or 1].10. fol.5b : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, كتبه اسمعيل الزهدى) and undated.9. fol.5a : piece in thuluth and naskh signed by the calligrapher Tevfiki [?] (كتبه توفيقى) and undated.8. fol.4b : piece in nastaʻlīq (talik) signed by the calligrapher, most likely the Ottoman Sultan Murat IV (r.1623-1640) (كتبه مراد خان), and undated.7. fol.4a : piece in thuluth and naskh signed by the calligrapher Hafız Yusuf Efendi (d.1787) (نمقه المذنب يوسف المعروف بحافظ القرآن) and unsigned.6. fol.3b : unsigned piece in thuluth and naskh, undated.5. fol.3a : piece in naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (محمد راسم) and undated.4. fol.2b : unsigned piece in muḥaqqaq (continuation of the previous), undated.3. fol.2a : unsigned piece in muḥaqqaq, undated.2. fol.1b : impression of the seal (مهر) of Muḥammad Shāh Qājār (محمد شاه قاجار, r.1834-1848) with inscription “الملک لله محمد شاه غازی صاحب تاج و نگین آمد شکوه ملک و ملت رونق آیین دین آمد” and date 1250 [1834 or 5] set in illuminated four-lobed ornament.1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (40 kıt'alar / pieces), likely assembled and bound for Sultan Abdülhamit II (r.1876-1909). Contents briefly addressed by Muhittin Serin in "Amerika Birleşik Devletleri’ndeki Bazı Kütüphanelerde Bulunan İslam El Yazma Eserleri ve Michigan Üniversitesi II. Abdülhamid Koleksiyonu." Contributions to the cataloguing from Mamoun Sakkal.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 467Origin: As appears in colophon on p.648, transcription of first section (through p.648) completed 24 Rabīʻ II of an unspecified year (lacuna follows سنة). As appears in colophon on p.1063, second section copied by Ismāʻīl ibn Muḥammad al-Zurqānī ( اسماعيل بن محمد الزرقاني ) with transcription completed ("wa-qad faragha min katbih...") 7 Rabīʻ II 976 [ca. 29 September 1568].Accompanying materials: a. Acquisitions slip from Yahuda.Former shelfmark: From inner front cover (upper doublure) and fore edge label, "IL 304" (likely supplied by Yahuda, see acquisitions slip).Binding: Pasteboards covered in dark red leather ; Type II binding (with flap) ; doublures in brown leather ; upper and lower covers carry large blind-stamped mandorla (filled with symmetrical vegetal decoration, reminiscent of Déroche class. NSd 5) and pendants, along with gold-tooled border in a series of s-shaped stamps ; sewn in pink thread, two stations, most quires loose ; overall in somewhat poor condition and ill-fitting with much staining, abrasion, lifting and losses of leather, delamination of boards, etc. ; repair to fore edge flap in a tooled red leather apparently taken from the spine of another book ; other repairs in tan and red leathers.Support: non-European laid paper of several types ; opening type with 9 laid lines per cm. (horizontal) and chains either grouped (on the order of 9) or very closely spaced 13-14 mm. apart (V), well-burnished to glossy, brown in color, sturdy and fairly transluscent ; next type with both laid and chain lines quite diffuse, roughly 7 laid lines per cm. (horizontal), possibly grouped chains lines (in threes) with 11-12 mm. between chains and 39 mm. between groups, much lighter in color, thicker, sturdier and more opaque, burnished to glossy ; from p.350 on still a different paper, lighter in color with 8 laid lines per cm. (horizontal) and chain lines possibly very closely spaced if not in large group, 14 mm. apart ; final section (from p.650) on another thin, crisp, well-burnished, brownish paper with 7 laid lines per cm. (vertical or horizontal) and chain lines spaced roughly 39 mm. apart ; opening flyleaf in a European laid paper with 7 laid lines per cm. (horizontal), chain lines spaced 29 mm. apart (vertical), and anchor in circle watermark with six-pointed star above (66 mm. tall) ; staining and tidelines ; pigment burn to break-through at frame surrounding written area.Decoration: Elegant illuminated headpiece (ʻunwān) at opening on p.4 consisting of rectangular panel carrying the basmalah in gold muḥaqqaq on a dark blue ground accented with swirling arabesque in green, surrounded by border of gold bands (the innermost with red accents) flanking a series of crosses on white, set off by adjacent palmette (ansa) in the margin ; written area of incipit and facing page surrounded by gold frame with outermost blue rule ; keywords, sūrah headings (final section) and abbreviation symbols (two-teeth stroke, signes de renvoi, etc.) rubricated.Script: Nastaʻlīq and naskh ; three main hands ; opening through p.398 (where hand abruptly changes) in a fine nastaʻlīq, serifless, fairly vertical though with slight effect of tilt to the right and of words descending to baseline, some elongation of horizontal strokes, mainly closed counters, pointing (two and three dots) in strokes rather than distinct dots ; from p.398 to p.522 another fine nastaʻlīq, serifless with dramatic tilt to the right, scarcely pointed, mainly closed counters, sweeping descenders ; from p.522 through p.569 again opening hand, then back to second hand ; final section (from p.650 to close) in an elegant Egyptian or 'Syrian' naskh, serifless and compact with slight effect of tilt to the left, many closed counters, pointing (for two and three dots) in distinct or conjoined dots, rounded with curvlinear descenders.Layout: Written in 32 lines per page ; frame-ruled.Collation: i, IV-1 (7), 2 IV(23), III+2 (31), 5 IV(71), IV+1 (80), 2 IV(96), I (98), 12 IV(194), 6 V(254), I (256), 2 IV(272), III+1 (279), 6 (285), II (289), 3 (292), 2 V(312), V+2 (324), 20 V(524), IV-1 (531) ; catchwords mainly cut off, but present in final section ; leaves between sections left partially blank (see pp.198, 648-49) ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Colophon: [opening section] "وقع الخلاص [؟] من تحريره في اربع وعشرين من الشهر ربيع الاخر من شهور سنة ___ اللهم اغفر لمن دعى لمحرره والناظر فيه والديهما ولمن قال ... برحمتك يا ارحم الراحمين" ; [final section] "Scribal," triangular, reads "وقد فرغ من كتبه اقل خلق الله تعالى واحوجهم الى رحمته العبد الضعيف اسماعيل بن محمد الزرقاني غفر الله له ولوالديه ولجميع المسلمين امين يوم الاربع المبارك سابع شهر ربيع الثاني سنة ست وسبعين وتسعمائة وحسبنا الله ونعم الوكيل ولا حول ولا قوة الا بالله العلي العظيم وصلى الله على سيدنا محمد وعلى اله وصحبه وسلم م م"Explicit: "ظلم عليه الامر وندم وتاب فهذا اخر ما قصدت ايراده في هذه السطور مع اعترافي في كل الامور بالقصور وان الكشف عن اوجه تلك المخدرات ابتدائه لمثلي من احدى المنكرات ولكن للمجتهد اجر ... وانا اسأل الله تبارك وتعالى التجاوز عن خطرات الاوهام وعثرات الاقلام ... والحمد لله المنعم اولا واخرا والصلاة والسلام على سيد المرسلين محمد واله واصحابه العز المحجلين وعلى من اتبعهم باحسان الى يوم الدين"Incipit: "الحمد لله الذي علم القرآن خلق الانسان علمه البيان ارسل رسوله بالهدى ودين الحق ... نريد ان نشرح مشكلات كتاب الكشاف ونحيط حجاب الخفاء عن مباحثة اللطاف ... قوله الحمد لله سيجئ معنى الحمد لله ..."Title from inscription on front flyleaf (p.1).Ms. composite codex.Elegant copy of what appears to be a commentary of uncertain authorship (though possibly by Abū Ḥafṣ ʻUmar ibn ʻAbd al-Raḥmān al-Qazwīnī al-Fārisī, author of a commentary entitled al-Kashf ʻan mushkilāt al-Kashshāf) upon al-Kashshāf, the renowned commentary on the Qurʼān by Abū al-Qāsim Maḥmūd ibn ʻUmar al-Zamakhsharī (d.1144).
Ünlü hattat Şeyh Hamdullah’ın öğrencisi Selanikli Mustafa b. Nasuh tarafından eğitilen Kadı Mahmud Bağdat ve Diyarbakır kadılığı da yapmıştı. Bu eserinde hattat Kuran’dan Kehf suresini istinsah etmiştir. Her sayfada alt ve üstteki birer satır, mavi veya yeşil mürekkep kullanılarak muhakkak hatla; orta satır zer mürekkep kullanılarak muhakkak hatla; aralarda kalan ikişer satır ise siyah mürekkep ve sülüs hatla yazılmıştır. Kehf suresinin son ayetlerinin (y. 19a) iki yanına satırlar rıka ile mailen yazılmıştır. Bu satırlar, sağda İsra suresinin “Biz Kuran'dan, müminler için şifa ve rahmet olacak şeyler indiriyoruz. Zalimlerin ise Kuran, ancak zararını artırır” anlamına gelen ayeti ile (İsra: 82) başlar ve Kehf suresinin faziletini anlatan hadisle devam eder: “Hz. Peygamber –Allah onu ve ailesini hayırla kuşatsın– şöyle buyurmuştur: Kim yatarken Kehf suresini okursa, bu, kendisi için Mekke’ye kadar parıldayan bir nur olur. Bu nur içinden Melekler kendisine kalkana kadar dua eder. Bulunduğu yer Mekke ise, bu, kendisi için Kâbe’ye kadar uzanan bir nur olur. Bu nur içinden Melekler kendisine uyanana kadar dua eder. Kim Kehf suresinin sonunu okursa, bu kendisine ayağından başına kadar nur olur. Tamamını okursa gök ile yerin arası nurla dolmuş olur. Kim ahir zamanda Kehf suresini okursa, deccalın şerrinden emin olur. (Resulullah) doğru söyledi.”Binding: Kitabın kestane rengi deriden miklepsiz cildi 19. yüzyıla aittir.Illuminations: Eserde, 8b sayfasına kadar, yazı alanını çevreleyen cetveller yapılmıştır. Ayetler arasına durak işaretleri konmamıştır. Muhtemelen kitabın bezenmesine başlanmış, cetveller ilk sayfalara çekilmiş, ancak yarım bırakılmıştır. Serlevhada yer ayrıldığı halde bezeme yapılmamıştır.Measurements: 28 x 19,5 cm; 19 varak, sayfada 7 satırScript: Muhakkak; Sülüs; Rıka; Muḥaqqaq; Thuluth
Cüz, 15. yüzyıl ortalarına doğru Bursa’da hazırlanmış olabilir. Bu eserin 27. ve 28. cüzleri München Bayerische Staatsbibliothek'tedir.Binding: Kitabın miklepli cildinin dış kapakları koyu kestane rengi deridir. Dış kapakların ortasında palmet salbekli bir şemse vardır. Şemse ve küçük köşebentlerin içi aletle yapılmış geçme bantlarla, bordürlerin içi minicik kare kalıp kullanarak mazgalvari biçimlerle doldurulmuştur. Aletle yapılmış kısımların oyuntuları altınlanmıştır. İç kapaklara 20. yüzyılda yapılan onarım sırasında koyu bej zerefşanlı kâğıt kaplanmıştır. Cildin dış kapaklarının bezeme tasarımının benzerleri 14. yüzyılda Anadolu’da ve Memluklarda, 15. yüzyıl ortaları Osmanlı dönemine atfedilen ciltlerde de görülür.Illuminations: Cüzün (Bakara: 253- Âl-I İmran: 91) ilk iki sayfası (y. 1b-2a) serlevha tezhiple açılır. Sure başı yazısı altın sarmal rumilerle süslü kartuş içine soluk mavi kufi hatla yazılmış, kartuşun köşeleri kırmızı rumilerle bezenmiştir. Bu yaprakların kalın altın cetvelinin içi 2a yaprağında zencirekle doldurulmuştur; iki sayfanın kenarına içi altın rumilerle süslü üçgen bir haşiye ve iki küçük madalyon yapılmıştır. Cüzün bir yaprağı dışındaki diğer yapraklar cetvelsizdir. Duraklar ve hizip gülleri sade altındır. Âharlı zemine altın rumilerle tasarlanan tezhipler genelde 13. yüzyılın ikinci yarısından 14. yüzyılın ilk yarısına kadar Memluk topraklarında ve Anadolu’da istinsah edilen kitaplarda görülür.Measurements: 35 x 25 cm; 42 yaprak, sayfada 5 satırScript: Muhakkak; Kufi; Muḥaqqaq; Kufic
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Culture: IslamicMaterials/Techniques: ink, gold, paperNote: General note: Folios: average 61 ; Line to a page: 5 ; Scribe: 'Ali ibn Muhammad al-Husayni ('Ali ibn Muhammad ibn Zayd ibn Muhammad ibn Zayd ibn Muhammad ibn Ahmad ibn Muhammad ibn Muhammad ibn 'Ubaydallah ibn 'Ali ibn 'Ubayadallah ibn 'Ali ibn 'Ubaydallah ibn al-Husayn ibn 'Ali ibn al-Husayn ibn 'Ali ibn Abi Talib) ; Illuminator: probably the same ; For Sultan Uljaytu and his 2 ministers, Rashid ad-Din and Sa'd ad-Din
Culture: IslamicMaterials/Techniques: ink, gold, paperNote: General note: Folios: average 61 ; Line to a page: 5 ; Scribe: 'Ali ibn Muhammad al-Husayni ('Ali ibn Muhammad ibn Zayd ibn Muhammad ibn Zayd ibn Muhammad ibn Ahmad ibn Muhammad ibn Muhammad ibn 'Ubaydallah ibn 'Ali ibn 'Ubayadallah ibn 'Ali ibn 'Ubaydallah ibn al-Husayn ibn 'Ali ibn al-Husayn ibn 'Ali ibn Abi Talib) ; Illuminator: probably the same ; For Sultan Uljaytu and his 2 ministers, Rashid ad-Din and Sa'd ad-Din
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 231Origin: Lacks dated colophon ; decoration and calligraphy reminiscent of the Timurid style characteristic of late 15th century Herat ; paper would also suggest late 15th or possibly early 16th century ; binding would suggest 16th century.Former shelfmark: "224 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "196" inscribed in pencil on 'title page' (p.1).Binding: Pasteboards covered in dark brown leather ; Type II binding (with flap) ; board linings in lined paper pasted over brown leather doublures, likely with leather filigree appliqué, see interior of envelop flap ; upper and lower covers carry large gold-stamped panel stamp (repeated twice to fill the entire area) filled with symmetrical vegetal design incorporating chi clouds, as well as border in a series of lozenge- and rosette-shaped stamps with outermost series of tooled s-shapes ; sewn in red thread, two stations ; overall in somewhat poor condition with lifting and losses of leather, abrasion, staining, etc.Support: non-European (likely Persian) laid paper with roughly 7 laid lines per cm. (vertical) and sporadic chain lines mainly visible only in short lengths ; thick and sturdy though crisp ; well-sized and burnished ; machine laid paper stabilizing opening leaf carries an embossed mark (or "imitation watermark") reads "اثر جديد عهد همايون".Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2, consisting of rectangular piece with gold cartouche carrying sūrah heading in white and defined by looping white banding (with black crosses) on grounds of gold and lapis lazuli overlaid with swirling vegetal pattern, all bordered in a series of elaborate bands in gold, white, lapis lazuli, black, red, turquoise, etc. ; surmounted by a narrower rectangular panel carrying lozenges filled with delicate vegetal decoration, itself surmounted by an uppermost semi-circular piece (dome) evoking half of an eight-lobed piece (defined by looping white banding) in gold and lapis lazuli with arabesque in turquoise and further swirling vegetal decoration, all surmounted by vertical stalks (tīgh) ; simpler illuminated headpiece consisting of rectangular panel with cartouche carrying the sūrah heading in white on a gold ground flanked by accent pieces in gold and lapis lazuli with swirling vegetal pattern and surrounded by bands of white, gold, blue, red, etc. appears at opening of each sūrah thereafter (p.16, p.28, p.37, and p.43) ; verse dividers in the form of interlace rosettes in gold with black, red, and blue accents appear throughout ; marginal decoration in the form of roundels in blue, green, and gold with "عشر" in white 'Kufic' script, other roundels in gold and blue with what appears to be "خمس" in white (many effaced) ; written area throughout surrounded by elaborate frame consisting of a series of narrow bands in gold, light blue, dark brown to red, turquoise, and lapis lazuli ; floral decoration in blue, gold, red, and black reminiscent of the central decorative panel and pendants of a book cover flank the centered lines ; upper, middle, and lower large lines chrysographed (vocalization in black).Script: Fine calligraphic specimen ; elegant Persian hand ; lines in upper and lower panels of each page in muḥaqqaq, line in central panel in thuluth, lines in intermediate panels in naskh, sūrah headings in riqāʻ ; partially seriffed (mainly right-sloping wedge head-serif) ; fully vocalized.Layout: Written in 9 lines per page with uppermost, middle, and lowermost large lines filling the column width and two sets of three compact lines centered between them ; frame-ruled.Collation: 3 IV (24) ; exclusively quaternions ; pagination in pencil, Western numerals (supplied during digitization).Title supplied by cataloguer.Ms. codex.5. p.43-p.47 : Sūrat al-Nabaʼ.4. p.37-p.43 : Sūrat al-Mulk.3. p.28-p.36 : Sūrat al-Wāqiʻah.2. p.16-p.28 : Sūrat al-Fatḥ.1. p.2-p.16 : Sūrat Yāsīn.Elegant copy of a selection of sūrahs (suwar) from the Qurʼān, namely Sūrat Yāsīn (36), Sūrat al-Fatḥ (48), Sūrat al-Wāqiʻah (56), Sūrat al-Mulk (67) and Sūrat al-Nabaʼ (78).