Abstract: Treatise on principles of kalām in forty chapters (masʼalah, see table of contents on fol. 1a). Incomplete at end (in the middle of Masʼalah 33, see heading fol. 124b).Binding note: Upper cover made of paper pasted on brown leather over pasteboard. Lower cover made of red leather over pasteboard. Rebacked. Paper pastedowns.Ms. codex.Title from beginning of text (fol. 1b, l. 17).25 lines per page. Written in medium small riqāʻ in black ink with use of red. Headings in larger script in black ink. Thin dark cream paper with laid lines and pulp visible. A few notes on the margins and on small pieces of paper placed between the fol. of the ms. (between fol. 47 and 48, and fol. 84 and 85). Modern foliation in pencil using Western numerals (omits a fol. between fol. 121 and 122).Collation: Paper, fol. 128 ; 1-16⁸ ; catchword on the verso of each leaf.Incipit: سبحان المتفرد فى قيوميته بوجوب الازلية والبقا ... اما بعد فان الله تعالي لما وفقّني حتي صنفت فى اكثر العلوم الدينيةEnd of text as extant: \\\\ كالعلم باحوال العرش والكرسى واللوح والقلم والجنه والنار واطباق السموات واصناف الملايكه
The only known copy of a brief treatise on Naqshbandi practices and rituals by Tāj al-Dīn ibn Zakariyya Mahdī Zamān al-Rūmī, of the Indian branch of the Naqshbandi Sufi Order, who died in Mecca in AH 1050/AD 1640. Not available in a printed edition. According to Trimingham (1971, pp. 93-94) Tāj al-Dīn ‘had an interesting career and eventually found a niche in Mecca away from the rivalries which ensued after the death of Muḥammad Bāqī bi’llāh. From this vantage point he had much to do with commending the Naqshbandī Way to Arabs. He translated books like Jāmī’s Nafaḥāt and ‛Alī al-Kāshifī’s Rashaḥāt ‛Ain al-Ḥayāt into Arabic. Al-Muḥibbī devotes a long article to him in his Khulāṣat al-Athar’. See Muḥibbī, M., Khulāṣat al-athar fī a‛yān al-qarn al-ḥādī‛ashar (Cairo, 1384), i, 464-70. It is perhaps better to describe Bahā’ al-Dīn al-Naqshbandī (AD 1318-1389) as the ‘crystallizer’ of the Naqshbandī ṭarīqa, which bears his name, rather than its ‘founder’. It is certain that the Naqshbandī tradition itself does not regard him as a founder nor as the initiator of the silsila as it is clearly noted in this text for example.Condition: Some water and damp staining, text not affected, overall in good condition.Layout: 19 lines to the page, except for f.1r with 16 lines and f.12r with 22 linesScript: Black riqa‛ scriptAdditions: Folio 1r: Inscription in black reads Cambridge classmark of the manuscript: ‘Add. Ms. 1073’. Some other inscriptions in black: text and numbers. Inscription in pencil on top right corner reads: ‘176 pennies’ (this was most probably the manuscript’s price at some point). Another inscription in pencil in the middle of the page reads: ‘From Flugel Cat. 1244, 10/4 ‘72’. It is possible that there was a sale of Flugel’s library in 1872 following his death in 1870. 10/4 would be the price: 10 shillings and four pence. Cambridge University stamp at the bottom indicating date of acquisition: ‘20 July 78’. Folio 1v: Title in red script reads: hādhā risāla Tāj al-Dīn al-Rūmī quddisa sirruhu. Followed by the basmala in black and the introduction. Marginal annotations in black presenting two couplets of poetry preceded by: kunt ḥaḍart mawlāna quddisa sirrahu al-a‛lā. Folio 2r: Author’s name given on line 4 as Tāj al-Dīn ibn Mahdī Zamān al-Rūmī. The text reads: hādhihi al-ṭarīqa al-‛aliyya al-Naqshbandiyya akhadhaha ‛abd al-faqīr al-kāmil fī al-nuqṣān wa-’l-‛ājiz fī al-maghfira al-raḥmān Tāj al-Dīn ibn Mahdī Zamān al-Rūmī min al-khawāja Muḥammad al-Baqī [AD 1563-1603] wa-huwa akhadhahā ‛an mawlāna khawāja Kay (sic.) [Aḥmad] al-Amkankī (pronounced most probably as Amkanjī) wa-huwa ‛an [missing a link here being Darwīsh Muḥammad] al-walī al-khawāja Muḥammad al-Zāhid wa-huwa ‛an al-Ghawth al-‛a‛ẓamal-khawāja ‛Ubayd Allāh al-Aḥrār ibn Maḥmūd al-Shāshī (i.e. from Tashkent) ‘Ḥaḍrat Ishān’ [AD 1404-1490] quddisa sirrahu wa-huwa ‛an al-shaykh al-shuyukh mawlāna Ya‛qūb Jarkhī (pronounced most probably as Charkhī) [d. 851/1447] wa-huwa ‛an ḥadrat al-khawāja al-kabīr khawāja Muḥammad Bahā’ al-Dīn al-Naqshbandī wa-huwa ‛an al-Sayyid [Amīr] al-Kulālī al-Bukhārī wa huwa ‛an al-khawāja Muḥammad Bāba al-Sammāsī wa huwa ‛an haḍrat al-‛Azīzān khawāja ‛Alī al-Dāmitī (sic.) (most probably al-Rāmitīnī) wa huwa al-mashhūr bi-‛Azīzān wa huwa ‛an khawāja Maḥmūd Injīr (or Anjīr) al-Faghnawī wa huwa ‛an al-khawāja ‛Arif al-Riwkarawī (pronounced most probably as Riwgarawī) wa huwa ‛an al-khawāja ‛Abd al-Khāliq al-Ghujdāwanī [missing a link here being Abū al-‛Abbās Khiḍr] wa huwa ‛an al-Shaykh Ibn Ya‛qūb ibn Ayyūb Yūsūf al-Hamadānī (in Shadows of the Prophet: Martial Arts and Sufi Mysticism by D. S. Farrer the name is Abū Ya‛qū Yūsūf al-Hamadānī p.273) wa huwa ‛an ‛Alī (possibly Abū ‛Ali Aḥmad (or Faḍl) b. Muḥammad) al-Farmadī Tūsī wa huwa ‛an al-shaykh Abū al-Ḥasan al-Kharaqānī … the silsila continues further on the following two pages to include the spiritual teachers such as Abū Yazīd al-Bistāmī, Ja‛far al-Ṣādiq, al-Qāsim b. Muḥammad b. Abū Bakr al-Siddīq, Salmān al-Fārsī, Abū Bakr al-Siddīq and last but not least the Prophet himself. Further marginal annotations on folios 8v, 9r, 9v, 10v and 11v. Folio 12v: Continuation to the closing remarks in the margin within an upside down triangle outlined in red stating the name of scribe as Sayyid Darwīsh Sayyid Darwīsh . Date of completion inscribed in black: 1203.Binding: Ottoman marbled boards with brown leather spine
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 265Origin: As appears in colophon on p.218, transcription of second volume completed 20 Ramaḍān 921 [ca. 28 October 1515]. As appears in colophon on p.601, copied by ʻAlī ibn Ismāʻīl ibn Ḥamzah in the city of "اركروقصرى" (i.e. Eğri Kasri, Gjirokastra, Gjirokastër in Albania) with transcription of fifth volume completed mid-Rajab 922 [August 1516].Accompanying materials: Slip with handwritten text in script reminiscent of Greek alphabet (between pp.134-135).Former shelfmark: "454 T. De M." [i.e. Tammaro De Marinis] in pencil on lower flyleaf (p.607).Binding: Pasteboards covered in dark brown leather, with light brown leather over spine (rebacked) ; Type II binding (with flap, though now lost) ; board linings in pale green laid paper ; upper and lower covers carry stamped and gold-painted mandorla with orange recessed onlays (filled with vegetal decoration reminiscent of Déroche class. NSd 7) with gold-tooled rosette accents (pendants, etc.) and gold-tooled border ; sewn in cream thread, two stations ; worked chevron endbands in yellow and pink, fair condition ; overall in poor condition with entire flap lost, significant abrasion, lifting and some losses of leather, etc. ; appears to have been repaired (covers reattached) with once upper cover now lower cover ; housed in box for protection.Support: non-European (perhaps Arab) laid paper with 8 laid lines per cm. (horizontal) and chain lines possibly grouped in threes (see p.432, 433, etc.) with 10-12 mm. between chains and 35-46 mm. between groups, thin, crisp and transluscent though sturdy, extremely well-burnished to glossy, numerous repairs (even used of marbled paper, see p.19) ; replacement leaves (pp.11-18) on European laid paper with 11 laid lines per cm. (horizontal), chain lines spaced 25 mm. apart (vertical), and watermark of scrollwork / coat of arms with three bars (see p.14, 16, etc. and compare Armoiries (16) A. Indéterminées dated 1673-1717 in Velkov, Les Filigranes dans les documents Ottomans), sturdy and well-burnished ; flyleaves and leaves set between mujallads in other European laid papers, one type with 7-8 laid lines per cm. (horizontal), chain lines spaced 27 mm. apart (vertical), and watermark of crown-star-crescent (see p.10, 608), another crown-star-crescent (see p.606) and anchor in circle (see p.118) watermarks also appear.Decoration: Keywords, headings, abbreviation symbols, etc. rubricated ; incipit and facing page surrounded by frame consisting of gold band flanked by black fillets ; textual dividers in the form of inverted commas, three commas, etc. in red.Script: Naskh-nastaʻlīq (talik) ; at least two distinct Turkish / Caucasian hands ; mainly in a clear naskh-nastaʻlīq (talik), compact and serifless, quite rounded, with only slight effect of words descending to baseline (occasionally more exaggerated) and some elongation of horizontal strokes, pointing (for two and three dots) in conjoined dots, point of final nūn usually joined with bowl ; headings in a serifed script reminiscent of riqāʻ with leftward tail on free-standing alif ; opening replacement leaves (pp.11-18) in a nastaʻlīq (talik) of thinner line, quite open and elongated in the horizontal, with pointing in strokes rather than distinct dots.Layout: Written in 27 lines per page ; frame-ruled.Collation: v, II (4), V+1 (15), 3 V(45), V+1 (56), 4 V(96), V-1 (105), 6 V(165), V+1 (176), 10 V(276), 2 IV(292), II (296), iii ; chiefly quinions ; several added leaves at opening and close of codex left blank ; catchwords present ; foliation in black ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Colophon: [mujallad 2] "Scribal, triangular and rectangular, in Arabic, reads: "قد تم المجلد الثاني ويتلوه المجلد الثالث كما يتلو المثاني المثالث فى يوم العشرين من شهر رمضان سنة احدى وعشرين وتسعمائة اللهم صل على سيدنا ونبينا محمد ... يا غفار يا جبار" ; [mujallad 5] "Scribal," triangular, in Arabic, reads: "ثم تم ... تم هذا المجلد الخامس من الكتاب الذي هو دستور الكتاب وليس له نظير عند العاقل البصير والعالم الخرير بمن من من ويمن بمن آمن بارسال الذي انزل عليه القرآن وتوفيق الله الذي لا يشغله شان عن شان ولا يحتاج الى الزمان والمكان ونور قلوب احبائه بنور الفرقان واسكنهم فراديس الجنان تعالى شانه اتفق الفراغ من نظم زمر لآ لى [؟] الفضل في سلك التحرير بمدينه اركرو قصرى خلد الله تعالى ملك مالكها في اليوم السبت في اواسط شهر رجب المرجب سنه اثنى وعشرين وتسعمائة على يد علي بن اسماعيل بن حمزه غفر الله لهم ولجميع المسلمين والمسلمات والمؤمنين والمؤمنات الاحياء والاموات ورحم الله لمن دعا لمصنفه ولكاتبه لصاحبه بالخير ولمن قال آمين تم تم"Explicit: "توفيق در افاضت احسان كه كفيل عمر ثانيست لا يزال روزگار دولتيار مخدوم جهانيانر اگر امت باد شعر وهذا دعاء لو سكت كفيته لاني سألت الله قبل [فيك] وقد فعل والحمد لله رب العالمين والصلوة والسلام على رسول الله محمد وآله الطيبين"Incipit: "حمد و ستايشى كه انوار اخلاصش آفاق و انفس را چون فاتحۀ صبح صادق متلالى سازد ..."Title from 'title page' (p.11) where the entry for this work from Kashf al-ẓunūn has been transcribed.Ms. codex.Fine copy of Vaṣṣāf's Tajziyat al-amṣār wa-tazjiyat al-aʻṣār, a history of the Īlkhāns intended as a continuation of ʻAlāʼ al-Dīn ʻAṭā Malik Juvaynī's (d.1283) Tārīkh-i Jahāngushā (Jahān-gushāy) and renowned for its form and style. Five volumes (mujallad) in one. Contents listing appears on lower flyleaf (p.608).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 224Origin: Lacks dated colophon ; dated statement on front flyleaf suggest a terminus ante quem of 1537 ; paper and hand certainly suggest late 15th or early 16th century.Former shelfmark: "323 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf (p.2) ; "224" inscribed in pencil on recto of front flyleaf (p.1) and 'title page' (p.15).Binding: Pasteboards covered in brown leather ; Type II binding (with flap) ; doublures in dark red leather ; upper and lower covers carry blind-stamped mandorla (filled with symmetrical vegetal decoration, compare Déroche class. NSd 7) and pendants with gold-painted accents and gold-tooled border ; sewn in yellow thread, two stations ; worked chevron endbands in yellow and pink, damaged with losses to head and tail ; overall in fairly good condition with some abrasion, staining, lifting of leather, fore edge flap too narrow, etc.Support: non-European laid paper with 8 laid lines per cm. (vertical or horizontal, varies) and faint chain lines occasionally visible, often grouped in twos or threes (see p.22, 24, etc.) ; transluscent, thin and crisp, heavily sized and burnished, medium cream in color ; flyleaves in European laid paper.Decoration: Exquisite, superbly executed illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.16, consisting of rectangular piece with gold cartouche carrying the basmalah in white riqāʻ surmounted by scalloped semi-circular piece (dome) itself surmounted by vertical stalks (tīgh) ; both pieces decorated with swirling vegetal designs with floral accents in gold, white, pink, green, and orange on fields of gold and lapis lazuli ; written area of incipit and facing page surrounded by frame consisting of gold band flanked by black fillets ; keywords, section headings and abbreviation symbols (mainly two teeth stroke above keywords) rubricated ; textual dividers in the form of inverted commas in red.Script: Naskh ; clear, compact hand ; serifless with slight effect of inclination to the left, pointing mainly in distinct dots, curvilinear descenders, partially vocalized ; opening table of contents in a fine, seriffed riqāʻ then nastaʻlīq (talik).Layout: Written in 31 lines per page ; frame-ruled.Collation: i, III (6), IV+1 (15), V (25), 1+IV (34), 8 V(114), III (120), 3 V(150), IV+1 (159), V (169), IV+1 (178), 5 V(228), II (232), 5 V(282), IV (290), i ; chiefly quinions ; leaves between sections left blank or partially blank ; several lacunae marked "بياض بالاصل" (see p.149, 482, 485, etc.) ; catchwords present ; foliation in black ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Explicit: "هذا بسرا والثانية اطيب منه عنبا لا تضحت المسئلة وانكشفت معناها والله اعلم مسئلة سئلت عن اعراب تركيب وقع في بعض كتب الحنفية ... لانه عمل قبل وجود الشرظ وذلك باطل اجماع والله سبحانه وتعالى اعلم بالصواب"Incipit: "سبحان الله المنزه عن الاشباه والنظائر والحمد لله المتفضل بغفران الكبائر والصغائر ... اما بعد فان فنون العربية على اختلاف انواعها هى اول فنوني ومبتدا الاخبار التي كان في احاديثها سمري وشجوني ... ومام سودت من ذلك كتاب ظريف ... ضمنته القواعد النحوية ذوات الاشباه والنظائر ... والفت كتاب الاشباه والنظائر مرتبا على اسلوب اخر يعرف من مراجعته وهذا الكتاب الذي شرعنا في تجديده في العربية يشبه كتاب القاضي تاج الدين الذي في الفقه ..."Title from colophon for first half (p.284).Ms. codex.Fine copy of one of al-Suyūṭī's works on the Arabic language, following the method of the religious sciences (fiqh), with both parts (halves) of the text here appearing in a single volume. Preceded by detailed table of contents (pp.4-13) and followed by several other short texts (see pp.12-13 for listing).
Origin: As appears in colophon on p.126, transcription completed 17 Shaʻbān 975 [ca. 16 February 1568]. Authorial colophon preceding scribal colophon (also on p.126) indicates that composition was completed in Ramaḍān (و اتمام انتظام اين نسخه در ماه تسبيح وشهر تراويح منتظم در سلك شهور سنه سته وثمانين وثمان مايه لا زال مباركا على فيه اتفاق افتاد) 886 [1481].Accompanying materials: Scrap with line in pencil "ديوان شاه نقشبندى قدس سره" (paginated pp.32A-32B).Binding: Pasteboards covered in dark brown leather ; Type III binding (without flap) ; doublures in marbled paper (mainly in pale orange and dark blue) ; upper and lower covers carry stamped and gold-painted mandorla (filled with assymetrical vegetal composition, compare Déroche class. OAi2 1) and pendants as well as gold-painted accents, tooled rosettes and tooled borders (single rule and series of s-shaped stamps) ; sewn in cream thread, two stations ; worked chevron endbands in pale green and brown, fair condition with some damage ; overall in somewhat poor condition with abrasion, lifting and losses of leather, losses at board corners, etc. ; repairs (rehinged) in pink paper.Support: non-European (likely Persian) laid paper with 7-8 laid lines per cm. (vertical, curved and somewhat indistinct) and no chain lines clearly visible, well-burnished, dark cream in color ; staining and tide lines.Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.4 consisting of rectangular piece with gold cartouche (overlaid with delicate black vegetal designs) carrying title in white riqāʻ "کتاب تحفة الاحرار" set off by similar pendants and accent pieces in black and red on a lapis lazuli ground all covered with swirling vegetal designs in gold with red, yellow, and white floral accents, surrounded by a heavy band of gold interlace defined by red and white (with black crosses) and surmounted by a heavy band of black with further swirling vegetal designs, itself surmounted by a framed triangular piece or hasp in gold and lapis lazuli with similar swirling vegetal designs, all surmounted by vertical stalks (tīgh) in lapis lazuli ; headings and keywords rubricated ; written area surrounded by frame of gold with turquoise and blue rules.Script: Text written in black nastaʻlīq script (contribution by D. Mancini-Lander).Layout: Written in 15 lines per page ; frame-ruled.Collation: i, 7 IV(56), IV-1 (63) ; exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes front flyleaf).Colophon: "Scribal," triangular, mainly in Arabic, reads: "والحمد لله الكريم الجواد والصلوة على محمد وآله خير العباد وسلم تسليما كثيرا كثيرا فى تاريخ ١٧ شعبان المعظم سنه ٩٧٥ تم تم تم تم تم تم"Explicit: "مهر نه خاتمۀ این خطاب شد رقم خاتم تم الکتاب "Incipit: "حامدا لمن جعل جنان کل عارف مخزن اسرار كماله ولسان کل واضح مطلع انوار جماله ..."Title from illuminated headpiece (ʻunwān / sarlawḥ) at opening.Ms. codex.Tuhfat al-Aḥrār, composed in 886/1481, is the third of seven masnavīs (long poem in rhymed couplets) that make up Jāmī's Haft Awrang (Seven Thrones). This work is a didactic poem, presenting ethical and moral advice in twenty discourses, each accompanied by illustrative anecdotes. The final discourse offers counsel to the poet's own son (contribution by D. Mancini-Lander).
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
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
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).