Manuscript. Persian. Title from colophon. Name of scribe not indicated. Probably written in India. Paper: thick cream color Indian paper; no borders; black ink with rubrication; catchwords on rectos. Nastaʻliq; 13 lines in written area 17.5 x 7 cm. Folios 1b-169a. Library of Congress. Persian manuscript, M80. Previous owner's name on flyleaf: Robt. Atkinson, Scholar, 14 Trinity College. Nineteenth century half-leather binding in brown leather with tan marbled boards. Also available in digital form on the Library of Congress website.Manuscript.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 387Origin: Lacks dated colophon ; decoration, hand, paper, etc. suggest 16th century. Ownership statement at close on p.553 referring to Cığalzade Yusuf Sinan Paşa (d.1604) as vezir would seem to indicate a rough terminus ante quem of 1583-1596, i.e. the time of his vezirship prior to being appointed grand vezir.Former shelfmark: "359 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf (p.1).Binding: Pasteboards covered in dark maroon leather ; Type II binding (with flap), two-piece binding (seam of overlapping flanges visible at spine) ; doublures (board linings) in marbled paper (in pink, orange, and dark blue on white) with hinges in another marbled paper (in red, light blue and green on white) ; upper and lower covers carry stamped (with black recessed onlays) and gold-painted scalloped mandorla in black and gold (filled with vegetal composition compare Déroche class. OAi 8) and incised and gold-painted pendants, as well as gold-tooled border in a series of s-shaped stamps framed by fillets ; design continues with rosette and border on envelope flap ; sewn in dark pink thread, two stations ; worked chevron endbands in pink and cream (or pale yellow), fairly good condition ; overall in fair condition with some abrasion, staining, lifting of leather, etc.Support: non-European (likely Persian) laid paper with roughly 8-9 laid lines per cm. (vertical or horizontal, quite indistinct) and faint irregular chain lines occasionally visible, cloudy formation, some inclusions, quite sturdy though fairly thin and transluscent, beige in color, well-burnished.Decoration: Exquisite illuminated headpiece (ʻunwān) at opening on p.(4) consisting of small rectangular piece carrying opening line in set off by gold cloud-bands, surmounted by large rectangular piece surrounded in a heavy border and filled with empty gold cartouche and accents evoking bookcover design overlaid with swirling floral vegetal pattern in red, blue, yellow, gold, etc. on fields of lapis lazuli and gold, surmounted by triangular piece or hasp set in a rectangular piece with same swirling floral vegetal pattern on fields of lapis lazuli and gold, all surmounted by a series of vertical stalks (tīgh) in blue with red accents ; written area of incipit and facing page surrounded by heavy frame in a series of gold, green, red and blue bands ; keywords of incipit and facing page in blue or chrysographed ; written area surrounded by frame consisting of gold band with outermost blue rule ; headings, keywords and some excerpts rubricated.Script: Nastaʻlīq (talik) ; elegant hand ; serifless with effect of words descending to baseline, elongation of horizontal strokes, mainly closed counters, pointing in distinct dots.Layout: Written in 15 lines per page ; written area occasionally divided to two columns to set off poetry interspersed throughout.Collation: i, 34 IV(272), II+1 (277) ; almost exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes front flyleaf).Explicit: "تصدق قلوب بو ثوابي داخى موجب مزيد حسنات بيله لر تم"Incipit: "رب اشرح لى صدرى ويسر لى امرى واحلل عقدة من لسانى يفقهوا قولي يا رب ره عشقكده بنى شيدا قيل احكام عبادتك بكا اجرا قيل ..."Title from inscription on 'title page' (p.3).Ms. codex.Elegant copy of Fuzulî's rendering of the suffering of the prophets, particularly Imām Ḥusayn in the tragedy at Karbalāʼ, drawn from Ḥusayn Vāʻiẓ Kāshifī's Rawz̤at al-shuhadāʼ, a Persian martyrology of ʻAlī and his family.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 566Origin: As appears in colophon on p.426, copied by Walī ibn Shaʻbān (Veli bin Şaban) with transcription completed Muḥarram 1080 [June 1669]. As appears in preceding authorial colophon (also on p.426), composition completed 1 Rajab 981 [ca. 27 October 1573].Accompanying materials: a. Acquisitions slip from Yahuda (paginated pp.1-2) -- b. 46 slips carrying glosses, etc. (paginated, e.g. pp.33-34, 35-36, 37-38, 43-44, etc.).Former shelfmark: From interior of upper cover and fore edge flap label "IL 407" (likely supplied by Yahuda see acquisitions slip).Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap) ; board linings in dull yellow-tinted paper ; upper and lower covers carry blind-stamped mandorla (filled with vegetal composition, compare Déroche class. OSv 1) ; sewn in light brown or grey thread, two stations ; worked chevron endbands in cream and or light yellow, fair condition, some losses to tailband ; overall in fair condition with abrasion, some lifting and losses of leather, minor delamination of upper board, etc. ; numerous repairs to board edges, spine, and flap in red and tan leathers.Support: European laid paper with 6-7 laid lines per cm. (vertical), chain lines spaced 26-27 mm. apart (horizontal), crown-star-crescent watermark (see p.22,23, etc.) and "S S" under trefoil countermark (see p.340) ; sturdy and dense, quite well-burnished.Decoration: Keywords, section headings, and abbreviation symbols rubricated ; overlining in red ; textual dividers in the form of inverted commas in red.Script: Nastaʻlīq (talik) ; an elegant Turkish hand ; virtually serifless with tilt to the right, slight effect of words descending to baseline, partially vocalized ; text following preface (p.14) supplied in a different hand.Layout: Written in 21 lines per page ; frame-ruled.Collation: ii, I+1 (3), 5 V(53), VI (65), 10 V(165), i ; chiefly quinions ; catchwords present ; foliation in black ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes inserts and flyleaves).Colophon: "Authorial" reads "في غرة شهر رجب من شهور سنة احدى وثمانين وتسعمائة حامدا لله تعالى ومصليا ومسلما على رسوله محمد ... آمين" ; "Scribal" reads "قد وقع الفراغ من تنميق هذه النسخة الشريفة على يد احوج الورى الى رحمة ربه الاعلى يوم الاحد في وقت العصر [من المحرم الحرام] ولي بن شعبان غفر الله العافي عنهما ... من شهور سنة ثمانين والف من هجرة من له العز والشرف ... تم تم تم"Explicit: "فعليكم ايها الاخ [الاخوان] بالتقوى والاستعداد للقاء الله عز وجل ونعم الاخرة الحمد لله على التمام لوصول التحرير بالاختتام ... برحمة ربنا ذي الجلال والاكرام ورزقهم الفوز هول يوم القيامة"Incipit: "الحمد لله الذي جعل قلوب العلماء مرايا جمال معاني الهداية ... اما بعد فيقول العبد الفقير الى رحمة ربه وشفاعة نبيه ابو الليث المحرم بن محمد بن العارف بن الحسن الزيلي [؟] ... لما كنت اذاكر كتاب تحفة الملوك ... سألني بعض الطلبة ان اشرحها شرحا يفتح مخفياته وينشر مطوياته ... فاستخرت الله وشرعت الدعاء فالهمني بان ليس للانسان الا ما سعى فطالعت المتون المتداولة والشروح المستعملة مستعينا به ... وسميته هدية الصعلوك في شرح تحفة الملوك ... الحمد لله وسلام على عباده الذين اسطفى ولكن لم يصف الله تعالى بجلال ذاته وكمال صفاته ..."Title from opening matter (preface) on p.12.Ms. codex.7. p.429-430 : [blank].6. p.427-p.428 : [excerpts].5. p.14-p.426 : [continuation of Hadīyat al-ṣuʻlūk fī sharḥ Tuḥfat al-mulūk] / Abū al-Layth al-Muḥarram ibn Muḥammad al-Zīlī.4. p.13 : [waqf statement].3. p.11-p.13 : [preface of Hadīyat al-ṣuʻlūk fī sharḥ Tuḥfat al-mulūk] / Abū al-Layth al-Muḥarram ibn Muḥammad al-Zīlī.2. p.9-p.10 : [contents listing].1. p.1-p.8 : [assorted excerpts].Fine copy of the commentary by Abū al-Layth al-Muḥarram ibn Muḥammad ibn al-ʻĀrif al-Zīlī (al-Zaylāʻī) upon al-Rāzī’s compendium of Ḥanafī law, Tuḥfat al-mulūk. Preceded by contents listing (pp.9-10), along with various excerpts at opening and close of codex.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 327Origin: As appears in colophon at close on p.617, copied by Sulṭān Muḥammad Tāyabādī (who also completed the transcript of Isl. Ms. 286 in Rabīʻ I 1066 / ca. January 1656) with transcription completed in Rajab 1060 [July 1650].Former shelfmark: 187 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark brown leather ; Type III binding (without flap), possibly two-piece binding ; pastedowns and flyleaves in light-blue embossed paper (swirling grape and vine pattern over lined bands) with gold-painted border ; upper and lower covers carry large gold-stamped, scalloped mandorla (filled with vegetal composition, reminiscent of Déroche class. OAi 5), pendants, cornerpieces and bordering lozenges flanked by gold-painted borders in rules and a series of s-shaped stamps ; edges of text block gold and silver-painted with strokes and saz leaf motifs ; sewn in red thread, four stations ; worked chevron endbands in burgandy and gold, good condition ; overall in fair condition with some abrasion, lifting and red rot of leather at corners, board edges and spine.Support: non-European laid paper with roughly 8 laid lines per cm. (vertical or horizontal, fairly distinct, curving) and occasional chain lines faintly visible, beige to light brown in color, burnished ; tinted wove papers have been inserted to protect illuminated decoration at openings (occasional "L-JDL & Co" watermark) ; repairs to tears in leaves using paper ; guards on earlier leaves ; breakthrough along gold frames in some leaves.Decoration: Elegant illuminated headpiece at opening of preface (p.2) consisting of rectangular piece with empty gold cartouche surmounted by scalloped dome each filled with delicated swirling vegetal pattern in gold and white with yellow, red, lavender and green floral accents all on a striking lapis lazuli ground and set in a well of heavy gold interlace flanked by bands of red and light blue with crosses in white and dark blue ; brilliant illuminated double-page opening marks each of the seven mas̲navīs (and each of the two daftars in Silsilat al-ẕahab) on pp.4-5, 108-109, 186-187, 220-221, 268-269, 348-349, 456-457, 554-555, involving rectangular pieces filled with varying vegetal designs on fields of lapis lazuli, gold, etc., bands of gold interlace, and flanking borders of swirling vegetal designs incorporating flowers, saz leaves, etc. ; written area gold-flecked and surrounded by frame of gold, turquoise (pistachio), red and blue bands defined by black fillets ; section headings and some keywords rubricated.Script: Nastaʻlīq ; small, elegant hand in a thin line ; characteristically serifless with gentle effect of words descending to baseline, elongation of horizontal strokes, contrast in thickness of horizontal and vertical strokes, pointing in conjoined or distinct dots, long sweeping shaqq on kāf, point of final or free-standing nūn often omitted but where present set just down in bowl.Layout: Written in 20 lines per page with written area mainly divided to four columns ; frame-ruled.Collation: ii, 37 IV (296), III (302), IV-1 (309), ii ; catchwords present ; leaves between sections left partially blank ; pagination in Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular, in Arabic, reads "تمت الكتاب بعنايت الملك الكريم الوهاب تحريرا فى تاريخ شهر رجب المرجب سنه ١۰۶۰ كتبه سلطان محمد تایبادی"Explicit: "که تا بیند از گوش دل بر کشیم همه گوش کردیم و دم در کشیم"Incipit: "حمد الرب جلیل من عبد ذليیل وسلاما علی حبیب فایق من محب صادق و علی آله المهتدین بنور جماله اما بعد نظم این هفت مثنویست که چون هفت آسمان ..."Title from inscriptions on 'title page' (p.1).Ms. codex.Elegant copy of the seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang. Descriptive contributions from Sarah Mirza.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 326Origin: As appears in colophons on p.143, 198 and 237, daftars of Silsilat al-ẕahab copied by Ghāzī Qulī Arghūn with transcription completed in Sunbul [?] (بلدۀ سنبل) on the 2nd, 21st and 30th of Shawwāl 969 [ca. 5th June, 24th June, 3rd July 1562]. This copyist may have also executed the final mas̲navī (Khiradnāmah-i Iskandarī). As appears in colophons on p.296 and 605, Tuḥfat al-Aḥrār and Yūsuf va Zulaykhā copied by Abū Aḥmad ibn ʻAbd Allāh al-Qāḍī al-Farāhī with transcription of Tuḥfat al-Aḥrār completed 14 Ramaḍān 969 [ca. 18 May 1562] and transcription of Yūsuf va Zulaykhā completed 7 Rabīʻ I 970 [?] [ca. 4 November 1562]. Much of the decoration in the sections executed by these two copyists is similar and was perhaps accomplished by the same craftsman. Transcription of other mas̲navīs likely completed around the same time, though possibly by still a different copyist.Former shelfmark: "152 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in painted lacquerwork with dark brown (to black) leather over spine ; Type III binding (without flap), two piece binding (seam of overlapping flanges visible at spine) ; doublures fine painted lacquerwork with paintings of a tall narcissus-like plant with leaves in shades of green and flowers and buds in yellow with pink accents at the head of a central stalk, flanked by leaves and smaller pink flowers, all on a red ground with border in black with gold accents (composition of upper doublure mirrors that of lower doublure) ; upper and lower covers carry paintings of nearly identical composition in mirror image to one another on an emerald green background, namely a central cluster of peonies, poppies, tulips, roses, irises, etc. with additional buds and floral forms filling the main panel all in shades of pink, light blue, lavender, yellow and white with leaves in various shades of green, and surrounded by a border of floral motifs in shades of blue, red and white on a red ground defined by bands of black with repeating vegetal patterns in bronze-gold ; sewn in blue thread, two stations ; worked chevron endbands in blue and magenta, good condition (partially protected by tabs of extended spine leather) ; overall in fair condition with some cracking and chipping of lacquer, minor delamination at board corners, abrasion of spine leather, etc. ; likely not original to codex ; housed in box for protection.Support: non-European (likely Persian) laid paper of at least two main types ; one type (at the opening and close of the transcript) with roughly 8 laid lines per cm. (horizontal or vertical, somewhat indistinct) and no chain lines plainly visible, thin and transluscent, dark cream in color, well-burnished ; another type with roughly 9 laid lines per cm. (mainly vertical, quite indistinct) and no chain lines plainly visible, dense and sturdy (much thicker than the other type and far less transluscent), dark cream in color, well-burnished ; added leaves at opening and close of codex in Wove paper with grayish hue ; endpapers in European laid paper (three hats, i.e. top hats with feathers, watermark visible in back flyleaf, "A" visible in front flyleaf, compare Eineder no.708), surface dyed a yellow-orange and gold or silver-flecked.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) appears at opening of each section (each mas̲navī and daftars of Silsilat al-ẕahab, pp.146, 200, 240, 398, 480, 608, 732) mainly consisting of rectangular pieces with floral vegetal compositions (in lapis, gold, turquoise, pink, lavender, and white with some interlace and white banding with black crosses) but varying widely ; further illuminated decorations (typically with floral vegetal motifs) appear in the ruled margins. headings typically rubricated or chrysographed but occasionally in blue ; written area throughout (and divisions within, including ruled margins) surrounded by gold frame defined by black fillets with outermost blue (and through p.478 additional red) rule.Script: Nastaʻlīq ; at least three main hands ; hands of the two copyists are quite similar, each in an elegant, medium line, characteristically serifless with gentle effect of words descending to baseline, elongation and contrasting thickness of horizontal strokes, pointing in distinct dots ; a third central hand (see pp.298-478) is more delicate, in a narrower line, less compact with even greater effect of elongation.Layout: Written in roughly 49 lines per page with 17 lines in central written area divided to two columns and 32 lines on the diagonal in the ruled margins ; frame-ruled (impression of ruling board evident).Collation: i, IV +1 (9), IV-2 (15), 8 IV (79), III (85), 3 IV (109), IV + 2 (119), 3 IV (143), III-1 (148), III (154), 4 IV (186), III (192), 5 IV (232), III + 1 (239), III + 1 (246), 6 IV (294), IV + 1 (303), 5 IV (343), III (349), 2 IV (365), 2 II (373), 3 IV (397), IV-4+4 (405), i ; chiefly quaternions ; middle of the quire marks in the form of oblique strokes in black ink appear in the upper outer corner of the right-hand leaf and lower outer corner of the left-hand leaf ; catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Explicit: [Silsilat al-ẕahab] "باتمام رسید کتاب سلسله الذهب روز جمعه بتاریخ سلخ شهر شوال فی تسعه ستین تسعمایه کتبه غازی قلی ارغون تم تم" ; [Tuḥfat al-Aḥrār] "... اتمام انتظام این تحفه در ماه تسبیح وشهر تراویح رابع عشر رمضان المبارک سنه تسع وستین وتسعمایة بر دست ناسخ این نسخه کرامی احقر عباد الله ابو احمد ابن عبد الله القاضی سمت تحریر یافت ...""Incipit: "سر تعریف آنکه بشتابی تا کمال شناخت دریابی ..."Title supplied by cataloguer from edge title.Ms. composite codex.18. p.803-810 : [added leaves ruled but left blank].17. p.732-p.802 : [Khiradnāmah-i Iskandarī].16. p.731 : [blank apart from title statement].15. p.608-p.730 : [Majnūn va Laylá].14. p.606-607 : [blank apart from ownership statements and title statement].13. p.480-p.605 : [Yūsuf va Zulaykhā].12. p.479 : [blank except for title statement].11. p.298-p.377 : [Salāmān va Absāl, on the margins].10. p.298-p.478 : [Subḥat al-abrār].9. p.297 : [blank apart from title statement].8. p.240-p.296 : [Tuḥfat al-Aḥrār].7. p.238-p.239 : [blank apart from title statement].6. p.200-p.237 : [Silsilat al-ẕahab, daftar-i sivum].5. p. 199 : [blank apart from title statement].4. p.146-p.198 : [Silsilat al-ẕahab, daftar-i duvvum].3. p.144-p.145 : [blank apart from ownership and title statements].2. p.19-p.143 : [Silsilat al-ẕahab, daftar-i avval].1. p.1-p.18 : [added leaves with excerpts on opening leaf, otherwise ruled but left blank].Elegant (though acephalous and incomplete) copy of the seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang. Text mainly continues from central written area into the ruled margins of each opening (in certain sections additional catchwords are visible). Descriptive contributions from Sarah Mirza.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 325Origin: As appears in colophon on p.1025, transcription completed in Muḥarram 955 [February or March 1548].Former shelfmark: "132 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in black and dark red-brown (spine, fore edge flap, edges / turn-ins, possibly repairs) leather ; Type II binding (with flap) ; doublures in light brown leather with central mandorla and cornerpieces in filigree appliqué over blue paper as well as gold-painted accents and tooled border ; upper and lower covers carry large block-stamped (two impressions with join visible) and gold-painted recessed rectangular panel filled with symmetrical vegetal composition with chī clouds and floral motifs, surrounded by gold-tooled border in a series of s-shaped stamps defined by gold fillets ; design continues on flap ; fore edge flap stamped and gold-painted, stamp carries "لصاحبه السعادة والسلامة" ; edges of text block gold-painted with floral motifs ; sewn in light red thread, two stations ; worked chevron endbands in lime green and light red, damaged ; overall in somewhat fair condition with some abrasion, staining, lifting of leather, etc. ; repairs in Japanese paper ; housed in box for protection.Support: non-European (likely Persian or Indian) laid paper with 8 laid lines per cm. (horizontal) and no chain lines clearly visible, quite thin, crisp and transluscent, well-burnished ; some staining, tidelines and foxing.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with gold cartouche carrying opening section (preface) title ("ديباجه سبعه") in white surrounded by swirling arabesque with floral motifs (in gold, green, light blue, pink, red, etc.) on fields of lapis lazuli and gold (evoking book cover design), surmounted by gold band with floral motifs in blue and red and rectangular piece with row of swirling arabesque on fields of lapis lazuli and gold (evoking a row of domes), all surrounded by border in blue with white crosses and surmounted by vertical stalks (tīgh) in blue ; additional illuminated headpieces (rectangular) at openings of other sections, mainly the rest of the seven mas̲navīs (p.180, 254, 306, 360, 362, 440, 574, 752, 922) ; written area throughout surrounded by frame of gold band defined by black fillets and outermost gold and blue rules, columns within outlined by narrow gold bands defined by black fillets ; keywords and section headings rubricated.Script: Nastaʻlīq (talik) ; elegant, compact hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 29 lines per page, 17 in left most column(s) with as many as 12 lines on the diagonal in the rightmost column ; written area divided to two and three columns to set-off poetry ; frame-ruled.Collation: ii, V-1 (9), 50 V(509), III-1 (514), ii ; almost exclusively quinions ; pagination in pencil, Western numerals, supplied during digitization (skips two pages between pp.873-874).Colophon: "Scribal," rectangular, mainly in Arabic, reads "تمت السبعه بعون الله وحسن توفيقه يوم السبت من محرم الحرام سنه خمس وخمسين وتسعمائة والحمد لله اولا واخرا باطنا وظاهرا م م م"Explicit: "که تا بیند از گوش دل بر کشیم همه گوش کردیم و دم در کشیم"Incipit: "حمد الرب جلیل من عبد ذليیل وسلاما [؟] علی حبیب فائق من محب صادق و علی صحبه و آله المهتدین بنور جماله نظم این هفت مثنویست که چون هفت آسمان ..."Title from inscription on flyleaf at opening.Ms. codex.Elegant copy of the seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 333Origin: Lacks dated colophon ; paper, decoration, etc. may suggest 17th or even late 16th century.Former shelfmark: "528 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark mahogany leather ; Western style binding (hollow back, not flush, rounded spine, etc.) ; pastedowns and flyleaves in textured and coated, foil-stamped paper (scalloped floral vegetal design in green and gold on white) ; upper and lower covers carry gold-stamped (over onlays, orange leather / shagreen and blue coated and embossed paper) oval central ornament with radiating vegetal design, cornerpieces and border pieces ; on spine, raised bands as well as further stamped ornaments over orange shagreen onlays and at center another oval ornament in green ; eges of text block gilt ; now sewn in white thread over two heavy recessed cords ; stuck-on endbands ; overall in fair condition with some abrasion, staining, lifting of leather, etc.Support: non-European (likely Persian) laid paper with 7-8 laid lines per cm. (mainly vertical, somewhat indistinct) and no chain lines plainly visible, cloudy formation, beige in color, sturdy, well-burnished ; some staining ; replacement leaves in wove paper ; some leaves guarded.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with gold cartouche carrying effaced title in red, surrounded by swirling arabesque (in turquoise, red, gold, etc.) and geometric motifs defined by white bands on a field of blue (approaching lapis lazuli), bordered in heavy band of gold interlace and floral vegetal desgin in gold, red and blue on a black ground, surmounted by scalloped triangular piece or hasp (filled with floral vegetal design on a gold ground) set into a rectangular band filled with arabesque on a blue (approaching lapis lazuli) ground, all surmounted by vertical stalks (tīgh) in blue ; written area throughout surrounded by frame in gold bands with outermost blue rule, columns within written area also bounded by gold rules ; numerous lacunae left, possibly for headpieces and rubricated passages (only opening mas̲navī bears headpiece ; rubricated text has been provided for opening of Silsilat al-ẕahab, see pp.582-605).Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 15 lines per page, written area mainly divided into four columns ; frame-ruled.Collation: i, 3 IV(24), 2 IV-2+2 (40), IV (8), IV-2+2 (56), 3 IV(80), III+1 (87), 5 IV(127), III (133), II (137), 7 IV(179), 2 IV(195), 3 III(213), IV-2+2 (221), III (227), 7 IV(283), II (287), 2 IV(303), 2 III(315), IV (323), III-4+4 (329), II (333), III+2 (341), III-4+4 (347), III (353), i ; mainly quaternions and ternions (some anomalous) ; numerous missing leaves have been replaced but with lacunae left unfilled ; moisture damage or intential removal of text from p.487 ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Incipit: [Yūsuf va Zulaykhā] "الهی غنچه امید بگشای گلی از روضه جاوید بنمای ..."Title supplied by cataloguer.Ms. codex.11. p.582-p.705 : [Silsilat al-ẕahab, daftar-i avval, etc.] / Jāmī.10. p.581 : [blank].9. p.472-p.580 : [Silsilat al-ẕahab, daftar-i duvvum] / Jāmī.8. p.470-p.471 : [blank].7. p.360-p.469 : [Subḥat al-abrār] / Jāmī.6. p.358-p.359 : [blank].5. p.276-p.357 : [Khiradnāmah-i Iskandarī] / Jāmī.4. p.275 : [blank].3. p.146-p.274 : Majnūn va Laylá / Jāmī.2. p.144-p.145 : [blank].1. p.2-p.143 : [Yūsuf va Zulaykhā] / Jāmī.Fine though incomplete copy of the seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang, opening with Yūsuf va Zulaykhā and concluding with Silsilat al-ẕahab (arrangement differs from that outlined in Jāmī's preface). Appears to lack Salāmān va Absāl and Tuḥfat al-Aḥrār.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 450Origin: As appears in colophon at close of Saddi Iskandariĭ on p.530, copied by ʻAbd al-Salām ibn ʻAbd al-Ṣamad al-Marghīnānī al-Kāshgharī with transcription completed 16 Rajab 890 [ca. 29 July 1485] in Herat. Statement at close of Sabʺai saĭër (here entitled Haft paykar) on p.654 indicates completion in Ramaḍān 889 [September-October 1484].Accompanying materials: a. Slip with notes in pencil on dating and copyist [from colophon on p.530] (paginated pp.1-2) -- b. Turquoise-tinted scrap with ḥadīth of the Prophet regarding inscription of the basmalah "قال رسول الله صلى الله عليه وسلم من كتب بسم الله الرحمن الرحيم وجوده فله الجنة صدق حبيب رب العالمين" (paginated pp.3-4) -- c. Recycled slip with notes (likely in hand of Winifred Smeaton Thomas) on paper types and papermaking, "Devlet Shah", etc. (paginated pp.5-6).Former shelfmark: "504 T. De M. [i.e. Tammaro De Marinis" in pencil at close on p.654 ; "٨٩" in black ink on tail edge of text block.Binding: Pasteboards covered in dark brown leather ; Type II binding (with flap, though now lost) ; doublures in red-brown leather with elongated central mandorla and cornerpieces in delicate filigree appliqué over blue paper as well as gold-tooled accents and border ; upper and lower covers carry gold-stamped mandorla (filled with vegetal composition reminiscent of Déroche class NSh 1), pendants, and cornerpieces as well as gold-painted accents and border in blind rules and a series of s-shaped stamps ; sewn in cream thread, two stations ; worked chevron endbands in red and cream, tab extending from spine leather (repair) protects headband, losses to tailband though core and primaries remain ; overall in somewhat poor condition with flap lost, abrasion, staining, lifting of leather, delamination of boards, opening leaf affixed to upper doublure, etc. ; repair to spine (rebacked) in brown leather.Support: non-European laid paper with 7 laid lines per cm. (vertical, fairly distinct, some curving) and chain lines in pairs occasionally visible (see p.32, etc.), cloudy formation, somewhat thin, transluscent and crisp though dense and sturdy, cream color, well-sized and burnished ; staining and tidelines.Decoration: Elegant illuminated headpiece at opening of each mesnevi (see incipit page of opening work and pp.108, 258, 348, 532), rectangular with central scalloped cartouche or lozenge carrying the title in gold (or black) set in a swirling arabesque (in gold, green or red), surrounded by further delicate arabesques (in green-blue and red on gold ground or gold on light blue ground) ; written area surrounded by gold frame defined by black fillets and outermost blue rule, divisions within defined by narrow gold bands ; headings and keywords rubricated.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes.Layout: Written in 21 lines per page with written area divided to four columns ; frame-ruled.Collation: IV (8), IV+1 (17), 3 IV(41), IV+1 (50), 9 IV(122), II (126), III+1 (133), 4 IV(165), IV-2 (171), IV-1 (178), 10 IV(258), II+1 (263), 7 IV(319), III (325) ; chiefly quinions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (skips opening leaf now affixed to upper doublure and includes inserts).Colophon: "Scribal," triangular, reads "توكاندى بنجشنبه كونى رجب آيى ينينك اون آلتى سيندا تاريخ سيكزيوز توقسان دا فى دار السلطنه هراة حميت عن الآفات بيتكجى سى عبد السلم ابن عبد الصمد المرغينانى ثم الكاشغرى غفر الله ذنوبهما وستر عيوبهما امين يا رب العالمين"Incipit: "بسم الله الحرمن الرحيم رشته غه چكتى نجه دريتيم ..."Title from ownership statements inscribed on incipit page at opening and 'title page' of each mesnevi.Ms. codex.Elegant early copy of the five mesnevis of Mir Ali Şîr Nevâî (d.1501), including Ḣaĭratul-abror (حيرت الابرار / Ḥayrat al-abrār), Farhād va Shīrīn (فرهاد و شيرين, entitled Khusraw va Shīrīn in headpiece, see p.108), Laĭli va Mazhnun (ليلى و مجنون / Laylī va majnūn), Saddi Iskandariĭ (سد اسكندرى / Sadd-i Iskandarī, here entitled Iskandarnāmah, see pp.347-8) and Sabʺai saĭër (سبعه سياره / Sabʻa-yi sayyār, here entitled Haft paykar, see pp.531-2).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 855Origin: As appears in colophon on p.624, bulk of manuscript (p.51 to close) copied by Ḥāfiẓ Abū al-Fatḥ ibn Qāḍī Ḍiyāʼ al-Dīn Muḥammad Rāzī (Hafız Ebülfatih b. Kadı Ziyaettin Mehmet Razi) with transcription completed 24 Shaʻbān 1000 [ca. 5 June 1592]. Replacement section (first three gatherings, through p.50) likely dates to early 19th century (ca. 1807-1830) as suggested by paper, hand, and decoration.Accompanying materials: a. Pink card with typed description "[Muḥammad ibn Suleimān, Fuẓulī, d. c. 1562] | Ḥadīqat al-suʻadāʼ. | Turkish. Ms." -- b. Bits of unused "gold" leaf found between pp.384-385 and 412-413 -- c. Pen shaving found between pp.508-509.Former shelfmark: Mich. Isl. Ms. temp. no. 4Binding: Pasteboards covered in a cut velvet printed with a colorful floral pattern incorporating boteh (بوته) and other designs (in shades of blue, red, yellow, and green on grounds of red, white and dark blue) with spine, fore edge flap and edges / turn-ins in dark brown leather (textile faced, leather edged framed binding / frame covers) ; Type II binding (with flap) ; pastedowns and flyleaves in pink-tinted, gold-flecked laid paper ; upper and lower covers carry tooled and gold-painted border ; fore edge flap carries gold-painted designs ; envelope flap also covered in cut velvet ; sewn in dark pink to mauve thread, two stations ; worked chevron endbands in pink and white, fairly good condition ; overall in fair condition though upper cover fully detached, some staining and losses to textile, minor abrasion and staining of leather, etc. ; housed in box for protection.Support: non-European (likely Persian) laid paper with roughly 9 laid lines per cm. (horizontal, quite faint and indistinct) and occasional chain lines faintly visible, cloudy formation, inclusions and fibers visible, thin though quite sturdy, lightly burnished, dark cream to beige in color, some staining and tide lines ; replacement leaves of opening section (through p.50) in European laid paper with roughly 8 laid lines per cm. (vertical), chain lines spaced 29-30 mm. apart (horizontal) and watermarks of lion passant guardant (see p.6,7, 22, 32, 46, 50, etc.) and "AFG" (see p.4,9, 26, etc. i.e. Antonio et Fratelli Galvani, see pp.88-89 in Walz, "The paper trade of Egypt and the Sudan" and compare Eineder nos. 997, 1003, etc. dated 1807), medium cream with a yellow hue, sturdy, and well-burnished ; flyleaves also in European laid paper.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of scalloped dome filled with floral vegetal composition in gold, set in a well of pink, blue and gold bands and surmounted by vertical stalks (tīgh) in red and blue ; written area throughout surrounded by a gold frame defined by black fillets with outermost blue rule ; textual dividers in the form of gold discs on incipit page ; keywords and headings rubricated (red inks of each section distinct).Script: Nastaʻlīq (talik) ; two elegant hands ; both serifless with slight effect of words descending to baseline, elongation of horizontal strokes, mainly closed counters, pointing in distinct or conjoined dots ; hand supplying replacement section at opening (pp.1-50) slightly finer, larger and more compact along the line with large, open and sometimes sweeping descenders, and exaggerated elongation of some horizontal strokes.Layout: Written in 14 lines per page ; frame-ruled.Collation: i, IV-1+1 (8), IV+1 (17), IV (25), IV-1 (32), 4 IV(64), III (70), 23 IV(254), III+1 (261), 6 IV(309), I+1 (312), i ; almost exclusively quaternions ; catchwords present, plainly visible in opening section (through p.50) but mainly cutoff in bulk of codex (p.50 to close) ; foliation in black ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes back flyleaf).Colophon: "Scribal," triangular, reads "تمت الكتاب بعون الملك الوهاب تحريرا فى چهار شنبه اربع وعشرين من شهر شعبان المعظم سنه الف كاتبه الفقير الحقير كثير التقصير حافظ ابو الفتح بن قاضى ضياء الدين محمد رازى غفر ذنوبهما"Explicit: "كل اى حال تكلمدن خبردار ترحم قيل تعرض اتمه زنهار"Incipit: "يا رب ره عشقنده بنى شيدا قيل احكام عبادتى بكا اجرا قيل ..."Title from inscription above headpiece at opening on p.2.Ms. composite codex.Elegant composite copy of Fuzulî’s rendering of the suffering of the prophets, particularly Imām Ḥusayn in the tragedy at Karbalāʼ, drawn from Ḥusayn Vāʻiẓ Kāshifī’s Rawz̤at al-shuhadāʼ, a Persian martyrology of ʻAlī and his family.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 440Origin: Dates in dated pieces range from 1006 [1597 or 8] to 1252 [1843 or 4]. 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: Naskh (nesih), thuluth (sülüs), tawqīʻ (tevki'), 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 divani signed by the calligrapher Mehmet Recai (كتبه الحاج محمد رجائى رئيس الكتاب سابقا) and dated 1186 [1772 or 3].40. fol.20b : unsigned piece in thuluth and naskh, undated.39. fol.20a : unsigned piece in thuluth and naskh, undated (with area left unfilled, perhaps for colophon or icazet text).38. fol.19b : unsigned piece in thuluth and naskh, undated.37. fol.19a : unsigned piece in thuluth and naskh, undated.36. fol.18b : unsigned piece in thuluth and naskh, undated.35. fol.18a : unsigned piece in thuluth and naskh, undated.34. fol.17b : piece in nastaʻlīq signed by the calligrapher Ḥusayn ʻAlī (العبد حسين على كاتب) and undated (set in a border of silhouette paper with floral motifs).33. fol.17a : piece in nastaʻlīq signed by the calligrapher Ḥusayn ʻAlī (العبد حسين على كاتب) and undated (set in a border of silhouette paper with animal motifs).32. fol.16b : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with bird motifs).31. fol.16a : piece in nastaʻlīq signed by the calligrapher Aḥmad al-Ḥusaynī (كتبه المذنب احمد الحسينى) and undated (set in border of silhouette paper with bird motifs).30. fol.15b : unsigned piece in thuluth and naskh, undated.29. fol.15a : piece in nastaʻlīq (talik) signed by the calligrapher Yesari Mehmet Esad Efendi (d.1798) (الفقير محمد اسعد اليسارى) and undated.28. fol.14b : piece in thuluth and naskh signed by the calligrapher Hafız Ahmet (مشقه المذنب الخاظئ السيد حافظ احمد المعروف بتوفيقى) and dated 1196 [1781 or 2].27. fol.14a : piece in thuluth and naskh signed by the calligrapher “جزائري” and dated 1107 [1692 or 3].26. fol.13b : unsigned piece in naskh, undated.25. fol.13a : unsigned piece in thuluth and naskh (opening of müfredat exercises), undated.24. fol.12b : piece in nastaʻlīq (talik) signed by the calligrapher Mehmet Kasim (محمد قاسم) and undated.23. fol.12a : piece in thuluth and naskh signed by the calligrapher Mehmet Şevki Efendi (d.1887) (كتبه العبد الضعيف السيد محمد شوقى) and undated.22. fol.11b : piece in thuluth and naskh signed by the calligrapher İmamzade [possibly Eğrikapılı Mehmet Râsim Efendi (d.1756) who early in his career signed İmamzade] (كتبه امام زاده) and undated.21. fol.11a : unsigned piece in thuluth and naskh, undated (likely accompanying piece on fol.11b).20. fol.10b : unsigned piece in thuluth and naskh, undated.19. fol.10a : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with floral motifs).18. fol.9b : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with floral motifs).17. fol.9a : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with dragon motifs).16. fol.8b : piece in thuluth and naskh approaching tawqīʻ signed by the calligrapher Hafız Osman Efendi (d.1698) (مشقه الفقير عثمان المشتهر بحافظ القرآن) and dated 1098 [1686 or 7].15. fol.8a : unsigned piece in naskh, undated.14. fol.7b : piece in nastaʻlīq signed by the calligrapher Muhammad (محمد) and undated.13. fol.7a : piece in thuluth and signed by the calligrapher Afif (كتبه عفيف) [possibly İbrahim Afif, d.1767] and undated.12. fol.6b : piece in thuluth and naskh signed by the calligrapher Salıh Namık [?] (سوده صالح نامق) and undated.11. fol.6a : piece in thuluth and naskh with icazetname signed by the calligrapher Şekerzade Mehmet Efendi (d.1753) authorizing the student who executed the piece (اجزت لصاحب هذه القطعة الشريفة وضع الكتبة فما كتبه وانا الفقير السيد محمد المعروف بشكر زاده) and dated 1155 [1742 or 3].10. fol.5b : piece in thuluth and naskh signed by the calligrapher Hafız Ahmet (حرره السيد حافظ احمد) and dated 1197 [1782 or 3].9. fol.5a : unsigned piece in thuluth and naskh, undated.8. fol.4b : unsigned frontispiece with excerpt (اول از بالای کرسی بر زمین آمد سخن او دگر ...) in thuluth at center of shamsah, undated.7. fol.4a : unsigned piece in thuluth and naskh, undated.6. fol.3b : piece in nastaʻlīq (talik) signed by the calligrapher Ahmet Çelebi (احمد چلبی) dated 1006 [1597 or 8].5. fol.3a : unsigned composite piece in nastaʻlīq of different sizes, undated.4. fol.2b : piece in thuluth and naskh signed by the calligrapher Mahmut Celalettin (Mahmud Celaleddin Efendi d.1829, نمقه الفقير محمود المعروف بجلال الدين) and undated.3. fol.2a : piece in naskh and thuluth signed by the calligrapher Mehmet Şefik Bey (d.1879) (كتبه محمد شفيق عن خلفا الحاج مصطفى عزت) and signed 1259 [1843 or 4].2. fol.1b : piece in nastaʻlīq (talik) signed by the calligrapher Mehmet Zeynelâbidin Haşimi (حرره المذنب محمد زين العابدين الهاشمى) and undated.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 Marion Frenger, Mamoun Sakkal, and Irvin Schick.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 438Origin: Dated pieces range from 914 [1508 or 9] to 1317 [1899 or 1900]. 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: "210" 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 with the Ottoman arms (upper cover) or crescent and star (lower cover) gold-stamped on bright green satin, outlined in gold-tooled stars and bordered in gold-stamped (with light green-gold onlays) decorative panels in vegetal designs with crescents gold-stamped on mint-green silk 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 silk onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted or marbled ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes) ; two miniatures, one in Indian style, the other Persian, each featuring a pair of lovers.Script: Naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: Twenty-two heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.44. fol.22b : [blank].43. fol.22a : unsigned piece in nastaʻlīq executed in filigree / cut-work, undated (compare Calligraphie islamique: Textes sacrés et profanes, no.140).42. fol.21b : piece in nastaʻlīq (talik) signed by the calligrapher Dedezade (مشقه الفقير الحقير دده زاده) and undated.41. fol.21a : piece in naskh with icazetname for a student of es-Seyyid Mustafa Efendi (من تلاميذ السيد مصطفى افندى) authorizing the student to sign his name to his work and to teach others, undated.40. fol.20b : piece in nastaʻlīq signed by the calligrapher Asad Allāh Shīrāzī (العبد المذنب اسد الله شيرازى) and dated 1254 [1838 or 9].39. fol.20a : piece in celi sülüs signed by the calligrapher Mahmut Celalettin (Mahmud Celaleddin Efendi, d.1829, حرره محمود جلال الدين) and undated.38. fol.19b : piece in thuluth and naskh signed by the calligrapher Mustafa b. Osman Keskin (fl.1758) (الفقير مصطفى بن عثمان المعروف بكسكين) and dated 1172 [1758 or 9].37. fol.19a : piece in nastaʻlīq signed by the calligrapher Mīr ʻImād al-Ḥasanī (d.1615) (مشقه عماد الحسنى) and undated (compare Calligraphy and the decorative arts of Islam, no.7).36. fol.18b : piece in nastaʻlīq signed by the calligrapher Faqīr ʻAlī (فقير على) and undated (compare Calligraphy and the decorative arts of Islam, no.8).35. fol.18a : piece in thuluth and naskh signed by the calligrapher Ahmet b. Ali Kütâhî (سوده احمد بن على المعروف بالكوتاهى) dated 1100 [1688 or 9].34. fol.17b : piece in naskh signed by the calligrapher Hocazade Ahmet (كتبه الفقير الى رحمة القدير السيد احمد المعروف بخواجه زاده) and dated 1161 [1748].33. fol.17a : piece in naskh signed by the calligrapher Derviş Ali [possibly İkinci Derviş Ali, d.1716] (الحقير درويش على) and undated.32. fol.16b : piece in nastaʻlīq signed by the calligrapher Muḥammad Muhtadī (الحقر المذنب محمد مهتدى) and undated.31. fol.16a : unsigned piece in thuluth and naskh, undated.30. fol.15b : piece in thuluth and naskh signed by the calligrapher al-Sayyid ʻAbd Allāh (likely Yedikuleli Seyyid Abdullah, d.1731, "كتبه السيد عبد الله") and undated.29. fol.15a : piece in thuluth and naskh signed by the calligrapher İsmail (اسمعيل, possibly Ağakapılı İsmail Efendi, d.1706) and undated.28. fol.14b : piece in thuluth and naskh signed by the calligrapher İsmail (اسمعيل, possibly Ağakapılı İsmail Efendi, d.1706) and undated.27. fol.14a : piece in nastaʻlīq signed by the calligrapher Muʻizz al-Dīn Muḥammad al-Ḥusaynī (كتبه معز الدين محمد الحسينى) and dated 986 [1578 or 9].26. fol.13b : piece in thluth and naskh signed by the calligrapher Hocazade Mehmet (d.1695) (كتبت له اذنا وانا الفقير محمد خواجه زاده) and dated 1162 [1749].25. fol.13a : piece in thuluth and naskh signed by the calligrapher Şekerzâde Mehmet Efendi (d.1753) (كتبه السيد محمد المعروف بشكر زاده) and dated 1144 [1731 or 2].24. fol.12b : unsigned piece in nastaʻlīq, undated.23. fol.12a : piece in nastaʻlīq signed by the calligrapher ʻAbd al-Bāqī (Abdülbâki / الفقير المذنب عبد الباقى) and undated.22. fol.11b : piece in thuluth and naskh signed by the calligrapher Yedikuleli Seyyid Abdullah (d.1731) (كتبه العبد الفقير السيد عبد الله المعروف بالامام) and dated 1114 [1702 or 3].21. fol.11a : piece in nastaʻlīq signed by the calligrapher Aḥmad Rashīd (الفقير احمد رشيد) and dated 1194 [1780].20. fol.10b : unsigned piece in naskh, undated.19. fol.10a : piece in nastaʻlīq signed by the calligrapher Muḥammad Amīn al-Ḥusaynī al-Tirmidhī (مشقه المذنب محمد امين الحسينى الترمذى) dated 1010 [1601 or 2].18. fol.9b: piece in thluth signed by the calligrapher Hulusi (پر تقصير خلوصى) and dated 1128 [1715 or 16].17. fol.9a : piece in thuluth signed by the calligrapher Hulusi (الفقير خلوصى) and dated 1128 [1715 or 16].16. fol.8b : piece in naskh appearing to be the opening of the piece on fol.8a.15. fol.8a : piece in naskh (appearing to be the continuation of the piece on fol.8b) signed by the calligrapher Yedikuleli Seyyid Abdullah (d.1731) (كتبه العبد الفقير السيد عبد الله المعروف بالامام) and dated 1120 [1708 or 9 ].14. fol.7b : piece in nastaʻlīq signed by the calligrapher Maḥmūd Isḥāq Shihābī (مشقه محمود اسحق شهابى) and undated.13. fol.7a : piece in nastaʻlīq signed by the calligrapher ʻAbd al-Jabbār (الفقير الحقير المذنب الراجي عبد الجبار غفر له) and undated.12. fol.6b : unsigned piece in nastaʻlīq, undated.11. fol.6a : piece in thuluth and naskh signed by the calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876) (حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء) and dated 1288 [1871 or 2].10. fol.5b : piece in thuluth and naskh signed by the calligrapher Hulusi (الفقير خلوصى) and undated.9. fol.5a : piece with text in nastaʻlīq (possibly signed ʻAbd al-Raḥmān) surrounding oval with unfinished drawing.8. fol.4b : piece in nastaʻlīq signed by the calligrapher Mīr ʻAlī ("مشقه المذنب مير على") and undated.7. fol.4a : painting of two lovers, likely Safavid.6. fol.3b : painting of two lovers, in Mughal style.5. fol.3a : piece in nastaʻlīq signed by the calligrapher Badīʻ al-Zamān Quṭbʹshāhī (بديع الزمان قطبشاهى) and undated.4. fol.2b : unsigned piece in nastaʻlīq.3. fol.2a : piece in nastaʻlīq signed by the calligrapher Sulṭān Muḥammad Khandān (سلطان محمد خندان) and dated 914 [1508 or 9].2. fol.1b : piece in thuluth and naskh signed by the calligrapher Mehmet Hilmi (محمد حلمى) and dated 1283 [1866 or 7] with illuminations signed by the illuminator Osman Yümni Efendi (d.1919) (عثمان يمنى) and dated 1317 [1899 or 1900].1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (42 kıt'alar / pieces), many signed, 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. 439Origin: Dates in dated pieces range from 1009 [1600 or 1] to 1211 [1796 or 7]. 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: "211" 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 with the Ottoman arms (upper cover) or crescent and star (lower cover) gold-stamped on bright green satin, outlined in gold-tooled stars and bordered in gold-stamped (with dark green leather onlays) cartouches with crescent and star accents ; 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 or marbled ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper 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: Naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: 19 heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.38. fol.19b : [blank].37. fol.19a : unsigned piece in nastaliq, undated.36. fol.18b : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, نمقه الفقير اسمعيل الزهدى) and undated.35. fol.18a : piece in thuluth and naskh signed by the calligrapher İbrahim Afif (d.1767) (سوده ابراهيم عفيف) and undated.34. fol.17b : piece in nastaʻlīq (talik) signed by the calligrapher Şeyhülislam Veliüddin Efendi (d.1768) (العبد الداعى ولى الدين المفتش باوقاف الحرمين) and dated 1142 [1729 or 30].33. fol.17a : piece in thuluth and naskh signed by the calligrapher Usturacızade Mehmet Şehri (d.1740) (سوده الفقير محمد المعروف بشهرى) and undated.32. fol.16b : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, كتبه العبد الضعيف اسمعيل الزهدى) and undated.31. fol.16a : unsigned piece in thuluth and naskh, undated.30. fol.15b : piece in nastaʻlīq (talik) signed by the calligrapher Şeyhizade Mehmet Şihabuddin (الفقير حرقه شريفه شيخى زاده السيد محمد شهاب الدين) dated 1211 [1796 or 7].29. fol.15a : unsigned piece in thuluth and naskh, undated.28. fol.14b : piece in nastaʻlīq signed “بنده درگاه صفی” and dated 1182 [1768 or 9].27. fol.14a : piece in thuluth and naskh signed by the calligrapher Hüseyin Hamid (d. after 1787) (كتبه العبد الضعيف السيد حسين الحامد) and dated 1181 [1767 or 8].26. fol.13b : piece in nastaʻlīq signed by the calligrapher Sulṭān Ḥusayn (نمقه سلطان حسين) and undated.25. fol.13a : piece in thuluth and naskh signed by the calligrapher Hafız Yusuf Efendi (d.1787) (كتبها عبد مذنب لا طاعة له يوسف المعروف بحافظ القرآن) and undated.24. fol.12b : unsigned piece in nastaʻlīq (talik), undated.23. fol.12a : unsigned piece in thuluth and naskh, undated.22. fol.11b : unsigned piece in thuluth and naskh, undated.21. fol.11a : piece in nastaʻlīq signed by the calligrapher Mīr ʻImād al-Ḥasanī (d.1615) (الفقير الحقير المذنب عماد الحسنى) and dated 1009 [1600 or 1].20. fol.10b : piece in nastaʻlīq signed by the calligrapher Muḥammad ʻAlī (الفقير محمد على) and undated.19. fol.10a: piece in nastaʻlīq (talik) signed by the calligrapher Mehmet Refi Efendi (d.1769) (الفقير المذنب محمد رفيع) and undated.18. fol.9b : piece in thuluth and naskh signed by the calligrapher Ebubekir Raşit (d.1782) (سوده اضعف المذنبين ابو بكر راشد) and undated.17. fol.9a : piece in nastaʻlīq signed by the calligrapher Shāh Maḥmūd al-Nishāpūrī (fl.1517-1572) (كتبه المذنب شاه محمود النشابورى) and undated, on textile.16. fol.8b : unsigned piece in thuluth and naskh, undated.15. fol.8a : unsigned piece in thuluth and naskh, undated.14. fol.7b : unsigned piece in thuluth and naskh, undated.13. fol.7a : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, كتبه اسماعيل الزهدى) and undated.12. fol.6b : piece in nastaʻlīq (talik) signed by the calligrapher Durmuşzade Ahmet (d.1717) (الفقير المذنب احمد المدعو بطورمش زاده) and dated 1107 [1695 or 6].11. fol.6a : piece in nastaʻlīq (talik) signed by the calligrapher Durmuşzade Ahmet (d.1717) (الفقير المذنب احمد المدعو بطورمش زاده) and dated 1107 [1695 or 6].10. fol.5b : piece in nastaʻlīq signed by the calligrapher Aḥmad al-Ḥusaynī (كتبه العبد احمد الحسينى) and undated.9. fol.5a : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (حرره الفقير الى رحمة ربه القدير محمد راسم) and undated.8. fol.4b : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (نمقه الفقير محمد راسم) and undated.7. fol.4a : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (حرره الفقير محمد راسم) and undated.6. fol.3b : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (نمقه محمد راسم) and undated.5. fol.3a : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (حرره محمد راسم) and undated.4. fol.2b : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (نمقه محمد راسم) and undated.3. fol.2a : unsigned piece in nastaliq, undated.2. fol.1b : piece in thuluth and naskh signed by the calligrapher Mehmet Nuri Musa Efendizade (العبد المذنب محمد نورى بحافظ القرآن موسى افندى زاده) dated 1193 [1779 or 80].1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (36 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. 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. 384Origin: Lacks dated colophon ; paper, decoration, etc. suggest 18th century. Statement in red ink accompanied by dated seal impression on 'title page' (p.3) provides a terminus ante quem of 1846 (i.e. 12 Jumādá II 1262 = ca. 8 May 1846).Former shelfmark: "584 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark red leather ; Type II binding (with flap), likely two-piece binding (seam of overlapping flanges barely visible at spine) ; pastedowns and flyleaves in an elegant marbled paper (mainly in red and dark blue or green) ; upper and lower covers carry stamped and gold-painted mandorla (filled with vegetal composition, compare Déroche class. NSd 7) and pendants, as well as a tooled border in a series of s-shaped stamps evoking guilloché roll in gold ; design continues on envelope flap ; sewn in pink thread, two stations ; worked chevron endbands in deep pink and pale yellow (or cream), good condition ; overall in somewhat poor condition with flap fully detached, some staining, minor abrasion, etc. ; housed in box for protection.Support: non-European (likely Persian) and European laid paper of several types ; first half of codex mainly in non-European (likely Persian) laid paper with 8 laid lines per cm. (mainly vertical, fairly distinct) and occasional chain lines visible, quite thin and transluscent though sturdy, well-burnished, dark cream in color ; second half of the codex in several European laid papers, mainly with raisin watermarks including paper with 11-12 laid lines per cm. (mainly horizontal), chain lines spaced 26 mm. apart (mainly vertical) and watermarks of grapes under name and crown (see p.546, 552, etc.) and names (see p.542, 550, etc.) and paper with 11 laid lines per cm. (vertical), chain lines spaced 22-24 mm. apart (horizontal), and watermark of grapes under crown (see p.714, etc.) ; flyleaves in European laid paper (watermark of lion guardant visible in front flyleaf, p.2) ; significant breakthrough at frames (border at inner margin toward gutter in practically every leaf in the first four gatherings) ; leaf carrying p.471-472 delaminating.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.4, consisting of scalloped w-shaped piece with central gold cartouche (carrying the title in white "هذا شرح وصاف") surrounded by swirling floral vegetal composition in gold, pink, light blue, white, orange, red, etc. on a pale gold ground, surmounted by vertical stalks (tīgh) in dark blue with gold accents, entire piece set in a well consisting of bands of red with white accents, white with dark blue accents, and heavy gold interlace with red and white accents ; other similar illuminated headpieces at the openings of other sections on p.262 and 444 ; written area of incipit and facing page surrounded by heavy "gold" frame defined by black fillets, elsewhere written area surrounded by narrower gold frame black fillets ; keywords rubricated ; passages being commented upon (matn of Tārīkh-i Vaṣṣāf) overlined in red ; textual dividers in the form of red discs.Script: Nastaʻlīq (talik) ; compact, elegant hand ; serifless, with slight effect of words descending to baseline, closed counters, elongated horizontal strokes, pointing in strokes rather than distinct dots.Layout: Written in 27 lines per page ; frame-ruled.Collation: ii, 34 V(340), IV (348), VI (360), IV+1 (369), i ; chiefly quinions ; catchwords present ; page between first and second volume left blank (p.261) ; quire numbering in the form of Hindu-Arabic numerals in black ink, recto of opening leaf of each from the second ; foliation in red ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes inner front flyleaf and skips two pages each between pp.83-84, 103-104, 353-354).Explicit: "العباد شايان اولدوغى كبى ومثل هذا التسهيل قد سهل الله سبحانه وتعالى علينا ما رمناه من المقاصد الغالية والحمد كل الحمد لربنا رب المبدعات من العشرة العالية ... ونستغفره ونتوب اليه ونسأله العفو والعاقبة انه هو البر الرحيم تم"Incipit: "الحمد لله الذي رفع سبع طباق الخضراء بغير عمد ترونها واوحى بمقتضى حكمته في كل سماء امرها ... وبعد دل ارباب ذوى اللب والالباب ... كه بوندن اقدم شهرت يافتۀ اشتهار آفتاب عالمتاب اولان تاريخ وصاف عبارات مشكله وفقرات معضله ولغات عربيۀ مختلفه يعنى عربيه وفارسيه وچاغتالى ومغلى وخوارزمى ومصطلحات علوم صرف ونحو وعروض ومسيقى وايقاع وهندسه وحساب ومنطق وحكمت وكلام وساير مصطلح غريب اوزرينه ..."Title from illuminated headpiece at opening (p.4).Ms. codex.Elegant copy of the commentary by Bagdatlı Nazmizade Hüseyin Murtaza Efendi (d.1721 or 2?) on Vaṣṣāf’s Tajziyat al-amṣār wa-tazjiyat al-aʻṣār or Tārīkh-i Vaṣṣāf, 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. Several volumes in one. Contributions to the cataloguing from Eren Miyasoğlu and Hossein Mottaghi.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 957Origin: As appears in colophon on p.114, transcription of main work completed Rajab 1131 [May-June 1719]. As appears on p.120, text of the Istikhārah apparently entered 1271 [1854 or 5] and of following fāʼidah 1281 [1864 or 5].Former shelfmark: Mich. Isl. Ms. temp. no. 106Binding: Boards covered in textured black cloth (repeating vegetal patern) with black leather over spine (quarter binding) ; Western style binding ; pastedowns and flyleaves in wove paper printed with a floral vegetal pattern in pink and green ; spine gold-stamped with title and decorative accents over raised bands "در الفاخرة" ; sewn in white thread over three recessed cords ; overall in fairly good condition with minor abrasion, moisture and pest damage.Support: European laid paper of at least two types ; through p.66 in type with 11-12 laid lines per cm. (vertical), chain lines spaced 22-24 mm. apart (horizontal), and watermark of grapes (raisin) with stem under cartouche and crown (see pp.20, 22, 28, 32, 34, etc.), thin though sturdy, dark cream to beige in color, burnished ; from p.67 mainly in a similar "raisin" type with 11 laid lines per cm. (vertical), chain lines spaced 23-24 mm. apart (horizontal), and watermark of grapes (raisin) under cartouche with initials "I S B" and crown (see pp.70, 76, 84, 88, 98, etc.), thicker and sturdier, medium cream in color, burnished ; final gathering in still possibly another type, lighter in color and well-burnished, though otherwise quite similar.Decoration: Keywords, section headings and abbreviation symbols (mainly two-teeth stroke overlining keywords) rubricated.Script: Nastaʻlīq (talik) and naskh ; mainly two clear Turkish hands, each in a medium to bold line ; opening through opening lines of p.66 in nastaʻlīq (talik), serifless with effect of inclination to the right, slight effect of words descending to baseline, some elongation of horizontal strokes, pointing mainly in strokes rather than distinct dots ; p.66 through close of main work on p.114 in naskh, mainly serifless with effect of tilt to the left, curvilinear descenders, pointing in strokes rather than distinct dots ; final works in various hands.Layout: Written in 15 lines per page ; frame-ruled.Collation: i, 6 V(60), i ; exclusively quinions ; middle of the quire marks in the form of ه (hāʼ or khamsah) in black ink on the upper outer corner of the left-hand leaf ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Colophon: "Scribal," rectangular, reads "قد وقع الفراغ من تحرير الدقائق اخبار [كذا] في شهر رجب بعد النصف سنة احدى وثلثون ومائة والف سنة ١١٣١"Explicit: "قال انبي عليه السلام ان اهل الجنة يخرج من اجسادهم يأكلون وشربون ثم يصير طعامهم ريحا كريح المسك والكافور اللهم ادخلنا الجنة بمنك وكرمك امين والحمد لله وحده وصلى الله على سيدنا محمد وعلى اله وصحبه وسلم تسليما كثيرا الى يوم الدين امين تمت"Incipit: "وقد جاء في الخبر ان الله تعالى خلق الشجرة [شجرة] ولها اربعة اغصان فسماها شجرة اليقين ثم خلق نوب محمد عليه السلام في حجاب درة بيضاء مثله مكثل الطاوس ووضعه على تلك الشجرة فسبح عليها مقدار سبعين الف سنة ثم خلق الله تعالى مرآة الحياة ..."Title from inscription on 'title page' (p.3).Ms. codex.Careful copy of ʻAbd al-Raḥīm ibn Aḥmad al-Qāḍī's eschatological work on events of the end of time and the afterlife drawn from assorted ḥadīth. Followed by several brief excerpts at close (from p.114 including "Istikhārah ʻaẓīmah" on pp.116-120), all likely entered later.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 1003Origin: Lacks dated colophon ; paper, hand, etc. may suggest 19th century.Former shelfmark: Mich. Isl. Ms. temp. no. 152Binding: Boards covered in dark green textured cloth with dark green leather over spine (quarter binding) ; Western style binding ; pastedowns and flyleaves in wove paper printed with a floral vegetal pattern in green ; spine gold-stamped with "الصراح في الغريب | جمال القرشي | J.H.D." ; now sewn in white thread over recessed cords, false raised bands at spine ; overall in fairly good condition with minor fraying of cloth at board corners.Support: non-European laid paper with 7 lines per cm. and chain lines unclear, cloudy formation with fibers visible, lightly burnished ; final leaf anomalous, European paper with 10 laid lines per cm. (vertical) and chain lines horizonal spaced 28 mm. apart ; insect damage throughout (small holes), some repaired with paper fills (sometimes partially obscuring text) ; edges and corners of some pages filled with non-European paper ; first page re-mounted on non-European paper ; water-damage (discoloration, cockled pages) ; on bottom corners of last few quires old adhesive from repairs causing several pages to stick together at edges.Decoration: Occasional keywords and section headings rubricated ; overlining in red.Script: Nastaʻlīq ; several hands ; all mainly serifless with effect of words descending to baseline, contrast in thickness between vertical and horizontal strokes, horizontal lengthening of letters, pointing in conjoined dots and stroke looking like upside down comma, use of hāʼ makhṭūfah for initial hāʼ and hāʼ mudghamah for medial hāʼ ; at pp.559-560 hand changes abruptly to much thinner line, more condensed with more words per line.Layout: Written in 23-25 lines per page ; frame-ruled.Collation: 66 IV (528), IV+3 (539) ; exclusively quaternions ; middle of the quire marks in the form of oblique strokes in black ink on top outer corner of right-hand page and bottom outer corner of left-hand page (sometimes one vertical stroke and one diagonal) ; catchwords present ; irregular Western numerals in pencil appear in top left corner of some rectos (see p.21, 81, 161, 201, etc.), reverse of text direction ; pagination in pencil, Western numerals, supplied during cataloguing.Explicit: "الدخول كانهم اي من اجل الدخول و توضع موضوع علي قوله تع و منهم من"Incipit: "قال الفقير الى مولاه الغني ... ابو الفضل محمد بن عمر بن خالد المدعو بجمال القرشي ... احمد الله وهو المحمود بكل اللغات وجلها واشكره وهو المشكور على كثير الهان ... وبعد فان صحاح اللغة دواء العلة لسقام الجهل وشقاء الغلة ازوي الفعل ..."Title from inscription on 'title page' (p.1).Ms. codex.Fine copy of the abridgement and rendering into Persian by Abū al-Faz̤l Muḥammad ibn ʻUmar ibn Khālid Jamāl al-Qarshī of the renowned Arabic lexicon, Tāj al-lughah wa-ṣiḥāḥ al-ʻArabīyah, commonly known as al-Ṣiḥāḥ, by Abū Naṣr Ismāʻīl ibn Ḥammād al-Jawharī (d.1009?). Description provided mainly by Sarah Mirza.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 951Origin: As appears in colophon on p.550, copied by al-Sayyid ʻIwaḍ al-Rashīdī (İvaz Reşidî) with transcription apparently completed Jumādá II 1271 [February-March 1855].Former shelfmark: Mich. Isl. Ms. temp. no. 100Binding: Boards (ill-trimmed and possibly recycled, see upper board under board lining stamped with "423 CLOCHETTE 2M" and star in circle below) covered in a floral-print textile (cretonne) ; Type III binding (without flap), tight back though with squares rather than boards cut flush with text block ; pastedowns and flyleaves in untinted European laid paper with three crescents (tre lune) watermark ; sewn in cream thread, two stations ; worked chevron endbands in red and pink ; overall in fair condition with some staining and abrasion, detaching at spine, etc. ; likely not original, traces of earlier spine lining (through which primaries have been sewn) visible.Support: Machine wove paper, dark cream to beige in color, well-burnished ; some offset of ink and blocking, staining, and pest damage ; flyleaves and pastedowns in European laid paper with three crescents (tre lune) watermark.Decoration: Keywords and section headings rubricated ; textual dividers in the form of red discs.Script: Nastaʻlīq (talik) ; compact Turkish hand in a medium line ; serifless with effect of inclination to the right, slight effect of words descending to baseline (occasionally more exaggerated), some elongation of horizontal strokes and sweeping descenders, pointing in strokes rather than distinct dots.Layout: Written in 23 lines per page ; frame-ruled (impression of ruling board evident).Collation: ii, 27 V(270), II (274), v (ternion with final leaf pasted down) ; almost exclusively quinions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves and mistakenly skips two pages between pp.435-436).Colophon: "Scribal," reads "وقد وقع الفراغ من تحريره يوم الاثنين [؟] من جمادى الاخر سنة الف ومائة واثنين وستين بعون الله ومنه تم بقلم الفقير اليه سبحانه السيد عوض الرشيدي في جمادى الثانية سنة الف ومائتين وواحد وسبعين وصلى الله على سيدنا محمد وعلى اله وصحبه وسلم تسليما كثيرا الى يوم الدين م"Explicit: "وقد مر ذلك ولو ذكرت احرف الجر ودخول بعضها على بعض لجاء من ذلك امثلة كثيرة وهذا اخر ما تيسر ايراده في هذا التعليق اسأل الله الذي من علي بانشائه واتمامه ... ان يحرم وجهي النار ... انه حكيم كريم رؤوف رحيم"Incipit: اما بعد حمدا لله تعالى على افضاله والصلوة ... فان اولى ما تقترحه القرائح واعلى ما تجنح الى تحصيله الجوانح [ما يتيسر] به فهم كتاب الله المنزل ويتضح به معنى حديث [نبيه المرسل] ..."Title from 'title page' (p.5).Ms. codex.Fine copy of Ibn Hishām’s (d.761/1360) celebrated treatise on Arabic syntax, arranged by particle.
Manuscript. Persian. Title from fol. 1a. Ghulām Nabī walad Miyān ʻAbd al-Ghafūr. Copied in Pir Ramzan Ghazi neighborhood, Multan, Pakistan. Paper: glossy laid paper of varying thickness with no visible chain-lines or watermarks; small unwan in red, green, gold and black ink with a thick black border; black ink, section headings in red ink; catchwords on rectos. Nastaʻliq; 13 lines in written area 14.5 x 8.3 cm. Folios 1b-135a. Library of Congress. Persian manuscript, 1. Contemporary red Indian binding. Also available in digital form on the Library of Congress website. Incipit: هذه النسخة المسماة هشت بهشت من تصنيف ختم الشعراء وافصح الفصحاء دركاه اله امير خسرو ... Colophon: تمت تمام كتاب هشت بهشت از يد فقير حقير پير تقصير غلام نبي ولد ميان عبد الغفور ... ساكن محله پير رمضان غازي ...Manuscript.
Manuscript. Persian Caption title. Scribe not identified. Gift of Cyrus Ebrahim Zadeh, Nov. 9, 2009. Written in Iran? Paper: yellowish, polished cream color commercial paper with no visible watermarks; black ink, with rubrication and overlining in red; catchwords. Nastaʻliq; 15 lines in written area 13 x 6 cm. 1b-104a. Library of Congress. Manuscript, M306. Binding: brown leather frame and spine with embossed edges and red center panel.Manuscript.
Manuscript. Persian. Title from fol. 1a. Name of scribe not indicated. Probably written in India. Paper; cream-color, unpolished laid-paper; with horizontal chain lines and no visible watermarks; manuscript appears to be an older manuscript (perhaps 18th century) with missing sections and conclusion added by a later hand and dated 1238 [1822 or 1823], paper of newer section is also laid paper with horizontal chain lines and no watermarks but of a more recent date; older section has text within a ruled border in gold and red ink; newer sections lack border; some interleaved pages; both sections written in black ink with rubrication; numerous marginal glosses; catchwords on some leaves. Nastaʻliq and naskh; 11 lines (nastaʻliq pages), and 13 lines (naskh pages); in written area 15.3 x 10 cm. Text: fol. 2b-136b. Library of Congress. Persian manuscript, M81b. Disbound; original marbled cardboard binding included in case. Also available in digital form on the Library of Congress website.Manuscript.
Manuscript. Persian. Caption title. Scribe not identified. Gift of Cyrus Ebrahim Zadeh, Nov. 9, 2009. Possibly written in northern Iran. Paper: tan colored glazed laid paper with horizontal chain line and obscured armorial watermark, and countermark G M ; black ink in cursive Nastaʻliq; catchwords; lacuna from Folio 1-26 caused by insect or rodent damage, with some loss of text. Nastaʻliq; 13 lines in written area 17 x 9 cm. Folio 1b-65b; 66a notes in Persian and Armenian. With: Badīʻī Tabrīzī. Hāz̲ā kitāb-i Mus̲allas̲ah. [May 1867]. Library of Congress. Manuscript, M307a. Binding: medium brown leather with embossed gold center medallions front and back.Manuscript.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 321Origin: As appears in colophon on p.373, copied by Muḥammad al-Sāvajī with transcription completed 1280 [1863 or 4].Former shelfmark: "214 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf ; "25 / 13" inscribed in pencil on 'title page' (p.1).Binding: Pasteboards covered in gray leather (pebbled quality of shagreen) ; Type III binding (without flap), two-piece binding (overlapping flanges visible at spine) ; doublures in red leather with gold-painted rule-borders ; upper and lower covers carry traces of gold-painted (now gone to green) rectangular panel and border ; sewn in lime green and red thread, two stations ; worked chevron endbands in pink and yellow, good condition ; overall in fair condition with some abrasion, staining, etc. ; upper cover fully detached with spine flange intact ; housed in box for protection.Support: non-European (likely Persian or Indian) laid paper with 11 laid lines per cm. (horizontal, fairly distinct) and chains occasionally visible, quite sturdy though transluscent, extremely well-burnished to glossy.Decoration: Exquisitely rich illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of rectangular piece with gold cartouche carrying the title in red ( "هذا كتاب خواجه حافظ شيرازى عليه الرحمه" ) flanked by gold accents with swirling arabesque red-orange, pink, green, etc. on fields of black and blue (lapis lazuli), surmounted by tall scalloped w-shaped piece with inset domes all filled with elaborate swirling arabesques with floral accents in gold, white, turquoise, red, pink, yellow, etc. on fields of blue (lapis lazuli) and gold, itself set into an elaborate well of bands in turquoise, red, white, and red-orange with arabesque and chī cloud design on black ground ; entire piece bordered by gold interlace or ropework border ; incipit and facing page carry richly executed illuminated marginal decoration in the form of swirling arabesques over various shapes in gold, red, black, turquoise, lapis lazuli, pink, lavender, green, white, etc. ; written area throughout surrounded by a heavy frame of gold, red, blue and turquoise bands with outermost blue rule ; area of margins outlined in red and gold ; text of incipit and facing page set off with gold cloud-bands ; occasional floral vegetal accents gold etc. appear occasionally between sections of text.Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 14 lines per page ; written area divided to two columns to set-off poetry ; frame-ruled.Collation: ii, V (10), 4 IV(42), V (52), 2 II(60), 13 IV(164), II (168), 2 IV(184), II (188) ; chiefly quaternions and binions ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," rectangular, in Arabic, reads "مشقه العبد المذنب الفقير الحقير العاصى محمد الساوجى سنه ۱۲۸۰"Explicit: "خاموش نشین که وقت خاموشی تست دم در کش و صراحی می و پر می کن"Incipit: "الا یا ایها الساقی ادر کاسا و ناولها که عشق آسان نمود اول ولی افتاد مشکلها ..."Title from illuminated headpiece at opening on p.2.Ms. codex.Richly elegant copy of the Dīvān of the masterful poet Ḥāfiẓ (Khvājah Shams al-Dīn Muḥammad Shīrāzī, d.1390?).
Origin: Lacks dated colophon ; paper, decoration, hand, etc. would suggest 18th century.Former shelfmark: "42" in pencil on front flyleaf.Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 1057Binding: Pasteboards covered in light brown leather ; Type II binding (with flap), two-piece binding (seam of overlapping flanges visible on spine) ; present pastedowns and flyleaves (as well as lining of envelope flap) in marbled paper (blue, lavender, yellow and pink) ; upper and lower cover carry gold-stamped mandorla (gold applied to orange onlays, scalloped and filled with floral composition), as well as gold-painted border of rules, rosettes and accent strokes (frame lightly stamped with geometric design) ; design continues on flap ; sewn in white thread, two stations ; worked chevron endbands in purple and white, primaries / tie downs also in white, quite good condition ; overall in good condition with minor abrasion, losses of gold, etc.Support: non-European (likely Persianate) laid paper with 7 laid lines per cm. (vertical, some curving and sagging) and faint traces of chain lines only occasionally visible ; somewhat cloudy formation with inclusions and clumps of fiber visible ; well-burnished to glossy and likely surface sized, thin and crisp though sturdy, medium beige in color ; slip of lavender wove paper interleaved between fol.1-2, presumably to protect illuminated headpiece.Decoration: Added illuminated titlepiece in gold and blue on fol.1a ; elegant and finely executed illuminated headpiece at opening on fol.1b consisting of w-shaped piece filled with swirling vegetal designs in gold outlined in orange on a blue ground set off by delicate floral accents in blue, white, pink, lavender, red and orange, all surmounted by vertical stalks (tīgh) in blue and set in a well of gold and black interlace flanked by orange and white bands with contrasting red and blue crosses ; written area gold-flecked and surrounded by frame consisting of a gold band outlined in black fillets ; keywords and headings rubricated.Script: Nastaʻlīq ; chiefly an elegant Persianate hand in a thin line ; small, characteristically serifless with gentle effect of words descending to baseline ; elongation and slight contrasting thickness of horizontal strokes ; elegant shaqq / sar-kash (gently curving upward) on even final kāf ; pointing in distinct dots, though somewhat casual with occasional dots omitted ; point of final and free-standing nūn set down at center of somewhat narrow, angled bowl ; ʻalāmat ihmāl of three dots regularly appears under sīn.Layout: Written mainly in 19 lines per page (single column) ; frame-ruled.Collation: ii, 11 IV(88), 3 III(106), 3 IV(130), III (136), 3 IV(160), III (166), 4 IV(198), III (204), 2 IV(220), III+1 (227), III (233), IV (241), I (243), 2 III(255), III+1 (262), 6 III(298), IV (306), 3 III(324), I (326), ii ; chiefly quaternions and ternions ; catchwords present ; foliation in black ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during cataloguing.Dedication: As appears in opening matter on fol.3b, composed for Sulṭān Saʻīd Bahādur Khān (سلطان سعيد بهادر خان).Incipit: "فهرست قسم علمى از كتاب تحفه خانى مصنف حضرت ايشان سلمه الله و ابقاه [ابغاه] برءوس [رؤوس] العالمين الى يوم الدين باب اول در بيان قسم علمى كتاب و اين باب مشتمل بر نود و سه مقاله است ... الحمد لله الذى خلق الانسان فى احسن تقويم و هو يحيى العظام و هى رميم و الصلوة والسلام على حبيبه ونبيه شفى آلام الضلاله و اسقام الجهالة و على اله و اصحابه هم الهادين الى طريق الحق و سبيل الداله اما بعد عرض مدارد راقم اين سواد حقير قليل البضاعه محمود بن محمد عبد الله بن محمود نور الله انار الله مضاجعه كه جون در اوان شباب بواسطه كثرت طريان بعضى امراض مراين ضعيف را ..."Title from illuminated titlepiece (chrysographed inscription set off by blue and gold cloudbands) on fol.1a (‘title page’).Ms. codex.Elegant copy of a Persian medical treatise by Maḥmūd ibn ʻAbd Allāh ibn ʻUbayd Allāh ibn Maḥmūd Nūr Allāh (fl. 15th century), followed by an appendix (ẕayl, cf. fol.283 to close). Compare Kitābkhānah-i Millī no.2876, Fihrist-i nusakh-i khaṭṭī-i Kitābkhānah-i Millī (Iran), v.6, pp.553-4.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 670Origin: As appears in colophon on p.753, copied by ʻImād ibn Muḥamad ʻImād. Date of transcription not specified. Paper, decoration, etc. suggests 16th or early 17th century. Ownership statement provides a terminus ante quem of 1629.Accompanying materials: a. Acquisitions slip from Yahuda -- b. Inventory cataloguing slip in hand of Winifred Smeaton Thomas.Former shelfmark: From upper board lining and spine label, "IL 9" (likely supplied by Yahuda, see acquisitions slip).Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap, now fully detached) ; currently two piece binding (overlapping flanges visible at spine, may represent repair / reback) ; board linings in peach laid paper, hinges in yellow paper ; upper and lower covers carry stamped (and once gold-painted) scalloped mandorla filled with vegetal composition (compare Déroche class. OAi 7) set off by gold-painted strokes, tooled rosettes and chain border ; design continues on flap ; sewn in golden yellow thread, two stations, sewing failing ; worked endbands in golden yellow and metallic threads, only primaries and core with a few threads of headband remain, primaries sewn through textile spine lining ; overall in somewhat poor condition with flap fully detached from lower cover, cover almost fully detached from text block at spine except for intact primaries at headband, extensive abrasion, some lifting and losses of leather, etc. ; extensive repairs (also damaged) in brown leather including edging (which has been tooled in a series of s-shaped stamps) on upper and lower covers as well as head and tail of fore edge flap and likely reback ; housed in box for protection.Support: non-European (likely Persian) laid paper with roughly 8 laid lines per cm. (vertical, somewhat indistinct, fairly straight) and chain lines (possibly grouped in pairs) occasionally visible, cloudy formation, thin and transluscent though sturdy, well-burnished, dark cream to beige in color ; back flyleaf in European laid paper with anchor in circle watermark.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.30 consisting of rectangular piece with almond-shaped gold cartouche carrying title and flanking pieces all evoking bookcover design, set in field of dark blue with delicate vegital motifs in gold, green, red, white, light blue and yellow, bordered in band of dark blue with white crosses and dots flanked by two narrow gold bands ; written area and ruled margins surrounded by gold frame with outermost blue rule, narrower gold band defines central written area and triangular accents on margins within (occasionally filled with floral motifs) ; keywords rubricated ; textual dividers in the form of three dots in redScript: Nastaʻlīq ; small compact Persianate hand in a medium line ; characteristically serifless with slight effect of inclination to the left and of words descending to baseline, elongation of horizontal strokes, pointing in distinct dotsLayout: Written in 51 lines per page, 17 lines in central written area and 34 lines of gloss on the diagonal in the ruled margins ; frame-ruled.Collation: IV-2 (6), 21 IV (174), IV+1 (183), III (189), III+1 (196), 2 III (202), 5 IV (248), III + 1 (255), 14 IV (372), III-1 (376), i ; leaves between opening contents listing and opening of text originally left blank (pp.21-29) ; middle of the quire marks in the form of ه (numeral khamsah or letter hāʼ) in black ink in the upper outer corner of the left-hand leaf ; catchwords present ; foliation in red ink, Hindu-Arabic numerals from pp.353-377 and in black ink from pp.379-753, beginning with Arabic numeral 38 ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," mainly Arabic, reads "تمت الكتاب بعون الله الملك الوهاب والحمد لله اولا واخرا وظاهرا وباطنا وصلى الله على محمد واله الطيبين وعترته الطاهرين اجمعين وسلم تسليما كثيرا كثيرا على يد الفقير الحقير تراب اقدام الفضلا عماد بن محمد عماد ... گر بهم برزده بینی خط من عیب مکن که مرا محنت ایام بهم برزده است"Incipit: [matn] "بسم الله الرحمن الرحیم رب سهل و تمم بالخیر الحمد لمن وفقنا امداد حمد بی عد و اعداد سپاس بی قیاس مبدعی را که آثار ابداع او بر هر ورقی از اوراق و شجری از اشجار سمت ..." ; [ḥashiyah] "و به نستعين حمد و سپاس عتاری را جل جلاله و عم نواله و عظم شانه ..."Title from rubricated inscription on 'title page' (p.29).Ms. codex.Fine copy of a work of materia medica (pharmacopoeia) by ʻAlī ibn al-Ḥusayn al-Anṣārī known as Ḥājjī Zayn al-ʻAṭṭār (d.1403 or 4) with extensive gloss on the margins. Opens with acephalous contents listing (p.1-21). Contributions to the cataloguing from Elizabeth Kunze.