Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 1009Origin: Lacks dated colophon though manner of calligraphy, decoration, layout, etc. are characteristic of the Qurʼānic manuscripts produced in Kashmir from the 17th into the 19th centuries (see Bayani, et al. pp.228-57 and Blair, pp.550-52). Perhaps 18th century.Former shelfmark: Mich. Isl. Ms. temp. no. 158Binding: Boards covered in dark green leather ; Type III binding (without flap) ; upper pastedown and flyleaf in a shell 'marbled' paper (mainly in blue and brown), lower pastedown and fly leaf in untinted paper ; upper and lower covers gold-tooled in mitred-panel style with vegetal borders and three floral sprays in the central panel ; spine gold-stamped "SS" ; worked chevron endbands in red and yellow, in quite good condition ; overall in poor condition with upper cover fully detached, minor abrasion, lifting of leather at spine, etc.Support: non-European (likely Indian) laid paper with 11 laid lines per cm. (vertical) and no chain lines visible for the most part ; grey in tone and fairly translucent ; only slight curving of laid lines.Decoration: Splendid double-page illumination (illuminated 'frontispiece') at opening (pp.8-9) consisting of a series of scalloped domes in gold filled with floral vegetal designs in gold with black outline on a bright blue ground defined by heavy borders in bands of gold, black with white accents, and gold interlaced with red, blue and green accents, written area (in 8 lines per page with the Fātiḥah and opening of Sūrat al-Baqarah) is flanked by upper and lower rectangular pieces with gold cartouches (carrying the sūrah headings in blue riqāʻ or naskh, not extensively ligatured) and set off by gold floral accents on a bright blue ground ; similar double-page illumination at opening of Sūrat al-Isrāʼ / Juzʼ 15 (pp.204-205) and at close (pp.446-7) though here design affects a larger scalloped dome with cornerpieces and accommodates fewer lines in the written area (6 per page) with larger flanking upper and lower rectangular pieces (gold cartouches also lack sūrah headings) ; sūrah headings in blue and typically outlined in black bands with white accents ; written area and ruled margin throughout surrounded by frame in a series of gold bands defined by black fillets with outermost blue rule ; Qurʼānic text executed on bands of gold defined by black fillets and separated at some distance from one another (in other manuscripts has contained interlinear translation) ; marginal decorations in gold and blue mark ajzāʼ ; marginal juzʼ headings, notabilia (marking niṣf, thulth, etc.), abbreviation marks, mainly curved strokes and sigla for pauses "ط", large "ع" in margin to indicate bowing (rukūʻ), etc. and keywords in the commentary (mainly text being commented upon) are all rubricated ; verse dividers in the form of small red dots or discs ; text of commentary set off by gold cloudbands with floral accents in gold on blue grounds in the triangular spaces at the corners and center of the marginal area.Script: Naskh and nastaʻlīq ; elegant Indian hands in a heavy line ; Qurʼānic text in a fine, bold naskh, partially but somewhat irregularly seriffed (occasional right-sloping head-serif appearing on lām of definite article, barbed left-sloping serif on alif of lām-alif ligature, etc.), fairly vertical though with occasional very slight effect of tilt to the left, curvilinear descenders (some sweeping), pointing in distinct dots, fully vocalized ; marginal commentary in a bold, compact and well-formed nastaʻlīq, serifless with slight effect of words descending to baseline, some elongation of horizontal strokes, kāf mashkūlah (mashqūqah) preferred, pointing in distinct or conjoined dots, mainly closed counters.Layout: Written mainly in 18 lines per page, with roughly 46 lines of commentary on the diagonal in the ruled margins ; frame-ruled.Collation: iii, I (2), 12 IV(98), I (100), 7 IV(156), I (158), IV (166), 2 III(178), I+1 (181), 4 IV(213), III (219), 2 I(223), iii ; chiefly quaternions ; middle of the quire marks in the form of black oblique strokes in upper outer and lower outer corners of the center opening of each quire ; final single bifolium ruled but left blank ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Title supplied by cataloguer.Ms. codex.Splendidly illuminated copy of the Qurʼān (muṣḥaf) with marginal commentary in Persian.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 228Origin: As appears in colophon, executed by Muḥammad ibn ʻAlī [ibn Aḥmad] al-Ziftāwī in the first tenth of Muḥarram 783 [March-April 1381].Binding: Pasteboards covered in a light brown leather ; Western style binding ; pastedowns and flyleaves in heavy untinted wove paper ; upper and lower covers carry decoration evoking the Islamic style with central oval ornament (wreath stamped in green) and cornerpieces (scrolling vegetal motifs stamped in green) as well as stamped border of repeating floral / shell pattern in red ; sewn in white thread over three heavy white cords (flexible sewing) ; no endbands ; paper label on spine ; in fairly good condition though sewing exposed between a few separated gatherings.Support: non-European (Arab) laid paper with chain lines grouped in threes running horizontally, spaced roughly 12-15 mm. apart with roughly 42 mm. between the groups ; laid lines running vertically spaced roughly 9 laid lines per cm. ; heavy and well-burnished with undissolved fibers and inclusions visible ; staining ; numerous reinforcements and repairs throughout, mainly guards but also fills (see first folio carrying the titlepiece and opening).Decoration: Exquisite, richly illuminated titlepiece ; ansa in the form of roundel with rosette attached to upper panel, which is surmounted by fine arabesque and vertical stalks in blue, lavender, gold, green, etc. ; upper panel contains cartouche carrying title in foliated Kufic lettered in gold on a field of blue with green swirling vegetal pattern ; lower panel contains large scalloped medallion (shamsah) carrying statement of authorship and ex libris lettered in gold with lined cloud-bands and vegetal accents, surrounded by a field of blue with floral vegetal design in gold, lavender, and green ; decorative strapwork border in gold surrounds entire piece ; illuminated headpiece consisting of a rectangular panel with roundel/rosette ansa ; within the panel, the basmalah is executed in gold accented with cloud-bands and cross-hatch pattern ; illuminated tailpiece consists of a rectangular panel with roundel/rosette ansa ; within the panel two roundels with rosettes flank the date of transcription accented with cloud-bands and cross-hatch pattern ; a red rule-border outlines the text itself, with illuminated rosettes flanking the lines of the amplification (takhmīs) ; on the opening and facing page, rosettes in blue and gold along with roundel in gold bearing word "تخميس" [?] ; text partially chrysographed with final words of each line in gold.Script: Very fine Mamlūk calligraphy ; saṭr and first words of ʻajuz for each bayt in thuluth (verging on tawqīʻ), final words of ʻajuz in tawqīʻ and amplification in serifless naskh ; text and takhmīs fully vocalized ; title of titlepiece in foliated Kufic ; ex libris of titlepiece in tawqīʻ ; text of tailpiece in riqāʻ verging on tawqīʻ.Layout: Written in 12 lines per page, 3 lines of the poem and 9 of the amplification, with the saṭr and first few words of the ʻajuz of each bayt filling the column width horizontally and the remainder of the ʻajuz appended slanting down diagonally, and three lines of amplification centered below the saṭr and first few words of the ʻajuz ; frame-ruled.Collation: i, III (6), II (4), 4 I(18), I+1 (21), 2 I(25), I+1 (28), i ; difficult to discern original gatherings, but appears to consist mainly in single bifolia (singulions) ; no catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," reads: "تمت مع التخميس بحمد الله وعونه وصلى الله على نبيه محمد كتبها محمد بن علي الشهير بالزفتاوي عفا الله عنه بكرمه في العشر الاول من شهر الله المحرم افتتاح عام ثلاث وثمانين وسبعمائة حسبنا الله ونعم الوكيل"Explicit: "ما رنحت عذبات البان ريح صبا واطرب العيس حادي العيس بالنغم"Incipit: "بسم الله الرحمن الرحيم الحمد لله رب العالمين ما بال قلبك لا ينفك ذا ألم ... امن تذكر جيران بذي سلم مزجت دمعا جرى من مقلة بدم ..."Title from titlepiece.Ms. codex.An elegant copy of al-Būṣīrī's poem in praise of the Prophet with its amplification (takhmīs) by Nāṣir al-Dīn Muḥammad al-Fayyūmī (mid-14th century), as well as a fine specimen of Mamlūk calligraphy as executed by al-Ziftāwī (d.806/1403 or 4).
The only known copy of a brief treatise on Naqshbandi practices and rituals by Tāj al-Dīn ibn Zakariyya Mahdī Zamān al-Rūmī, of the Indian branch of the Naqshbandi Sufi Order, who died in Mecca in AH 1050/AD 1640. Not available in a printed edition. According to Trimingham (1971, pp. 93-94) Tāj al-Dīn ‘had an interesting career and eventually found a niche in Mecca away from the rivalries which ensued after the death of Muḥammad Bāqī bi’llāh. From this vantage point he had much to do with commending the Naqshbandī Way to Arabs. He translated books like Jāmī’s Nafaḥāt and ‛Alī al-Kāshifī’s Rashaḥāt ‛Ain al-Ḥayāt into Arabic. Al-Muḥibbī devotes a long article to him in his Khulāṣat al-Athar’. See Muḥibbī, M., Khulāṣat al-athar fī a‛yān al-qarn al-ḥādī‛ashar (Cairo, 1384), i, 464-70. It is perhaps better to describe Bahā’ al-Dīn al-Naqshbandī (AD 1318-1389) as the ‘crystallizer’ of the Naqshbandī ṭarīqa, which bears his name, rather than its ‘founder’. It is certain that the Naqshbandī tradition itself does not regard him as a founder nor as the initiator of the silsila as it is clearly noted in this text for example.Condition: Some water and damp staining, text not affected, overall in good condition.Layout: 19 lines to the page, except for f.1r with 16 lines and f.12r with 22 linesScript: Black riqa‛ scriptAdditions: Folio 1r: Inscription in black reads Cambridge classmark of the manuscript: ‘Add. Ms. 1073’. Some other inscriptions in black: text and numbers. Inscription in pencil on top right corner reads: ‘176 pennies’ (this was most probably the manuscript’s price at some point). Another inscription in pencil in the middle of the page reads: ‘From Flugel Cat. 1244, 10/4 ‘72’. It is possible that there was a sale of Flugel’s library in 1872 following his death in 1870. 10/4 would be the price: 10 shillings and four pence. Cambridge University stamp at the bottom indicating date of acquisition: ‘20 July 78’. Folio 1v: Title in red script reads: hādhā risāla Tāj al-Dīn al-Rūmī quddisa sirruhu. Followed by the basmala in black and the introduction. Marginal annotations in black presenting two couplets of poetry preceded by: kunt ḥaḍart mawlāna quddisa sirrahu al-a‛lā. Folio 2r: Author’s name given on line 4 as Tāj al-Dīn ibn Mahdī Zamān al-Rūmī. The text reads: hādhihi al-ṭarīqa al-‛aliyya al-Naqshbandiyya akhadhaha ‛abd al-faqīr al-kāmil fī al-nuqṣān wa-’l-‛ājiz fī al-maghfira al-raḥmān Tāj al-Dīn ibn Mahdī Zamān al-Rūmī min al-khawāja Muḥammad al-Baqī [AD 1563-1603] wa-huwa akhadhahā ‛an mawlāna khawāja Kay (sic.) [Aḥmad] al-Amkankī (pronounced most probably as Amkanjī) wa-huwa ‛an [missing a link here being Darwīsh Muḥammad] al-walī al-khawāja Muḥammad al-Zāhid wa-huwa ‛an al-Ghawth al-‛a‛ẓamal-khawāja ‛Ubayd Allāh al-Aḥrār ibn Maḥmūd al-Shāshī (i.e. from Tashkent) ‘Ḥaḍrat Ishān’ [AD 1404-1490] quddisa sirrahu wa-huwa ‛an al-shaykh al-shuyukh mawlāna Ya‛qūb Jarkhī (pronounced most probably as Charkhī) [d. 851/1447] wa-huwa ‛an ḥadrat al-khawāja al-kabīr khawāja Muḥammad Bahā’ al-Dīn al-Naqshbandī wa-huwa ‛an al-Sayyid [Amīr] al-Kulālī al-Bukhārī wa huwa ‛an al-khawāja Muḥammad Bāba al-Sammāsī wa huwa ‛an haḍrat al-‛Azīzān khawāja ‛Alī al-Dāmitī (sic.) (most probably al-Rāmitīnī) wa huwa al-mashhūr bi-‛Azīzān wa huwa ‛an khawāja Maḥmūd Injīr (or Anjīr) al-Faghnawī wa huwa ‛an al-khawāja ‛Arif al-Riwkarawī (pronounced most probably as Riwgarawī) wa huwa ‛an al-khawāja ‛Abd al-Khāliq al-Ghujdāwanī [missing a link here being Abū al-‛Abbās Khiḍr] wa huwa ‛an al-Shaykh Ibn Ya‛qūb ibn Ayyūb Yūsūf al-Hamadānī (in Shadows of the Prophet: Martial Arts and Sufi Mysticism by D. S. Farrer the name is Abū Ya‛qū Yūsūf al-Hamadānī p.273) wa huwa ‛an ‛Alī (possibly Abū ‛Ali Aḥmad (or Faḍl) b. Muḥammad) al-Farmadī Tūsī wa huwa ‛an al-shaykh Abū al-Ḥasan al-Kharaqānī … the silsila continues further on the following two pages to include the spiritual teachers such as Abū Yazīd al-Bistāmī, Ja‛far al-Ṣādiq, al-Qāsim b. Muḥammad b. Abū Bakr al-Siddīq, Salmān al-Fārsī, Abū Bakr al-Siddīq and last but not least the Prophet himself. Further marginal annotations on folios 8v, 9r, 9v, 10v and 11v. Folio 12v: Continuation to the closing remarks in the margin within an upside down triangle outlined in red stating the name of scribe as Sayyid Darwīsh Sayyid Darwīsh . Date of completion inscribed in black: 1203.Binding: Ottoman marbled boards with brown leather spine
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 265Origin: As appears in colophon on p.218, transcription of second volume completed 20 Ramaḍān 921 [ca. 28 October 1515]. As appears in colophon on p.601, copied by ʻAlī ibn Ismāʻīl ibn Ḥamzah in the city of "اركروقصرى" (i.e. Eğri Kasri, Gjirokastra, Gjirokastër in Albania) with transcription of fifth volume completed mid-Rajab 922 [August 1516].Accompanying materials: Slip with handwritten text in script reminiscent of Greek alphabet (between pp.134-135).Former shelfmark: "454 T. De M." [i.e. Tammaro De Marinis] in pencil on lower flyleaf (p.607).Binding: Pasteboards covered in dark brown leather, with light brown leather over spine (rebacked) ; Type II binding (with flap, though now lost) ; board linings in pale green laid paper ; upper and lower covers carry stamped and gold-painted mandorla with orange recessed onlays (filled with vegetal decoration reminiscent of Déroche class. NSd 7) with gold-tooled rosette accents (pendants, etc.) and gold-tooled border ; sewn in cream thread, two stations ; worked chevron endbands in yellow and pink, fair condition ; overall in poor condition with entire flap lost, significant abrasion, lifting and some losses of leather, etc. ; appears to have been repaired (covers reattached) with once upper cover now lower cover ; housed in box for protection.Support: non-European (perhaps Arab) laid paper with 8 laid lines per cm. (horizontal) and chain lines possibly grouped in threes (see p.432, 433, etc.) with 10-12 mm. between chains and 35-46 mm. between groups, thin, crisp and transluscent though sturdy, extremely well-burnished to glossy, numerous repairs (even used of marbled paper, see p.19) ; replacement leaves (pp.11-18) on European laid paper with 11 laid lines per cm. (horizontal), chain lines spaced 25 mm. apart (vertical), and watermark of scrollwork / coat of arms with three bars (see p.14, 16, etc. and compare Armoiries (16) A. Indéterminées dated 1673-1717 in Velkov, Les Filigranes dans les documents Ottomans), sturdy and well-burnished ; flyleaves and leaves set between mujallads in other European laid papers, one type with 7-8 laid lines per cm. (horizontal), chain lines spaced 27 mm. apart (vertical), and watermark of crown-star-crescent (see p.10, 608), another crown-star-crescent (see p.606) and anchor in circle (see p.118) watermarks also appear.Decoration: Keywords, headings, abbreviation symbols, etc. rubricated ; incipit and facing page surrounded by frame consisting of gold band flanked by black fillets ; textual dividers in the form of inverted commas, three commas, etc. in red.Script: Naskh-nastaʻlīq (talik) ; at least two distinct Turkish / Caucasian hands ; mainly in a clear naskh-nastaʻlīq (talik), compact and serifless, quite rounded, with only slight effect of words descending to baseline (occasionally more exaggerated) and some elongation of horizontal strokes, pointing (for two and three dots) in conjoined dots, point of final nūn usually joined with bowl ; headings in a serifed script reminiscent of riqāʻ with leftward tail on free-standing alif ; opening replacement leaves (pp.11-18) in a nastaʻlīq (talik) of thinner line, quite open and elongated in the horizontal, with pointing in strokes rather than distinct dots.Layout: Written in 27 lines per page ; frame-ruled.Collation: v, II (4), V+1 (15), 3 V(45), V+1 (56), 4 V(96), V-1 (105), 6 V(165), V+1 (176), 10 V(276), 2 IV(292), II (296), iii ; chiefly quinions ; several added leaves at opening and close of codex left blank ; catchwords present ; foliation in black ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Colophon: [mujallad 2] "Scribal, triangular and rectangular, in Arabic, reads: "قد تم المجلد الثاني ويتلوه المجلد الثالث كما يتلو المثاني المثالث فى يوم العشرين من شهر رمضان سنة احدى وعشرين وتسعمائة اللهم صل على سيدنا ونبينا محمد ... يا غفار يا جبار" ; [mujallad 5] "Scribal," triangular, in Arabic, reads: "ثم تم ... تم هذا المجلد الخامس من الكتاب الذي هو دستور الكتاب وليس له نظير عند العاقل البصير والعالم الخرير بمن من من ويمن بمن آمن بارسال الذي انزل عليه القرآن وتوفيق الله الذي لا يشغله شان عن شان ولا يحتاج الى الزمان والمكان ونور قلوب احبائه بنور الفرقان واسكنهم فراديس الجنان تعالى شانه اتفق الفراغ من نظم زمر لآ لى [؟] الفضل في سلك التحرير بمدينه اركرو قصرى خلد الله تعالى ملك مالكها في اليوم السبت في اواسط شهر رجب المرجب سنه اثنى وعشرين وتسعمائة على يد علي بن اسماعيل بن حمزه غفر الله لهم ولجميع المسلمين والمسلمات والمؤمنين والمؤمنات الاحياء والاموات ورحم الله لمن دعا لمصنفه ولكاتبه لصاحبه بالخير ولمن قال آمين تم تم"Explicit: "توفيق در افاضت احسان كه كفيل عمر ثانيست لا يزال روزگار دولتيار مخدوم جهانيانر اگر امت باد شعر وهذا دعاء لو سكت كفيته لاني سألت الله قبل [فيك] وقد فعل والحمد لله رب العالمين والصلوة والسلام على رسول الله محمد وآله الطيبين"Incipit: "حمد و ستايشى كه انوار اخلاصش آفاق و انفس را چون فاتحۀ صبح صادق متلالى سازد ..."Title from 'title page' (p.11) where the entry for this work from Kashf al-ẓunūn has been transcribed.Ms. codex.Fine copy of Vaṣṣāf's Tajziyat al-amṣār wa-tazjiyat al-aʻṣār, a history of the Īlkhāns intended as a continuation of ʻAlāʼ al-Dīn ʻAṭā Malik Juvaynī's (d.1283) Tārīkh-i Jahāngushā (Jahān-gushāy) and renowned for its form and style. Five volumes (mujallad) in one. Contents listing appears on lower flyleaf (p.608).