Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 95Origin: Lacks dated colophon ; likely late 14th or 15th century.Accompanying materials: Vast number of slips bearing notes, virtually all tipped in (paginated pp.7-8, pp.11-12, etc.).Former shelfmark: British Museum, London. "No. 123. Kanz al-dakaik."Binding: Pasteboards faced in laid paper with brown leather over spine, fore-edge and edges/turn-ins (paper faced, leather edged, framed binding) ; Type II binding (with flap) ; board linings in laid paper ; sewn in pink thread, two stations ; worked endbands in red and green (headband) and in red and cream (tailband) ; in poor condition with significant abrasion, staining, lifting and losses of leather, delamination of boards, moisture damage, etc.Support: non-European laid paper with extremely faint laid and chain lines, very difficult to examine ; numerous repairs ; added leaf with table of contents in European laid paper.Decoration: Abbreviations rubricated throughout ; overlining in red throughout ; keywords, section headings and abbreviations rubricated in excerpts ; written area of final excerpt (p.275-278) surrounded by rule-border in two fillets.Script: Naskh ; Syrian or Turkish hand ; virtually serifless ; large and clear, quite rounded, with open and closed counters, occasional slight effect of tilt to the left and swooping descenders, section headings in bold thuluth ; two additional hands supply the text of the exerpts (from p.272 to p.278) ; the first of these (see p.272-274) similar but more compact, with many closed counters, swooping descenders, etc. ; the final (see p.275-278) more compact, in a heavier line and with fewer swooping descenders ; pointing in main hand and final hand utilizes inverted caret for two dots ; in second hand inverted caret or distinct dots for two dots, and inverted comma for three dots ; marginalia in numerous other hands.Layout: Written in 15 lines per page ; excerpts of final leaves in 21 lines per page ; frame-ruled.Collation: i, III+1 (7), 2 III(19), I(21), 6 V(81), VI-1 (92), 2 (94) ; chiefly quinions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes vast number of inserts).Explicit: "ثم اقسم المبلغ على التصحيح ومن صالح من الورثة على شيء فاجعل كان لم يكن واقسم على سهام من بقي ما بقي"Incipit: "الحمد لله الذي أعز العلم في الاعصار وأعلى حزبه في الامصار ... قال مولانا ... ابو البركات عبد الله بن احمد بن محمود النسفي ... رايت الهمم المائلة الى المختصرات ... واردت ان الخص الوافي ... فشرعت فيه بعد التماس طائفة من اعنان الافاضل ... وسميته بكنز الدقائق ..."Title from opening (p.6).Ms. codex.Extensively annotated copy of the important treatise of Ḥanafī fiqh, a synopsis of the author's own Kitāb al-Wāfī, modelled on the Hidāyah of ʻAlī ibn Abī Bakr al-Marghīnānī (d. 1196 or 7), followed by exerpts.
Ünlü hattat Şeyh Hamdullah’ın öğrencisi Selanikli Mustafa b. Nasuh tarafından eğitilen Kadı Mahmud Bağdat ve Diyarbakır kadılığı da yapmıştı. Bu eserinde hattat Kuran’dan Kehf suresini istinsah etmiştir. Her sayfada alt ve üstteki birer satır, mavi veya yeşil mürekkep kullanılarak muhakkak hatla; orta satır zer mürekkep kullanılarak muhakkak hatla; aralarda kalan ikişer satır ise siyah mürekkep ve sülüs hatla yazılmıştır. Kehf suresinin son ayetlerinin (y. 19a) iki yanına satırlar rıka ile mailen yazılmıştır. Bu satırlar, sağda İsra suresinin “Biz Kuran'dan, müminler için şifa ve rahmet olacak şeyler indiriyoruz. Zalimlerin ise Kuran, ancak zararını artırır” anlamına gelen ayeti ile (İsra: 82) başlar ve Kehf suresinin faziletini anlatan hadisle devam eder: “Hz. Peygamber –Allah onu ve ailesini hayırla kuşatsın– şöyle buyurmuştur: Kim yatarken Kehf suresini okursa, bu, kendisi için Mekke’ye kadar parıldayan bir nur olur. Bu nur içinden Melekler kendisine kalkana kadar dua eder. Bulunduğu yer Mekke ise, bu, kendisi için Kâbe’ye kadar uzanan bir nur olur. Bu nur içinden Melekler kendisine uyanana kadar dua eder. Kim Kehf suresinin sonunu okursa, bu kendisine ayağından başına kadar nur olur. Tamamını okursa gök ile yerin arası nurla dolmuş olur. Kim ahir zamanda Kehf suresini okursa, deccalın şerrinden emin olur. (Resulullah) doğru söyledi.”Binding: Kitabın kestane rengi deriden miklepsiz cildi 19. yüzyıla aittir.Illuminations: Eserde, 8b sayfasına kadar, yazı alanını çevreleyen cetveller yapılmıştır. Ayetler arasına durak işaretleri konmamıştır. Muhtemelen kitabın bezenmesine başlanmış, cetveller ilk sayfalara çekilmiş, ancak yarım bırakılmıştır. Serlevhada yer ayrıldığı halde bezeme yapılmamıştır.Measurements: 28 x 19,5 cm; 19 varak, sayfada 7 satırScript: Muhakkak; Sülüs; Rıka; Muḥaqqaq; Thuluth
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 221Origin: As appears in authorial colophon on p.838, composed in Mecca. Details on the origin of this copy lacking. Paper, hand, decoration, etc. suggest early 17th century (see Velkov, Les filigranes dans les documents ottomans). Date of waqf-seal impression provides a terminus ante quem of 1782.Former shelfmark: "71 T. De M. [i.e. Tammaro De Marinis]" and "51" in pencil on front flyleaf (affixed to opening leaf) ; "124" in Hindu-Arabic numerals on tail of text block.Binding: Pasteboards covered with black leather ; Type II binding (with flap), two-piece binding (seam of overlapping hinges visible at spine) ; doublures in red leather ; upper and lower covers carry large, stamped (red recessed onlays) and gold-painted mandorla (filled with vegetal composition, compare Déroche class. NA 4), pendants and cornerpieces as well as tooled and gold-painted chain and rule borders ; design continues on envelope flap ; sewn in white thread, two stations (repair to opening gathering in rose thread) ; worked chevron endbands in white and blue, good condition, primaries sewn through inner leather spine lining ; overall in fairly good condition with some abrasion, staining, etc.Support: Gatherings mixed with leaves of non-European (likely Persianate) and European laid paper of at least two types ; all fairly thin, crisp and extremely well-burnished ; leaves of likely Persianate laid paper exhibiting especially cloudy formation with laid lines vertical but difficult to measure ; leaves of European laid paper, least two types, both with roughly 10 laid lines per cm. (horizontal), chain lines spaced 30-33 mm. apart (vertical, difficult to examine) and watermarks of cross in tear-drop shape with letters below (see p.68, 80, etc.) and of anchor in circle with trefoil above (see p.266, etc.).Decoration: Splendid double-page illumination on pp.2-3 executed in gold, blue, orange-red, and white, consisting of rectangular panels corresponding to the written area, the panel of the right-hand with five large cartouches (set off by arabesques and floral motifs) carrying text "ونسخة قاموس قد تحررت بها مد مجد الدين فى الطرس ابحرا ففاخرت الافلاك فيها موادها وقد ملئت تبرا ودرا وجوهرا صلى الله على من لا نبي بعده وسلم" executed in white thuluth on gold grounds and surmounted by a rectangular headpiece (ʻunwān / sarlawḥ), the panel of the facing page with similar headpiece surmounting rectangular pieces carrying title, central medallion (shamsah) carrying an authorship statement, and rectangular piece with the ṣalwalah, all text in white on gold grounds set off by blue and red vegetal accents ; frames of gold, red, and blue rules defined by black fillets surround panels of opening illuminated titlepiece / frontispiece and incipit and facing pages ; illuminated roundels appear in the margins of all of the opening illuminated pages as well ; similar illuminated headpieces with cartouches carrying the basmalah, etc. appear on incipit page and facing page of the opening half of the text (pp.4-5) as well as at the opening of the second half (p.432) ; further rectangular headpieces set off chapter headings ; gold rule borders throughout ; section headings chrysographed, many keywords (terms) and letters (abbrevation symbols) rubricated ; textual dividers in the form of gold discs.Script: Naskh ; small, elegant Syro-Egyptian or Turkish hand in a thin line ; mainly serifless with slight effect of inclination to the left, some elongation of horizontal strokes, curvilinear descenders, pointing in distinct dots ; mainly vocalized ; chapter headings, section headings, and keywords (terms) in larger script reminiscent of tawqīʻ.Layout: Written in 37 lines per page ; impression of ruling board evident.Collation: i (affixed to opening leaf), 3 V(30), V-2 (38), V (38), V-2 (56), 4 V(96), IV+1 (105), V (115), IV+1 (124), 5 V(174), IV+1 (183), V (193), 2 IV(209), III (215), 3 V(245), 2 II (249), 1 (250), 3 V(280), V-1 (289), V-2 (297), 4 V(337), V-1 (346), V (356), IV (364), V-3 (371), 2 V(391), V-1 (400), V (410), V-1 (419) ; chiefly quinions with several anomalous quires ; pages between the two halves of the work left blank (see p.430 and 431) ; catchwords present ; quire numbering in the form of Hindu-Arabic numerals, upper outer corner of the recto of the first leaf of each quire (3rd through 23rd, first half of the work) ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Authorial," rectangular, reads, "قال مؤلفه الملتجي الى حرم الله تعالى محمد عفا الله عنه ابن يعقوب بن محمد الفيروزاباذي رحمهم الله تعالى هذا اخر القاموس المحيط والقابوس الوسيط عنيت بجمعه وتأليفه وتهدينه وترصيفه ولم ال جهدا في تلخيصه وتخليصه واتقانه راجيا انه يكون خالصا لوجه الله ورضوانه وقد يسر الله تعالى اتمامه بمنزلي على الصفا بمكة المشرفة تجاه الكعبة المعظمة زادها الله تعالى لعظما وشرفا وهيأ لقطان باحثها من بحابح الفراديس غرفا ونقع بهذا الكتاب المكنسي من تركها اخوانه وحسنه بالقبول لتستعير من حسنه الغواني لطائف المعاني أجزل من فضله العميم ثوابي وجعله نورا بين يدي يوم حسابي والحمد لله...والصلوة...وحسبنا الله ونعم الوكيل وصلى الله على سيدنا محمد واله وسلم"Explicit: "لان قبلها كسرة تخلفها ويا الجزم المنبسط رأيت عبدي الله لم تسقط لانه لا خلف عنها"Incipit: "الحمد لله منطق البلغا باللغى في البوادي ومودع اللسان السن اللسن الهوادي...وبعد فان للعلم رياضا وحياطا"Title from illuminated titlepiece on p.3.Ms. codex.Elegant copy of al-Fīrūzābādī's renowned dictionary of the Arabic language.
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 231Origin: Lacks dated colophon ; decoration and calligraphy reminiscent of the Timurid style characteristic of late 15th century Herat ; paper would also suggest late 15th or possibly early 16th century ; binding would suggest 16th century.Former shelfmark: "224 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "196" inscribed in pencil on 'title page' (p.1).Binding: Pasteboards covered in dark brown leather ; Type II binding (with flap) ; board linings in lined paper pasted over brown leather doublures, likely with leather filigree appliqué, see interior of envelop flap ; upper and lower covers carry large gold-stamped panel stamp (repeated twice to fill the entire area) filled with symmetrical vegetal design incorporating chi clouds, as well as border in a series of lozenge- and rosette-shaped stamps with outermost series of tooled s-shapes ; sewn in red thread, two stations ; overall in somewhat poor condition with lifting and losses of leather, abrasion, staining, etc.Support: non-European (likely Persian) laid paper with roughly 7 laid lines per cm. (vertical) and sporadic chain lines mainly visible only in short lengths ; thick and sturdy though crisp ; well-sized and burnished ; machine laid paper stabilizing opening leaf carries an embossed mark (or "imitation watermark") reads "اثر جديد عهد همايون".Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2, consisting of rectangular piece with gold cartouche carrying sūrah heading in white and defined by looping white banding (with black crosses) on grounds of gold and lapis lazuli overlaid with swirling vegetal pattern, all bordered in a series of elaborate bands in gold, white, lapis lazuli, black, red, turquoise, etc. ; surmounted by a narrower rectangular panel carrying lozenges filled with delicate vegetal decoration, itself surmounted by an uppermost semi-circular piece (dome) evoking half of an eight-lobed piece (defined by looping white banding) in gold and lapis lazuli with arabesque in turquoise and further swirling vegetal decoration, all surmounted by vertical stalks (tīgh) ; simpler illuminated headpiece consisting of rectangular panel with cartouche carrying the sūrah heading in white on a gold ground flanked by accent pieces in gold and lapis lazuli with swirling vegetal pattern and surrounded by bands of white, gold, blue, red, etc. appears at opening of each sūrah thereafter (p.16, p.28, p.37, and p.43) ; verse dividers in the form of interlace rosettes in gold with black, red, and blue accents appear throughout ; marginal decoration in the form of roundels in blue, green, and gold with "عشر" in white 'Kufic' script, other roundels in gold and blue with what appears to be "خمس" in white (many effaced) ; written area throughout surrounded by elaborate frame consisting of a series of narrow bands in gold, light blue, dark brown to red, turquoise, and lapis lazuli ; floral decoration in blue, gold, red, and black reminiscent of the central decorative panel and pendants of a book cover flank the centered lines ; upper, middle, and lower large lines chrysographed (vocalization in black).Script: Fine calligraphic specimen ; elegant Persian hand ; lines in upper and lower panels of each page in muḥaqqaq, line in central panel in thuluth, lines in intermediate panels in naskh, sūrah headings in riqāʻ ; partially seriffed (mainly right-sloping wedge head-serif) ; fully vocalized.Layout: Written in 9 lines per page with uppermost, middle, and lowermost large lines filling the column width and two sets of three compact lines centered between them ; frame-ruled.Collation: 3 IV (24) ; exclusively quaternions ; pagination in pencil, Western numerals (supplied during digitization).Title supplied by cataloguer.Ms. codex.5. p.43-p.47 : Sūrat al-Nabaʼ.4. p.37-p.43 : Sūrat al-Mulk.3. p.28-p.36 : Sūrat al-Wāqiʻah.2. p.16-p.28 : Sūrat al-Fatḥ.1. p.2-p.16 : Sūrat Yāsīn.Elegant copy of a selection of sūrahs (suwar) from the Qurʼān, namely Sūrat Yāsīn (36), Sūrat al-Fatḥ (48), Sūrat al-Wāqiʻah (56), Sūrat al-Mulk (67) and Sūrat al-Nabaʼ (78).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 356Origin: Lacks dated colophon ; paper would suggest 16th or perhaps early 17th century ; dated calligraphic inscriptions (see p.9 and 11) provide terminus ante quem of 1640.Former shelfmark: "264" inscribed in pencil on added leaf (p.5) ; "394 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on added leaf (p.6).Binding: Pasteboards covered in dark brown leather ; Type III binding (without flap) ; board linings (doublures) in comb marbled paper (mainly in pink, blue, black, and yellow) ; upper and lower covers carry blind-stamped scalloped mandorla (filled with vegetal composition, compare Déroche class. OAi) with gold-painted accents and tooled border ; sewn in dark blue thread, two stations ; worked chevron endbands in blue and yellow, fair condition ; overall in somewhat poor condition with abrasion, staining, lifting and losses of leather, etc. ; housed in box for protection.Support: non-European (perhaps Persian) and European laid papers of several types ; added leaves in a type with 9 laid lines per cm. (vertical), chain lines spaced 26-27 mm. apart (horizontal) and crown-star-crescent watermark (see p.8, 10, 11, etc.), cream in color, sturdy and burnished ; main type with 10 laid lines per cm. (vertical), chain lines spaced 28-30 mm. apart (horizontal), and angel with wings (in circle) watermark (see p.170-171, etc.), thin but quite sturdy ; many leaves tinted (pink, etc.) and interspersed with silhouette or shadowed paper decorated in exquisite vegetal-floral (see pp.20, 33, 41, 51, 69, 165, etc.) and even textual (see p.31) compositions (some outlined or filled in ink or gold) ; to occasional leaves marbled or other decorative papers have been applied (see pp.72, 80, 91-92, 124, 125, etc.).Decoration: Elegant illuminated headpiece at opening on p.20 consisting of large rectangular piece with empty gold cartouche surrounded by swirling floral vegetal accents in gold, red, white, pink, blue, etc. on grounds of gold and blue (lapis or cobalt), bordered in blue band with diamonds or crosses and surmounted by a small scalloped dome in similar design, itself surmounted by tall vertical stalks (tīgh) ; written area in opening section surrounded by a gold frame with devisions within also defined by gold bands ; in some sections headings (mainly poets' names) rubricated (see p.150, etc.) or chyrsographed (see p.172) ; extensive use of decorative papers (silhouette, marbled, gold-flecked, tinted, etc.) including one case where the calligraphic inscription has been cut away from a marbled paper and applied over a tinted leaf underneath (see p.124).Script: Mainly nastaʻlīq (talik) and naskh ; elegant, even calligraphic Ottoman hands ; larger talik, thuluth and riqāʻ (see p.120, etc.), divani, etc. appear in some of the calligraphic inscriptions.Layout: Highly variable, though some consistency according to calligraphic style employed ; in opening section written area divided to two columns with 10 lines (single hemistich to a line) on the diagonal per column and poet's name above, then a similar arrangement of lines in three larger columns (see p.24), followed by the smaller arrangment in two columns (see p.31), etc. ; an arrangment of 12-14 lines in two large columns also appears (see p.37, etc.) with some lines on the diagonal and others not ; another arrangement features 8 large lines (see p.87) ; still another features 25 hemistiches in 15 lines (see p.93, etc.).Collation: I (2), III+1 (9), V-1 (18), V (28), III (34), IV (42), I+1 (45), IV (53), V-1 (62), 2 IV(78), 2 V(98), 2 III(110), I (112) ; pagination in pencil, Western numerals, supplied during digitization (includes added leaves at opening and close of codex and the separate pieces of a leaf torn in three, see pp.109-110, 111-112, 113-114).Incipit: "در جفا نیست احتیار ترا آزمودم هزار بار ترا ..."Title from inscription on added leaf (p.5).Ms. composite codex.Elegant collection (majmūʻah / mecmua) featuring poetry in Persian and Ottoman Turkish, as well samples of fine calligraphy. Contributions to the cataloguing from Yasin Şale.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 898Origin: Lacks dated colophon ; paper, etc. would suggest late 19th century ; bookseller's label suggests terminus ante quem in the range of 1886 to 1916.Accompanying materials: "a. Card with writing in hand of Emilie Savage-Smith: 'Not native hand, European? or very old writer | Arabic, in pencil | probably transcribing a text.' -- b. Slip of paper: 'Persian [crossed out] Arabic Manuscripts (Heyworth-Dunne?) No Husselman or Meredith-Owens notes' -- c. Slip of paper: 'Counted for 1968/69 Annual Report.'"- from handlist prepared by R. Dougherty, 1993, no longer in volume.Former shelfmark: Mich. Isl. Ms. temp. no. 47Binding: Boards covered in dark brown cloth ; Western style binding ; pastedowns in wove paper (opening leaf of opening quire and final leaf of final quire) ; sewn in heavy cream thread, four stations, over two wide tapes / bands (flexible sewing) ; overall in fair condition with spine cloth gone (exposing sewing), some staining, abrasion, etc.Support: European wove paper upon which leaves carrying the transcript have been affixed (compare Isl. Ms. 896).Script: Naskh ; somewhat crudely executed in pencil in imitation of the exemplar ; mainly serifless, rounded with curvilinear descenders, occasional slight effect of words inclining to the left, otherwise adhering fairly consistently to the baseline, pointing in distinct dots, mainly open counters ; section headings in a larger, bolded script approaching tawqīʻ or thuluth ; compare Isl. Ms. 896.Layout: Written in 23 lines per page ; frame-ruled.Collation: IV* (7), 2 IV(23), IV* (30) ; opening leaf of opening quire and final leaf of final quire serving as pastedowns ; exclusively quaternions ; pagination in pencil, Western numerals, in lower outer corner of each page.Incipit: "تملك قسطنطين الاخير في التفاقم طول اناتك ايها السيد الضابط الكل كيف سمحت بهذه الامور بطول اناتك لكن اقول مع النبي من ذا عرف عقل الرب او من صار مشيرا عليه اي قلب حجري يقدر ان لا يكبر ولا ينوب ..."Title supplied by cataloguer.Ms. codex.Transcript of excerpts from a historical work addressing the final Byzantine Emperor Constantine XI Palaiologos [Palaeologus] (d.1453), and the Ottoman Sultans Bayezid II (r.1481-1512), Selim I (r.1512-1520), and Süleyman I [the Magnificent] (r.1520-1566).
Abstract: "Part one of the famous Qur'an commentaryAbstract: beginning with surat Maryam and ending with surat al-Nās."Title from title page.Title from the bottom edge of the manuscript.عليه تمام قراءة في سنة 1256هـ بخط العلامه أحمد عبدالرحمن المجاهد ثم تصحيحاً كاملاً في شهر شوال سنة1270هـ. لقطة رقم (781)النصف الثانى من كتاب الكاشف عن حقائق التنزيل وعيون الاقاويل ومحجبات التاويل / تاليف الشيخ العلامه وبحر العلم الزاخر والفضل الباهر الفائق للامم الاوايل والاواخر...جار الله ابي القاسم محمود بن عمر الزمخشرىDedication to Muḥammad ibn Qāsim al-ʻAbdī. Ownership notes dated 1794 and 1916. Reading note dated 1840. Collation note dated 1853. Includes an excerpt from a certain work entitled "al-Itqān fī tafsīr al-Qurʼān" on the meaning of the phrase "lā jarama".بعناية : محمد بن قاسم بن سالم بن علي العَبْدِيجيدة وهو عبارة عن مجلد كبير إلى متوسط الحجم مغلف بقماش مخطط بالأخضر والأحمر وقد كُتب بخط ممتاز رائع استخدم فيه المداد الأسود والأحمر والأخضر والأصفر ، وعليه بعض الحواشي والتعليقاتنهار الجمعة لعله سلخ شهر شوال سنة 1059هـIncipit: سُورة مريم مَكيَّه وهي سبعونتِسْعُوْنوثمان او تسع ايات بسم الله الرحمَن الرحيم كهيعص ذكْرُ رحمَتِ رَبِّكَ عَبْدَهُ زَكَرِيآءَ...قَولهُ كهَيَعص بفتح الهَآ وَكسرِ اليَا حَمزةٌ وبكسرهما عَاصم وَبضمّهما الحسَنُ...Explicit: مِنَ الجِنَّةِ والنَاسِ بَيَانٌ للذي يُوَسْوسُ على ان الشيطان ضربان جِنىّ وانسِيٌّ...وَانا اعود باللهِ وبهمَا وبجميع كلمة اللهِ الكَامِلَةِ التَآمة...وَالحَمدُ للهِ اوَّلاً واخِرا...تَمَّ الكِتابُ وَالحمْدُ للهِ الكَريم الوَهَّاب...وَلاَحَوْلَ وَلاقُوَّةَ الاَّ بالله العَلي العَظيمNaskh and thuluth scripts, written in black, red, green and yellow ink. Some marginalia appended.31 lines.نقل من كتاب" الإتقان في تفسير القرآن" في معنى تفسير " لا جرم " . لقطة رقم (15)
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 1042Origin: As appears in final colophon on p.155 (and colophons on p.32, p.48, p.65, p.130, etc.), transcription executed by Mīr ʻAṭā Muḥammad al-Ḥusaynī al-Harawī ( مير عطا محمد الحسينى الهروى ) and completed 12 Ḥūt [Asfand] 1299 Hijrī Shamsī, corresponding to 21 Jumādá II 1339 Hijrī Qamarī [ca. 2 March 1921].Accompanying materials: a. Photocopy of Small white card with notes in German on authors, date and title (presumably in hand of Dr. Gruening, see letter from Schulte) and page from legal pad with description in hand of J. Eilts "in Persian | Panj Kitāb a collection of five poetical works and a commentary by Mīr ʻAṭṭā Muḥammad was completed on the 21st day of the month of Jumadah 2 in the year 1339 (1921) of the lunar Islamic calendar. It was dedicated to Sulṭān Aḥmad Kabīr of Kabul. One "book" of poetry is by Saʻdī and another by Farīd al-Dīn ʻAṭṭār. The other authors were not mentioned. Inside front cover is dedication to Mīrzā (Prince) Muḥammad Āṣṣāf Munajjim and the date 1310 of the Solar calendar." -- b. Photocopy of letter from Frank J. Schulte of Grand Rapids, to Dr. Howard H. Peckham, Clements Library, University of Michigan, dated 13 November 1976 and received 18 November 1976, describing and offering to the Library this manuscript and Isl. Ms. 1043.Former shelfmark: Mich. Isl. Ms. temp. no. 191Binding: Heavy pasteboards covered in painted lacquerwork, spine in dark greenish-brown leather ; Type III binding (without flap), two-piece binding (seam of overlapping flanges visible at spine) ; doublures in fine painted lacquerwork of swirling floral vegetal composition in gold on a dark red ground ; upper and lower covers bear paintings (each unique) of swirling floral composition namely central panel filled with clusters of roses, peonies, irises, etc. in red, yellow, orange, and blue set among leaves in shades of green, surrounded by a heavy band of similar floral designs, all set off by cornerpieces and vegetal borders in gold ; sewn in red and white thread, two stations ; worked chevron endbands in yellow and red, fairly good condition ; overall in fair condition with minor lifting and losses of leather, minor crazing, etc. ; ill-fitting and likely much earlier than text block.Support: non-European (likely Indian or 'Afghani') laid paper with roughly 6 laid lines per cm. (horizontal, quite thick and distinct, fairly straight) and no chain lines visible, thin and transluscent though sturdy, beige in color, well-sized and burnished to glossy ; tissue leaves interleaved at opening and close of many works to protect illuminated decorations.Decoration: Splendid illuminated headpiece (ʻunwān / sarlawḥ) at opening of each section (p.18, p.34, p.50, p.68, p.132, p.140), generally consisting of a rectangular piece containing a pious formula (shahādah, ḥasbalah, ḥawqalah, etc.) in bold thuluth in monumental style, surmounted by a scalloped dome, hasp, semi-circular piece, w-shaped piece etc. (opening headpiece on p.18 surmounted by emblem of the Bārakzay dynasty [Bārakzī]) filled with bold floral vegetal designs mainly in bright blue or lapis lazuli and gold with red, light green, yellow, etc. accents ; many headings appear in rectangular pieces set off by flanking vegetal designs (or in rare occasions animals, see pp.60-63) in gold with red and blue accents on fields of blue, green, red, etc. ; written area surrounded by frame in gold with outermost blue rule ; margin also defined by blue rule-border ; written area of incipit and facing page at each opening accented with gold cloud-bands ; written area of preceding 'title page' or page at close left blank but surrounded by a decorative vegetal border and cornerpieces in blue or red ; keywords and headings rubricated ; textual dividers in the form of inverted commas in red.Script: Nastaʻlīq ; elegant, spacious and carefully executed hand in a medium line ; serifless with effect of words descending to baseline, elongation and somewhat exaggerated thickness of horizontal strokes, pointing in conjoined dots, gāf marked with additional stroke above shaqq / sar kash ; Arabic excerpts in a bold naskh seriffed with dramatic left-sloping head-serif on many ascenders, right-sloping head-serif on other descenders, rounded with many sweeping descenders ; some headings in tawqīʻ or thuluth.Layout: Written in 12-16 lines per page, with written area often divided to two columns ; frame-ruled.Collation: 10 IV(80), II (84) ; almost exclusively quaternions ; opening and final quires left entirely blank and unruled ; middle of the quire marks in the form of an oblique stroke in black ink in the upper outer corner of the right-hand leaf ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Dedication: At close on p.154, dedication to Amīr Amān Allāh Khān ( امير امان الله خان ) [Amānallāh Shāh], king of Afghanistan (r.1919-1929), and Muḥammad Sarwar Khān ( محمد سرور خان ).Colophon: "Authorial" and "Scribal," reads "امر بنوشتن مجموعه كثير المنفعه كه مشهور به پنج کتاب است فرمودند ... اطاعة لامره العالى به تحرير اين مجموعه مباركه پرداختم تا همه آن مجموعه مباركه سمت تحرير پذیرفت وانا العبد المذنب اقل السادات والعلماء مير عطا محمد امام مسجد ... حضرت سلطان سيد احمد كبير قدس الله سره العزيز ... فى تاريخ يوم چهار شنبه ١٢ ماه حوت سنه هجرى شمسى ١٢٩٩ يكهزار و دو صد و نود نه مطابق سنه هجرى قمرى ٢١ شهر جمادى الثانى يكهزار و سه صد و سى و نه سنه ١٣٣٩ تمت بالخير ...اللهم افتح لنا بالخير واختم لنا بالخير واجعل عواقب كل امورنا بالخير امين"Title from closing matter on p.155.Ms. codex.14. p.156-p.168 : [blank].13. p.154-p.155 : [copyist's epilogue].12. p.140-p.153 : [Risālah-i Qāz̤ī Quṭb ?] / Quṭb al-Dīn Muḥammad ibn Ghiyās̲ al-Dīn [?].11. p.138-p.139 : [blank].10. p.132-p.137 : Ṣad pand-i sūdmand-i Luqmān-i Ḥakīm.9. p.131 : [blank].8. p.68-p.130 : [Pandnāmah-i ʻAṭṭār] / Farīd al-Dīn ʻAṭṭār.7. p.66-p.67 : [blank].6. p.50-p.65 : [Maḥmūdnāmah] / Maḥmūd Lāhūrī.5. p.49 : [blank].4. p.34-p.48 : [Nām-i Ḥaqq] / Sharaf al-Dīn Bukhārī.3. p.33 : [blank].2. p.18-p.32 : [Karīmā] / Saʻdī.1. p.1-p.17 : [mainly blank].Splendid copy of a collection of didactic poetical works on proper conduct of life.
Abstract: The ms. consists of pieces of paper of two distinct origin inserted in larger pages of laid paper. A leaf with text written in thuluth is followed by an earlier leaf with the same text written in a script leaning towards New Style 1.Binding note: Lacquered binding. The outer side has a central panel with flowers and leaves and a border consisting of a simply executed -scroll. Daffodil and wallflowers on a red ground on the doublure. Text-block detached from binding.Ms. codex.Title supplied by cataloger.Physical description: 5 lines per page. The inlaid portion is framed in red, gold, and blue; fol. 1 and 12 are plain paper with no inlaid portion. A leaf with text written in thuluth on cream paper is followed by an earlier leaf (dark cream paper, large laid lines) with the same text written in a script leaning towards New Style 1 (see in particular lām-alif and final ṭāʾ), with diacritics consisting of gold circles outlined in black; in these latter leaves, verses marks consist of a circle with a letter surrounded by thin petals in gold outlined in black; juzʾ marks consist of a large medallion filled with decoration in gold and white and outlined in blue with small dots and radiating flecks in black (see fol. 9b) ; vocalization added in red by a later hand.Origin: According to P. Hitti, the thuluth should be dated to the 12th/18th cent. The earlier leaves appear to date to the 6th/12th cent. The final form of the ms. appear to date to the 19th or 20th cent.Beginning: يحيى ويميت وهو على كل شىء قدير هو الاول والاخرEnd: الذين كفروا ما وبكم النار
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 220Origin: As appears in colophon at end of roll, main section copied by Ḥusayn Ibrāhīm ibn Muḥammad al-Ḥusaynī al-Khurāsānī with transcription completed in Dhū al-Ḥijjah 727 [?] [October-November 1327?] ; opening section (and repairs to main section) certainly much later than main section, perhaps 18th or 19th century.Accompanying material: a. Metal case in the form of a cylinder decorated with incised diamond pattern with lid (only slightly convex) ; case retains one ring through which a cord may have passed, a second ring has been lost -- b. Waxy, brown oil cloth now in two pieces which once wrapped roll inside case.Support: Each section in a distinct paper type ; opening section (first 895 mm., roughly 104-107 mm. wide, three pieces of paper) in type with roughly 10-11 laid lines per cm. (parallel with the length of the roll, fairly distinct) and no chain lines or watermarks plainly visible, dense and sturdy, burnished ; bulk of roll (roughly 3530 mm., 110-112 mm. wide, at least six pieces of paper) on a non-European (likely Persian) paper, highly sized and burnished, reinforced with further paper backing and repairs.Decoration: Text of opening section bordered by red double-rule border, table / jadwal with ninety-nine names ruled in red, border texts defined by red rules, openings with depiction of the "seal of prophecy" (مهر نبوت) here "صوره مهر نبوت حضرت رسالت پناهی" ; main section opens with a long cartouche (oriented along the length of the roll) with illuminated heading "اسماء الله تعالى" in thuluth and basmalah in plaited and knotted kufic, a central field filled with floral and vegetal designs executed in micrography, bordering lozenges and alternating circles filled with further micrography (mainly chrysographed, some in blue and black) and Qurʼānic texts in large tawqīʻ approaching thuluth (chrysographed), and further border of rubricated Qurʼānic text in fine riqāʻ ; an even longer cartouche appears next, with illuminated headings for each of several sections ("من اسماء الله تعالى نودونه نام،" "هذا دعاء حرز الاماني،" اسماء الاربعون") which are each in a different layout incorporating the nintey-nine names, Qurʼānic and prayer texts in ghubār, naskh, thuluth, tawqīʻ, etc. in gold, red, black and some blue in a highly symmetrical fashion, with the various elements defined by heavy bands of gold flanked by red double-rules.Script: [opening section] Naskh and tawqīʻ ; [main section] Naskh, thuluth, tawqīʻ, riqāʻ, ghubār, plaited and knotted kufic.Layout: [opening section] central written area in a single column (text written perpendicular to length of the roll) bordered in Qurʼānic and ḥadīth texts along the length of the roll, ninety-nine names arranged in a ruled table / jadwal (five cells wide by twenty cells tall), text following the heading for "the prayer of the bāzūband" ("دعا بازوبند حضرت شاه ولايت پناه") in 26 lines ; [main section] an elaborate arrangement of text consisting of a central narrow panel filled with text first arranged in a series of diagonal arrays (each read across in a zig-zag fashion), next in a series of five circles executed in micrography, and finally in rectangular fields of roughly nine horizontal lines, all interspersed with headings and surrounded by two heavy borders of cartouches, circles and rectangles filled with Qurʼānic and prayer texts in various scripts, closing with dedication and colophon.Dedication: "اللهم وخل بدخلك [؟] دوله الامير الاعدل الاعظم الاعلم الاشجع الاكرم سلطان الامراء في العالم انك دولت همه از دولت اوحي طلبنا والملك العادل ... خلد الله تعالى ملكه ودولته الى يوم الدين"Colophon: "كتبه العبد حسين ابراهيم ابن محمد الحسيني الخراساني في ذي الحجة سنه سبع وعشرين وسبعمائة [؟]"Incipit: "صوره مهر نبوت حضرت رسالت پناهی ..."Title supplied by cataloguer.Ms. roll.[main section] اسماء الله تعالى -- من اسماء الله تعالى نودونه نام -- هذا دعاء حرز الاماني -- اسماء الاربعون[opening section] صوره مهر نبوت حضرت رسالت پناهی -- نودونه نام باری تعالی -- دعا بازوبند حضرت شاه ولایت پناهComposite talismanic scroll (rotulus, i.e. opening vertically) consisting of two sections of distinct production, now joined. Originally wrapped in oil cloth and housed in metal case.
جيدة وهو عبارة عن مجلد كبير مغلف بقماش أحمر مقلم باللون الأصفر وهو مكتوب بالمداد الأسود والأحمر وكثير الحواشيPersian naskh script, written in black and red ink.
Contents: الثلث الآخر من شرح الازهار المنتزع من الغيث المدرار المفتح لكمائم الازهار من فقه الائمة الاطهارContents: تبصرة ذوي الالباب في معرفة تحقيق النصاب المقرر للمذهب الشريف المجرد عما يشوبه من التحريف
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 412Origin: Lacks formal dated colophon ; paper, decoration, etc. certainly suggest 15th century.Former shelfmark: "247 T. De M. [i.e. Tammaro De Marinis]" and "242" inscribed in pencil on interior of upper cover.Binding: Pasteboards faced in marbled paper with dark brown leather over spine, foreedge flap, and edges/turn-ins (marbled paper faced leather edged framed binding) ; Type II binding (with flap, though now lost) ; board linings in laid paper ; sewn in red thread, two stations ; endbands gone apart from traces of primaries sewn through spine lining ; overall in extremely poor condition with significant losses of leather and paper, severe abrasion and pest damage, moisture damage, flap lost, spine lining exposed, etc. ; housed in box for protection.Support: non-European (likely Arab) laid paper with 8 laid lines per cm. (horizontal) and chain lines grouped in threes with 9-10 mm. between chains and 41-47 mm. between groups (see p.28, 30, etc.), cloudy formation, quite sturdy, burnished ; much staining and tide lines ; many repairs including fills at edges of leaves and guards in manuscript "waste" (recycled paper) ; pp.117-122 on replacement leaves of different non-European paper with no chain lines visible.Decoration: Fine illuminated frontispiece (pp.2-3) in double-page illumination carries the title and opening with upper and lower panels carrying the title and supplication for the Prophet ("كتاب وسيله النجات في مولد اشرف الموجودات عليه افضل الصلوات واكمل التحيات"), mainly in gold thuluth set in cloud bands of blue and red though the opening panel carries the first part of the title on a field of blue (approaching cobalt or lapis lazuli) overlaid with swirling vegetal decoration (arabesque) in orange and white, surmounted by a length of arabesque (black, orange-red and gold) and vertical stalks (tīgh), and flanked by a roundel (ansa) partly lost ; entire written area of frontispiece surrounded by a frame consisting of gold bands and blue rules and basmalah also chrysographed ; keywords (الله، محمد، الخ) and section headings throughout text chrysographed or rubricated ; overlining and abbreviation symbols in red.Script: Naskh ; elegant Turkish hand ; mainly serifless (though left-sloping barbed head-serif appears on alif of lām-alif ligature), quite rounded with curvilinear descenders, some sweeping tails, very slight effect of tilt to the left, almost fully vocalized, گ represented by ك with three dots ; text of pp.108-121 supplied in at least two different hands.Layout: Written mainly in 9 lines per page, divided to two columns to set off poetry ; section headings centered ; frame-ruled.Collation: V-1 (9), 4 V(49), IV+1 (58), I+1 (61) ; chiefly quinions ; catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Explicit: "كردلر سز بولسز اددن نجات عشقلادر ديله ايدك الصلات ... تنكردن يزبك درود يله سلام مصطفانك روحنه هر صبح شام اولسون آلينه دقى اصحابنه تابعين انصار وهم احبابنه امتندن راضى اولسون اول معين رحمة الله عليهم اجمعين"Incipit: "الحمد لله الذي جعل محمد [؟]... كل موجود واشرف كل مخلوق واعز كل مولود ... نحمده على ما جعلنا من امة محمد الوفي بالعهود واشهد ان لا اله الا الله وحده لا شريك له ولا شبيه له الذي تقدس ذاته عن زمن معدود ... هذا اول كتاب مولد المصطفى عليه السلام الله آدن ذكر ادالم اولا واجب الدر جمله اشده هر قولا ..."Title from frontispiece (pp.2-3).Ms. codex.3. p.112-p.121 : [further verses, ending with "كيم سليمان بلرسه بو وقتى مصطفاكيب مصطفى السر"].2. p.108-p.111 : Medh-i Mustafa.1. p.1-p.107 : Vesîletüʼn-necat / Süleyman Çelebi.Fine (though damaged) early copy of the famous poem in praise of the Prophet by Süleyman Çelebi of Bursa (d.1422?) with preface in Arabic, followed by further verses supplied in different hands.