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.
Kitapta Delâ’ilü’l-Hayrât (y. 1b-12b), İsm-i Nebî (y. 12b-16b), Mekke-i Mükerreme ve Ravzatü’l-Mutahhara (y. 17a-19a), dualar (y. 19b-130a) vardır.Binding: Kitabın vişne rengi deri şemseli ve köşebentli cildi 20. yüzyılda yapılmış olmalıdır.Illuminations: Yaprak 1b ve 19b haşiyeli zarif unvan tezhibiyle, ara bölüm başları (y. 16b, 17a, 125b, 127a) kare ve dikdörtgen şeklinde tezhiplidir. Hz. Muhammed’in isimleri sekizgenler içine yazılmıştır. Kitapta Mekke-i Mükerreme ve Ravzatü’l-Mutahharra başlığını izleyen satırları takiben önce Mekke şehri ve Kâbe (y. 17b), karşı sayfaya da Medine şehri ve Ravzatü’l-Mutahharra tasvirlenmiştir (y. 18a). Köşeleri tezhipli oval çerçeve içine alınan resimlerde Mekke şehri binaları ve Kâbe avlusundaki yapılar, geride görülen tepeler üç boyutlu çizilerek, özenle yapılmıştır. Aynı özenli çizim Medine şehrini çevreleyen mazgallı sur duvarları ile diğer binalarda ve arkadaki manzarada da görülür. Peygamber’in kabri üzerinden kutsallık simgesi altınlı hale-nur gökyüzüne uzanır.Measurements: 14,3 x 10,4 cm; 130 yaprak, sayfada 9 satırScript: Nesih; Sülüs; Rıka; Naskhī; Thuluth
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
A treatise on the elixir containing many extracts from poetical and prose sources. The text was copied in late Rajab 919 (Sept-Oct 1513) at al-Madrasah al-Maulawiyyah al-ʿAlawiyyah in Fez by Qudrat Allāh al-Marandī al-Ādharī (see colophon, fol. 11a). Although the title states that the author is unknown, a note in the left-hand margin of f. 3a claims that the author is the monk Ibn al-Muhadhdhib and the title of the treatise is
Idhhāb al-ẓulmah(مصنّف هذه الرسالة فضل ابن المهذّب الراهب اسمه [!] إذهاب الطلمة).Begins (f. 3r, lines 3-8):قال مخاطب الطالب لعلم الصنعة الإلهية والموهبة السنية شفقة عليهوهداية له اعلم أيّها الحكيم والسيد العليم أيدك الله وإيانا بروح منه أنّا لما علمنابالنص عن من سبقنا من الحكماء والمؤيدين الفلاسفة المتقدمين أنّ علل المعادنالمنطرقة والمنسحقة أصول أعدتها الطبيعة آلة لما كوّنه جنس المعدنالأنواع المندرجة تحته بالتكوين الطبيعي علمنا أنّ الحجر الأعظم الجوهر المكرم الذيمنه توليد الإكسير التام ...Ends (f. 11r, lines 13-16):والآن أذكر واضعها أيها الأخ الكريم الحكيم والسيد العظيم أيّدك الله بالتأييدوشرّفك كقول داؤود في زبوره من حجر كريم بلّغك الله أملك وقضىمنك وطرك قبل انحلال الحرارة الغريزية وتباين الهيئةالعزيزية والحمد لله أوّلاً وآخرًا باطنًا وظاهرًاColophon (f. 11r, lines 17-20):وصلوة على رسوله محمد وآله وصحبه أجمعينوسلام على المرسلينوالحمد لله ربّ العالمينفرغتفي أواخر شهر رجبمن شهور سنة ٩١٩على يد قدرة اللهالمرندي الأذريكتبت بمدينة فاس صينتعن الانطماس في المدرسةالمولوية العلويةرحم اللهبانيهاff. 3r-11rMaterial: PaperDimensions: 215 x 150 mm leaf [168 x 112 mm written]Foliation: British Museum foliation in pencil; Arabic foliation in the purple crayon typical of Lebanese bookdealers of the 19th centuryRuling:
Misṭarah; 19 lines per page; vertical spacing 11 lines per 10 cm (ff. 113r-158v: 29 lines per page; vertical spacing 17 lines per 10 cm)Script:
Naskhwith
nasta‘līqtendencies and some titles in
thuluth(ff. 113r-158v:
naskh)Scribes: Qudrat Allāh al-Marandī al-Ādharī (ff. 3r-112v) and Muḥammad ibn Sulaymān al-Mawṣilī (ff. 113r-158v)Ink: Black ink, with rubricated, yellow and green headings and overlinings in red (ff. 113r-158v: black)Binding: British Museum bindingCondition: Some worm damage, foxing, and tears towards the fore edge. Folios 19, 21 and 24 have been replaced.Marginalia: Extensive marginal corrections, conjectures, glosses in Arabic and Persian and other evidence of collation and textual study (ff. 113r-158v: very few)
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 279Origin: Date below vase with large floral spray 1281 [1864 or 5] ; other features also suggest 19th century. As appears in opening text, possibly executed for the Ottoman statesman Mehmet Fuat Paşa (d.1869).Former shelfmark: "598 [?]" inscribed in pencil on verso of 'front' flyleaf ; "123" inscribed in pencil on recto of 'back' flyleaf.Binding: Pasteboards covered in dark green leather (appearance of straight-grain leather but likely impressed straight grain or other artificial grain) ; Type II binding (with flap) ; pastedowns and flyleaves in a streaked paper (in yellow, dark purple, etc. reminiscent of tree-marbling or stream marbling) ; upper and lower covers carry gold-stamped central vegetal pendant, corner accents and vegetal border ; sewn in red thread, four stations, failed ; overall in fair condition with abrasion, staining, etc.Support: Paper of written area embossed to carry text and figurative designs, set in surface-dyed frames of bright green and mounted on pasteboards.Decoration: Embossed borders (reminiscent of mountains) as well as vegetal and figurative designs with such animals as lions, dragons, stags, bulls, etc. accenting the calligraphy or filling a page.Script: Mainly nastaʻlīq with occasional thuluth ; exquisite calligraphic hand executed with the fingernail or stylus in the technique known as khaṭṭ-i nākhunī ( خط ناخنی / khaṭṭ-e nākhonī). Compare no. 1-85-154.63 at the Library of Congress and see description provided by Christiane Gruber in Selections of Arabic, Persian, and Ottoman Calligraphy (available online).Layout: Varies widely, pages carrying text with mainly 6-8 lines per page ; many pages carrying figurative or vegetal decoration only.Collation: Seven 'panels' (mounted leaves) hinged together with blue textile.Explicit: "ایا چرخ در پیش قدر تو واله ... تویی آنکه بر درگهت چرخ دربان كتبه ابو تراب افتاده"Incipit: "مديح سپهر رفعت بحر و قار و كدهي يكانه كوهر بحر كرم فؤاد پاشا ... "Title supplied by cataloguer.Ms. codex.Superb album of calligraphy (muraqqaʻ or murakkâ) employing verses of Anvari, etc. with interspersed figurative illustrations of lions, dragons, stags, bulls, etc. as well as vegetal motifs, all embossed in white paper likely with the fingernail, a technique known as khaṭṭ-i nākhunī ( خط ناخنی / khaṭṭ-e nākhonī). Contributions to the description from Ulrich Marzolph and Emily Neumeier.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 241Origin: As appears at the close of each piece (kıta), executed by es-Seyit el-Hac Mustafa İzzet. In three of the signatures he includes "known as Reisülulema". He has signed the final piece "Bende-yi Al-i aba, Seyit İzzet Mustafa," a modest expression which, according to M. Uğur Derman (see Letters in gold, p.118), he preferred to use in his later years. Only one of the pieces is dated 1282 [1865 or 6] with the others likely completed around the same time or slightly later.Former shelfmark: "570 T.D.M. [i.e. Tammaro De Marinis]" and "93" in pencil on opening panel.Binding: Boards now covered in green and black mottled paper (sponge painted or faux marbled look, traces of another paper underneath) with dark purple to black leather over spine ; Type III binding (without flap) ; boards lined in same mottled paper ; panels hinged together in accordion format with same dark purple to black leather and hinged into case ; overall in fairly good condition with some abrasion and staining.Support: Written area on well-burnished paper, pieced, set into frames of blue and orange-tinted paper, and mounted.Decoration: Written area and divisions within surrounded by frames of gold defined by further gold and black fillets ; illuminated textual dividers in the form of gold rosettes with red and green-blue accents.Script: Exquisite specimen of Ottoman calligraphy ; large opening line of each panel in thuluth (sülüs), followed by four lines in naskh (nesih).Layout: Written in 5 lines per page, one large line of thuluth and four smaller lines of naskh.Collation: Four panels hinged together in accordion (concertina) format ; opens vertically.Colophon: [1] "حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء غفر الله ذنوبه وستر عيوبه امين" ; [2] "حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء غفر الله ذنوبه امين سنة ١٢٨٢" ; [3] "حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء غفر الله ذنوبه وستر عيوبه امين" ; [4] "بندۀ آل عبا سيد عزت مصطفى"Incipit: "اذكروا الله ذكرا كثيرا قال رسول الله صلوات الله عليه وسلامه مثل الذي يذكر ربه والذي لا يذكر ربه مثل الحي والميت ..."Title supplied by cataloguer.Ms. codex.Exquisite album of calligraphy (muraqqaʻ / murakkaa) of four kıtalar employing ḥadīth of the Prophet executed by the renowned Ottoman calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 242Origin: As appears in colophon, executed by Hasan Rıza Efendi in imitation of a model by the renowned calligrapher Kazasker (Kadiasker) Mustafa İzzet Efendi (d.1876) with transcription completed in 1304 [1886 or 7]. Signature in the illuminated panel to the left of the close identifies the gilder (mudhahhib, müzehhip) as Hasan Rıza.Former shelfmark: "563 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "94" inscriped in pencil on recto of opening leaf/'panel'.Binding: Pasteboards covered in dark lavender leather ; Type III binding (without flap) ; board linings in golden yellow to orange surface-dyed paper ; upper and lower covers carry exquisite gold-stamped scalloped octagonal piece (filled with vegetal decoration emanating from a central floral motif) and rosette accents (at the apices of the scallops, forming pendants, etc.), as well as elaborate tooled border in gold accented by gold-painted fillets ; overall in somewhat poor but fair condition with only minor abrasion, losses of silk, panels detaching from spine and warping in some, and lifting of spine leather.Support: Well-burnished paper mounted on heavy board, with area framing written area surface-dyed (golden yellow to orange) and gold-flecked, edged in red silk ; sheets of red wove paper rest between many of the panels.Decoration: Illuminated panels consisting of rectangular panels filled with various swirling vegetal patterns on fields of gold, blue, light pink, etc. and surrounded by frames in blue, green, light pink, red, etc. flanking mainly the lines of naskh ; entire written area surrounded by heavy gold and light pink frames with narrower gold rules surrounding panels within ; textual dividers in the form of illuminated rosettes with accents in green, pink, blue, white, etc.Script: Exquisite specimen of Ottoman calligraphy ; large line of each page in a fine thuluth ; central lines of each page in a superb naskh ; fully vocalized ; each continues a distinct stream of ḥadīth text or excerpts.Layout: Written in 5 and 6 lines per page, a large line of thuluth followed by four or five lines of naskh, with lines in thuluth and those in naskh constituting two distinct streams of text ; written area is divided into upper panel accomodating the large line of thuluth and centered lower panel carrying the more compact lines of naskh ; opens vertically with writing parallel to spine.Collation: Six heavy leaves or 'panels' hinged together.Colophon: "Scribal," reads: "حرره الحاج السيد حسن رضا مقلدا بمصطى عزت غفر الله ذنوبهما وستر عيوبهما امين سنه ١٣٠۴"Title supplied by cataloguer.Ms. codex.Exquisite album of calligraphy (muraqqaʻ or murakkaa) employing assorted ḥadīth, executed by the renowned Ottoman calligrapher Hasan Rıza Efendi (d.1920), a master of naskh and thuluth.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 239Origin: Lacks dated colophon ; likely 18th or 19th century.Former shelfmark: "561 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on spine 'lining' where it extends onto upper cover ; "112" inscriped in pencil at opening.Binding: Unbound ; leaves/'panels' were originally hinged together via green silk and adhesive ; paper has been wrapped around the long (horizontal) edge to join the leaves and form a spine ; 'panels' are delaminating and separating from one another ; some abrasion ; currently housed in envelope.Support: Well-burnished laid paper set into heavy (likely thin pasteboard) painted and gold-flecked frame, edged in green silk ; colors of facing panels match (orange, purple, and green).Decoration: Written area surrounded by gold-stamped border in interlocking geometric design ; written area divided into rectangular panels by gold rules ; often a white fillet appears at the center of the gold-flecked frame.Script: A fine thuluth.Layout: Written in two lines per page.Collation: Nine leaves or 'panels' originally hinged together.Incipit: "رب يسر ولاتعسر رب تمم بالخير وه"Title supplied by cataloguer.Ms. codex.Fine album of calligraphy (muraqqaʻ or murakkaa) employing alphabetic exercises (müfredat).
Book compiled by Muḥammad ibn Ismāʻīl al-Kibsī. Ownership note, dated 1954.جيده وهو عبارة عن مجلد كبير بني غامق اللون عليه نقشة محفورة في الجلد وقد بدأ جلده في التآكل من طرف المخطوط جهة خيوط الحباكة وعليه آثار بلل وهو متنوع الخطوط وأحجام الخطوط والنُسَّاخ متعددون وعليه آثار بلل ومكتوب بالمداد الأسود والأحمرCompiled volume, works of various origins and copyists. Naskh, Persian naskh and thuluth scripts, written in black and red ink. Traces of water damage and worm holes. Obscured labeling on the edge of the manuscript.
Volume One (المجلد الأول) of a medical compendium on the use of simples to cure various ailments by the Andalusian botanist Ḍiyā’ al-Dīn Abū Muḥammad ʻAbd Allāh ibn Aḥmad ibn Muḥammad al-Mālaqī (ضياء الدين أبو محمد عبد الله بن أحمد بن محمد المالقي; d. 1248), known as Ibn al-Bayṭār (ابن البيطار), Chief Herbalist (رئيس العشابين) to the Ayyubid sultan al-Malik al-Kāmil (reg. 1218-38). The text is dedicated to al-Malik al-‘Ādil II (الملك العادل سيف الدين أبو بكر بن الملك الكامل, reg. 1238-40, see. f. 3v, lines 5-12).The text is arranged by affected part from head to toe in twenty chapters (باب), of which this copy contains the first eight. Each chapter is then subdivided by ailment into sections (فصول). A list of all twenty chapters and their titles is found on ff. 4r-4v. The contents of the present volume are as follows:Chapter One: Simple Drugs Beneficial for Ailments of the Head (الباب الأول في الأدوية المفردة النافعة من أمراض الرأس, ff. 5r-59r);Chapter Two: Simple Drugs Beneficial for Ailments of the Eye (الباب الثاني في الأدوية المفردة النافعة من أمراض العين, ff. 59r-89v);Chapter Three: Simple Drugs Beneficial for Ailments of the Ear (الباب الثالث في الأدوية المفردة النافعة من أمراض الأذن, ff. 89v-101v);Chapter Four: Simple Drugs Beneficial for Ailments of the Nose (الباب الرابع في الأدوية المفردة النافعة من أمراض الأنف, ff. 101v-105v);Chapter Five: Simple Drugs Beneficial for Ailments of the Mouth (الباب الخامس في الأدوية المفردة النافعة من أمراض الفم, ff. 105v-129r);Chapter Six: Simple Drugs Beneficial for Ailments of the Throat, Organs of Respiration, the Chest and its Contents (الباب السادس في الأدوية المفردة النافعة من أمراض الحلق وآلات التنفس والصدر وما يحويه, ff. 129r-180v);Chapter Seven: Simple Drugs Beneficial for Ailments of the Stomach, Liver and Spleen (الباب السابع في الأدوية المفردة النافعة من أمراض المعدة والكبد والطحال, ff. 180v-236v);Chapter Eight: Simple Drugs Beneficial for Ailments of the Intestines (الباب الثامن في الأدوية المفردة النافعة من أمراض الأمعاء, ff. 236v-287r).The title page (f. 2r) claims that the volume was owned by the Ottoman sultan Bāyezīd II (بايزيد بن محمد خان مظفر دائمًا, reg. 1481-1512). This claim is substantiated by what appears to be the defaced seal of Bāyezīd II to the left of the colophon on f. 287r (see Chester Beatty Library Islamic Seals Database no. 2 and cf. impressions of this seal in Add. MS 18866, f 292r and Add. MS 7515, ff. 1r and 132v).The copy was completed in early Jumādá I 851/second half of July 1447 by Ways ibn ‘Awaḍ (ويس ابن عوض, see colophon, f. 287r, lines 4-7, transcribed below).Begins (f. 2v, lines 2-4):الحمد لله الذي أنزل لكل داء دواء فاستحق بوجود نعمائه على عبادهحمدًا وثناءً وأقام لكل علم حملة جمعوا منها اشتاتًا وتحملواله أعباءً فإن احوا (!) من كد النصب من سلك سبيلهم اقتدا ...Ends (f. 286v, line 13-f. 287r, line 1):قال أبو جريح يولد الحيات في البطن من الأشياءالفجة اللينة مثل القمح والفول واللوبيا والحمص وأكل اللحم الفتيمن لحم الخنزير وسف الدقيق وإدمان شرب اللبن وشرب العسل بالماءبالماء (!) بعد الطعام كثيرًا ومن أكل الخبز الوسخ الحبColophon (f. 287r, lines 2-9):تم المجلد الأول من الكتابالمرسوم بمفردات ابن بيطار رحمه اللهرحمة واسعة حرر في أوائلجمادى الآخرة أحد شهورسنة إحدى وخمسين وثمانيةكتبه ويس ابن عوض غفر الله لهولجميع المسلمين والمسلمات والمؤمنين والمؤمناتبرحمتك يا أرحم الراحمينCodex; ff. i+287+iiMaterial: Eastern laid paperDimensions: 260 x 170 mm leaf [190 x 120 mm written]Foliation: Eastern Arabic pagination in black ink extends only as far as p. 200 (f. 102r), British Museum foliation in pencilRuling: No ruling visible; 15 lines per page; vertical spacing 8 lines per 10 cmScript:
Naskh; the scribe is Ways ibn ‘Awaḍ (ويس ابن عوض, see colophon, f. 287r, lines 4-7)Ink: Black ink, with rubricated headings and occasional punctuation and overlinings in redDecoration: Calligraphic
basmalain thuluth script (f. 2v)Binding: Red leather Western binding, with blind-tooled medallions and bordersCondition: Tidemarks at tail towards front of volume and at head towards back of volume, edge corners mutilated and repaired on ff. 1-15 and 271-87 with no loss of text, minor insect damageMarginalia: Very fewSeals: f. 287r
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.
Lines 1-9 give instructions for producing false ambergris (عنبر); lines 9-15 give instructions for a distillation process for oil of cloves and roses; and lines 16-17 give brief instructions for the washing of
ṭaḥīnah.Begins (f. 159v, lines 1-4):خذ من الشب ٣٠ درهم ومن البارود ٣٠ درهم وقطرهمبالقرعة والأنبيق وبعده خذ من اللادن ٣٠ درهموقطعه قطع صغار وبعد اطرحه في ذلك الماء القاطر علىالنار اللينة ...Ends (f. 159v, lines 14-18):... وكذلك الرملة مناع الورد لاكن الوردبزبادة النكرار وتقم الماء الورد على ٣ أقسام أو ٥ أقسام أو سبعة أقسام انتهىصفة غسل الطحينة خذ دهنه بالماء وبعد عليه حتى تذهبرائحة افعل به ما شئت انتهى لو كانت الكتب تنيكم بحالاتي كتبت من دموعأياتيf. 159vMaterial: PaperDimensions: 215 x 150 mm leaf [168 x 112 mm written]Foliation: British Museum foliation in pencil; Arabic foliation in the purple crayon typical of Lebanese bookdealers of the 19th centuryRuling:
Misṭarah; 19 lines per page; vertical spacing 11 lines per 10 cm (ff. 113r-158v: 29 lines per page; vertical spacing 17 lines per 10 cm)Script:
Naskhwith
nasta‘līqtendencies and some titles in
thuluth(ff. 113r-158v:
naskh)Scribes: Qudrat Allāh al-Marandī al-Ādharī (ff. 3r-112v) and Muḥammad ibn Sulaymān al-Mawṣilī (ff. 113r-158v)Ink: Black ink, with rubricated, yellow and green headings and overlinings in red (ff. 113r-158v: black)Binding: British Museum bindingCondition: Some worm damage, foxing, and tears towards the fore edge. Folios 19, 21 and 24 have been replaced.Marginalia: Extensive marginal corrections, conjectures, glosses in Arabic and Persian and other evidence of collation and textual study (ff. 113r-158v: very few)