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