Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 237Origin: As appears in colophon, executed by İbrahim Rodosi ; date of transcription not specified, though calligrapher's activity (acquiring his icazet shortly after the death of his first teacher İsmail Zühdî in 1731) suggests mid to late 18th century.Former shelfmark: "559 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "116" inscriped in pencil at opening.Binding: Pasteboards covered in dark red-brown leather with spine in a lighter red-brown leather ; Type III binding (without flap) ; board linings in pink-tinted laid paper ; upper and lower covers carry blind-stamped and gold-painted scalloped mandorla filled with symmetrical vegetal composition (compare binding ornament on cover of Isl. Ms. 230), as well as tooled border consisting of guilloché roll flanked by gold fillets ; panels hinged together with red-brown leather ; overall in fair condition with some staining, abrasion, lifting of leather, spine split near head, etc.Support: Well-burnished laid paper (in some cases surface-dyed pink) pieced, set into frame consisting of other surface-dyed and gold-flecked papers in combinations of orange and green, blue and pink, orange and magenta, yellow and green, green and magenta, lavender and orange, etc. (papers of facing pages match) set off by gold bands and white fillets.Decoration: Decorative illuminated pieces consisting mainly of scalloped semi-circular pieces (domes) overlaid with swirling vegetal pattern in gold, red, pink, white, blue, etc. flank the compact central lines ; other illuminated flanking pieces of different vegetal composition appear on some panels ; written area surrounded by frame in bands of gold varying thickness ; textual divders in the form of illuminated rosettes with accents in pink, white, blue, etc.Script: Fine specimen of Ottoman calligraphy ; two large lines of each page in thuluth ; two central lines of each page in naskh ; fully vocalized ; each continues a distinct stream of text though both open in alphabetic exercises.Layout: Written in four lines per page, two large lines in thuluth (sülüs) and two more compact lines in naskh (nesih) ; written area divided into upper and lower panels accommodating the large lines and a central panel divided to accomodate the two more compact lines.Collation: Ten 'panels' (mounted leaves) edged in and hinged together with red-brown leather ; opens vertically.Colophon: "Scribal," reads: "مشقه اضعف الكتاب ابراهيم الردوسي"Explicit: [in thuluth / sülüs] "سبحانك اللهم وبحمدك وتبارك اسمك وتعالى جدك وجل ثناؤك ولا اله غيرك" ; [in naskh / nesih] "فان امارتي بالسوء ما اتعظت من جهلها بنذير الشيب"Incipit: "رب يسر ولا تعسر رب تمم بالخير"Title supplied by cataloguer.Ms. codex.Fine album of calligraphy (muraqqaʻ / murakkaa) executed by the Ottoman calligrapher İbrahim Rodosi (d.1787). Comprises a meșk murakkaa or album of meșkler (exercises) in two scripts (thuluth / sülüs and naskh / nesih) employing the principal alphabetic exercises (müfredat), composed word exercises (mürekkebat) with the alpha-numeric system (abjad / abced hesabı), invocations, and a portion of the text of al-Buṣīrī's Qaṣīdat al-Burdah.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 240Origin: As appears at close, executed by Mustafa el-Haşimî known as Kadızade in 1195 [1780 or 1].Former shelfmark: "550 T. D. M. [i.e. Tammaro De Marinis]" in pencil on upper board lining ; "107" in pencil on recto of opening panel.Binding: Pasteboards faced in gold-flecked, pale yellow paper and framed in tan leather (covering board edges / turn-ins and likely spine at one time) now with dark purple leather (and Japanese paper repair) over spine (leather edged framed binding) ; Type III binding (without flap) ; opens vertically ; board linings in magenta paper ; gold rule-borders on leather edging ; overall in fairly good condition ; repairs in Japanese paper ; occasional repair to hinges in same dark purple leather.Support: Written area on well-burnished laid paper, pieced, set into an elaborate frame in several different laid papers (pale peach-tinted, pink-tinted, light blue-tinted, orange-tinted, etc. with colors of facing panels matching) and mounted.Decoration: Written area (and divisions within) surrounded by gold frame set off by black and white fillets ; written area set into a frame of tinted paper (colors of facing panels match).Script: Fine specimen of Ottoman calligraphy ; in thuluth (sülüs) and naskh (nesih).Layout: Written in four lines per page ; two large lines thuluth and two smaller centered lines in naskh, constituting two distinct streams of textCollation: Eleven 'panels' hinged together with tan leather.Colophon: "مشقه اضعف العباد السيد مصطفى الهاشمى المعروف بقاضى زاده سنه ١١٩٥ه"Explicit: "وتبارك اسمك وتعالى جدك وجد ثناؤك ولا اله غيرك"Incipit: "رب يسر ولا تعسر رب تمم بالخير ا ب ت ج ح د ز ذ ر س ش ص ط ع و ..."Title supplied by cataloguer.Ms. codex.Fine album of calligraphy (muraqqaʻ / murakkaa) in this case a meșk murakkaa or album of meșkler (exercises) employing first (in seventeen kıt'alar) the principal alphabetic exercises (müfredat) and closing with three kıt'alar of mürekkebat exercises employing the alpha-numeric system (abjad / abced hesabı) and a prayer.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 229Origin: As appears in colophon on final panel, executed by Mahmud Celâleddin in 1206 [1791 or 2] and copied from a model executed by Hafız Osman Efendi in 1108 [1696 or 7].Former shelfmark: "99" in pencil on recto of opening panel ; numeral and "T. D. M" [i.e. Tammaro De Marinis] on verso of final panel.Binding: Boards covered (faced) in blue and white marbled paper (kumlu ebru) with red leather over spine and board edges / turn-ins (leather edged framed binding) ; Type III binding (without flap) ; board linings in same marbled paper ; panels hinged together in same red leather ; overall in fairly good condition.Support: Written area on well-burnished paper, pieced, set into frames of marbled paper (ebru) mainly in shades of blue, pink, yellow and black, and mounted on thin boards.Decoration: Illuminated rectangular pieces filled with vegetal decoration in shades of gold, pink, orange, and lavender on fields of blue, gold, etc. flank mid and lower sections of written area on each panel ; written area and divisions within surrounded by frames of gold defined by black fillets ; illuminated textual dividers in the form of gold rosettes with red, orange and blue accents.Script: Exquisite specimen of Ottoman calligraphy ; large lines of each panel (typically opening and closing lines) in thuluth (sülüs), with central lines in naskh (nesih).Layout: Written in 6 to 13 lines per page, including two lines of thuluth with four centered lines of naskh, two lines of thuluth with eight diagonal lines of naskh, one line of thuluth with seven lines of naskh, one line of thuluth with nine diagonal and then three horizontal lines of naskh, etc. ; thuluth and naskh carry separate streams of text.Collation: Five 'panels' edged and hinged together with red leather ; numbered in pencil with Hindu-Arabic numerals in the upper outer corner of the written area for each piece ; opens vertically.Colophon: "كتبه من لا قدر له ولا قدر ولا نخل بواديه ولا سدره اضعف العباد الكتاب عثمان المشتهر بحافظ كلام الوهاب شاكرا لله الملك الوهاب ومصليا على نبيه محمد واله وصحبه اجمعين وسلم تسليما كثيرا كثيرا سنة ثمان ومائة والف من هجرة من له العز والشرف ونقلها محمود المعروف بجلال الدين مع الكتبة والتنقيح بعينها غفر الله ذنوبهما ١٢٠٦"Explicit: "نور المسلم من شاب شيبة في الاسلام كتب الله بها حسنة وكفر عنه بها خطيئة ورفعه بها درجة اللهم صل وسلم على اشرف الخلق واكمل الخلق محمد واله الطاهرين اجمعينIncipit: [thuluth] "بسم الله الرحمن الرحيم وبه نستعين وعليه التكلان من الخذلان ..." ; [naskh] "والدباران ياتيها بعد ان تفوته ..."Title supplied by cataloguer.Ms. codex.Exquisite album of calligraphy (muraqqaʻ / murakkaa) employing ḥadīth of the Prophet executed by the celebrated Ottoman calligrapher Mahmud Celâleddin Efendi (d.1829) in imitation of a model executed by the master calligrapher Hafız Osman Efendi (d.1698).
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.
An extract concerning the life and alchemical writings of Muʾayyad al-Dīn abū Ismāʿīl al-Ḥusayn ibn ʿAlī al-Ṭughrāʾī (d. 515 AH/AD 1121) from Ṣalāḥ al-Dīn Khalīl ibn Aybak al-Ṣafadī’s (
ca1297-1363)
Kitāb al-Ghayth al-musjam fī sharḥ Lāmīyat al-ʿAjam.This text has ben copied in a much smaller hand than the rest of the texts in the volume, but palaeographic similarities, especially a distinctive هـ (e.g. compare the first word of fol. 14a, line 10 [هو] with the second word of fol. 14a, line 1 [هي]) show that it was.Begins (f. 14r, lines 8-11):قال الشيخ الفاضل العلامة الصفدي رحمه الله في كتابه الشرح على لامية العجمفي ترجمة الطغرائي ومولده ووفاته وسائر أحواله في أوائل الكتابهو العميد مؤيّد الدين فخر الكتاب أبو إسمعيل الحسين بن علي بن محمد بن عبد الصمد الإصبهاني المنشيالمعروف بالطغرائي ...Ends (f. 14r, lines 2-3 in left-hand margin):لولا التَقِيَّةُ كنتُ أُظْهِرُ مَعَجِزًا ° مِنْ حِكمَتي تَشفى القلُوبُ من العَمَا ° أَهْوَى التكَرُّمَ والتظاَهُرَ بالّذي ° عَلّمتُه والعَقْلُ يَنْهى عنهُما °وأُرِيدُ لَا أَلقى غَبِيًّا مُوسِرًا ° في العالمين ولا لَبيبًا مُعْدِمًا ° والناسُ إمَّا ظالمٌ أَو جَاهِلٌ ° فمتى أطيقُ تَكرُّمًا وتكَلُّمًا °f. 14rMaterial: 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. 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. 234Origin: As appears in colophon, executed by al-Sayyid ʻAbd Allāh, likely Seyyid Abdullah of Yedikule (d.1731), who was a favorite pupil of the celebrated calligrapher Hafız Osman Efendi (d.1698). He received his icazet in 1102 [1690 or 91] and died around 1144 [1731]. Undated but most likely executed between 1690 and 1731.Former shelfmark: "109" inscribed in pencil at opening ; "542 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on hinge of lower cover.Binding: Pasteboards covered in dark brown leather ; Type III binding (without flap) ; board linings (doublures) in marbled paper (mainly in pink, brown, yellow, blue, and white) ; upper and lower covers carry incised and gold-painted (with red leather inlay) symmetrical scalloped panel resembling four-lobed flower or lozenge with domes emerging from the long edges, as well as tooled border in a series of s-shaped stamps with gold-painted accents ; panels hinged together with dark brown leather ; in somewhat poor but fair condition with significant staining, some abrasion and lifting of leather, etc.Support: Well-burnished European laid paper mounted on heavy laid paper (roughly 8 laid lines per cm.) with marbled frame (several variations in dark green, red, light blue, yellow, dark lavender, etc. ; papers of facing panels match).Decoration: Written area and panels within surrounded by frame consisting of heavy and narrow gold bands outlined in black fillets ; textual dividers in the form illuminated rosettes with red and blue accents.Script: Exquisite specimen of Ottoman calligraphy ; opening line of each page in fine thuluth ; five centered lines thereafter in naskh ; fully vocalized.Layout: Written in 6 lines per page, one large line in thuluth and five more compact lines in naskh ; written area divided to upper panel (accomodating the large line) and centered lower panel (for the shorter lines) ; opens vertically with writing parallel to spine.Collation: Six 'panels' (two leaves each) hinged together ; 'pagination' in black ink, Hindu-Arabic numerals, appears toward the left of each panel apart from the last.Colophon: "Scribal," reads: "كتبه العبد الفقير الى رحمة ربه القدير السيد عبد الله رضي عنه مولاه"Explicit: "اللهم صل وسلم على نبي الرحمة وشفيع الامة الضعيفة محمد واله الطيبين الطاهرين اجمعين"Incipit: "روي عن ابي سعيد الخدري رضي الله تعالى عنه قال قال رسول الله صلى الله عليه وسلم الا ان رجب شهر الله الاصم فمن صام من رجب يوما ايمانا واحتسابا استوجب رضوان الله الاكبر ..."Title supplied by cataloguer.Ms. codex.Fine album of calligraphy (muraqqaʻ or murakkaa) employing the text of assorted ḥadīth, executed by the renowned Ottoman calligrapher Seyyid Abdullah of Yedikule (d.1731), favorite pupil of the celebrated calligrapher Hafız Osman Efendi (d.1698).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 244Origin: In colophon, attributed to "Ḥamd Allāh al-maʻrūf bi-Ibn al-Shaykh," Şeyh Hamdullah of Amasya, with date of transcription is not specified. Colophon is questionable though attribution for most of the kıta'lar is likely accurate would suggest completion in the late 15th or early 16th century. Pieced and mounted at a later date, even late 16th or 17th century, with some repairs and replacements supplied.Former shelfmark: "335 T. De M. [i.e. Tammaro De Marinis]" on verso of final panel ; "100" inscriped in pencil at opening.Binding: Pasteboards covered in dark red-brown leather ; hinged together with red-brown leather in accordion format ; doublures in dark slate blue leather with border and area of mandorla and cornerpieces (on reverse) gold-flecked and lined in gold ; upper and lower covers carry superb stamped and gold-painted mandorla (filled with vegetal decoration, compare Déroche class. NSd 7), pendants and cornerpieces, along with gold-painted accents and tooled border in a series of s-shaped stamps approaching a guilloché roll ; overall in good condition with only minor abrasion and lifting of leather at board edges.Support: Well-burnished laid paper (repaired in many places) pieced and set into an elaborate frame of decorative papers, the outermost being richly colored marbled paper of several types and adjacent to it a border of pieced colored papers, some also gold-flecked ; other decorative papers fill the remaining areas surrounding the text ; specimens and borders mounted on leaves of well-burnished European laid paper.Decoration: Gold-flecked or painted decorative papers often flank lower panel carrying lines of naskh ; written area (and panels within) surrounded by frames consisting of gold and red-orange rules ; textual dividers in the form of illuminated rosettes.Script: Exquisite specimen of Ottoman calligraphy ; large line of each page in thuluth ; lines of each page in naskh ; fully vocalized ; each continues a distinct stream of text.Layout: Written mainly in 6 or 9 lines per page, a large line of thuluth and 5 or 8 compact lines of naskh (alternating pages carrying 5 or 8 lines) with lines in thuluth and those in naskh constituting two distinct streams of text ; written area divided into upper panel accommodating the large line and centered lower panel accommodating the more compact lines ; 8 lines of naskh mainly written on the diagonal.Collation: Twelve 'panels' hinged together in accordion format ; panels are numbered on the verso with Hindu-Arabic numerals in black ink beginning with ٣.Colophon: "Scribal," reads: "كتبها حمد الله المعروف بابن الشيخ حامدا الله تعالى على نعمه ومصليا على نبيه محمد واله الطيبين الطاهرين اجمعين"Explicit: [thuluth] "الخط الحسن نزهة العين وريحانة القلوب انه ولي الهداية والتوفيق" ; [naskh] "اذا استشرت الجاهل اختار لك الباطل"Incipit: [thuluth] "بسم الله الرحمن الرحيم قال النبي صلى الله عليه وسلم سئل كسرى انوشروان ما ..." ; [naskh] "بسم الله الرحمن الرحيم وبه ثقتي وسئل كسرى ما بالكم اليوم اذ كنتم احق بتعليم الناس اشد استغلالا بالتعلم ..."Title supplied by cataloguer.Ms. codex.Superb album of calligraphy (muraqqaʻ or murakkaa) employing mainly hadīth pertaining to sentiments of Kisrá Anūshirvān (Khosrow or Khusraw I, d.579), with most of the kıt'alar executed by the celebrated Ottoman calligrapher Şeyh Hamdullah of Amasya (d.1520).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 243Origin: As appears in signature on each panel, executed by Eğrikapılı Mehmet Râsim Efendi known as İmamzade (d.1756), who acquired his icazet in 1705.Former shelfmark: "545 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on upper board lining ; "39" in pencil on recto of opening panel.Binding: Pasteboards covered in dark red leather ; Type III binding (without flap) ; board linings (doublures) and reverse of opening and closing panels in fine marbled paper (ebru in blue, red, pink, green, etc.) ; upper and lower covers carry gold-tooled borders ; panels edged and hinged together with red brown leather ; overall in fairly good condition ; repairs to spine and hinges in Japanese paper.Support: Written area on well-burnished paper, pieced, set into an elaborate frame in several different laid papers (yellow-tinted, mint-tinted, pink-tinted, orange-tinted, and untinted, all gold-flecked and with colors of facing panels matching) and mounted.Decoration: Illuminated rectangular pieces filled with vegetal decoration in shades of gold, pink, orange, etc. flank lower central written area on each panel ; written area and divisions within surrounded by frames of gold defined by bands of turquoise and white as well as black fillets ; illuminated floral accents in shades of pink, light green, red, gold, etc. set off text and frames.Script: Exquisite specimen of Ottoman calligraphy ; opening large line of each panel in thuluth (sülüs), following lines naskh (nesih).Layout: Written in roughly nine lines per page, a large line with eight following lines on the diagonal.Collation: Six 'panels' (mounted leaves) edged and hinged together with brown leather ; opens vertically.Colophon: Each panel signed "حرره الفقير محمد راسم," "حرره الفقير محمد راسم المعروف بامام," etc.Explicit: "وفوقه عرش الرحمن ومنه تفجر انهار الجنة"Incipit: ""بسم الله الرحمن الرحيم قال رسول الله صلى الله عليه وسلم ان المرأة تقبل في صورة شيطان قال النبي صلوات الله عليه وسلامه ان المسلم اذا انفق على اهله نفقة وهو يحتسبها كانت له صدقة ..."Title supplied by cataloguer.Ms. codex.Exquisite album of calligraphy (muraqqaʻ or murakkaa) comprising kıt'alar employing ḥadīth of the Prophet executed by the celebrated Ottoman calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756), renowned student of Seyyid Abdullah of Yedikule (d.1731).
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).
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.