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.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 446Origin: Lacks dated colophon ; perhaps late 15th or early 16th century as suggested by paper and hand.Binding: Pasteboards covered in dark red leather ; Type II binding (with flap) ; doublures and interior of flap in dark green leather ; hinges in blue paper cut with scalloped design ; upper and lower covers bear large stamped and gold-painted scalloped mandorla with pendants (compare Déroche class. OAi 10) as well as gilt roll border consisting of a series of s-shaped stamps ; design continues on envelope flap ; upper and lower doublures carry tooled and gold-painted outline of scalloped mandorla and gold-painted rule border ; sewn in black thread, four stations ; endbands lacking ; in fair condition with much abrasion, staining, and lefiting of leather at edges and on spine ; some delamination of boards.Support: mainly Arab laid paper of perhaps two types, each with roughly 8 laid lines per cm. (horizontal, fairly indistinct with some curving) and chain lines (vertical) grouped in threes, in one type spaced roughly 12-14 mm. apart with 30 mm. between groups (see p.4, etc.) and in another type spaced roughly 12 mm. apart with 38-40 mm. between the groups (see p.36, etc.), inclusions visible, sturdy, medium cream in color, burnished ; leaf carrying pp.23-24 delaminating at upper outer corner ; back flyleaf in heavy laid European paper with chain lines oriented horizontally spaced roughly 30 mm. and laid lines oriented vertically, quite distinct and spaced roughly 8-9 laid lines per mm. ; front flyleaf in smooth, thin European laid paper with chain lines oriented horizontally spaced roughly 25 mm. apart, laid lines very fine and faint, difficult to measure, watermark partially visible (lion rampant in shield).Decoration: Textual dividers in the form of gold rosettes appear in preface and throughout the text of the poem and its translation, often appearing between the saṭr and ʻajuz for each bayt ; written area of preface (pp.2-3) bordered in frame consisting of gold band outlined by black fillets ; partially rubricated with final words of the ʻajuz for each bayt occasionally in red.Script: Very fine calligraphy ; saṭr and first words of ʻajuz for each bayt in thuluth, final words of ʻajuz in tawqīʻ ; text of preface and elucidation in fine Ottoman naskh with right-sloping head serifs on lām of definite article and other ascenders apart from free-standing alif, gentle slant to the left ; preface, text of poem and elucidation fully vocalized.Layout: Written in 10-14 lines per page, 5 lines of the poem and 5-9 of the amplification, with the saṭr and first few words of the ʻajuz of each bayt filling the column width horizontally and the remainder of the ʻajuz appended diagonally, the elucidation in Turkish appearing on the following line or occasionally the following two lines centered below the saṭr and first few words of the ʻajuz ; frame-ruled (impression of ruling board cearly evident).Collation: i, III(6), VI(18), i ; catchwords present, but only partially visible or completely cut off ; pagination in pencil, Western numerals, supplied during cataloguing.Explicit: "ما رنحت عذبات البان ريح صبا واطرب ...العيس حادي العيس بالنغم وصلى الله على خير خلقه محمد واله الطيبين الطاهرين وسلم تسليما"Incipit: "قال الشيخ الامام العالم حجة الادب لسان العرب قدوة الانام بقية السلف الكرام شرف الدين ابو عبد الله محمد بن سعيد البوصيري رحمه الله سبب انشاء هذه القصيدة المباركة اني كنت قد اصابني خلط فالج ابطل نصفي ... وبه ثقتي وعليه التكلان من الخدلان امن تذكر جيران بذي سلم مزجت دمعا جرى من مقلة بدم اكد كمى ذى سلمدگى اهل وجيرتى كم قان ياش اغلمق كوزكك اولدى عادتى"Title supplied by cataloguer.Ms. codex.Fine copy of al-Būṣīrī's poem in praise of the Prophet accompanied by elucidation in Turkish ; opens with preface (see pp.2-3).
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.
Five passages in Persian supposedly taken from the writings of Jābir ibn Ḥayyān. The main bulk of the corpus of texts attributed to this semi-legendary figure, however, are thought to have been composed between the second half of the 9th century and first half 10th century. Since this text begins with the
Testament of Ṭughrāʾī(d. 515/1121), it cannot be true that these passages were all extraced from writings attributed to Jābir ibn Ḥayyān.Begins (f. 66v, lines 2-5):فصل وصية مؤيد الدين أبو اسمعيل الطغرائی از تدابير جابرميگويد اي پسر من چون از درويشی بترسيد بران كوه شويد كه بربالای شماستوتوانگري ميروياند بگيريد آنرا وبا اصل خودش يريد كه پیس از ان رسته استوبالا گرفته جزوهاى لطيف كه ثفلش واین نشيند وآبى زندگانی بزرگ قدروبهاEnds (f. 67v, lines 11-15):... ونفس وروحوجسد وزحل وجسدش ومشتری وارزپر سياه بس چون باز سبيد شدنامهاى ديگر تهند (؟) آتش حكيمان وزيبق مصعّد وقمر مكلّس ونحاس وآنكه تاريكىاز دبشده باشد گويند كه شرمۀ سفيد ومغنيسياى سفيد ومرد اسنگ سبيدوقمر وزیل القمر وزیل الشمس خوانندff. 66v-67vMaterial: 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 and 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)
An anonymous and untitled commentary on the alchemical didactic poem
al-Qaṣīdah al-nūnīyahby Abū al-Iṣbaʿ ʿAbd al-ʿAzīz ibn Tammām al-ʿIrāqī (fl. late 4th AH/AD 10th century). Sezgin lists manuscripts of five commentaries on this poem (
GAS4, p. 290; see also Ullmann, 1972, p. 220).Begins (ff. 96v, line 17 - 97r, line 4):قال بعض الشراح لقصيدالحكيم الفاضل عبد العزيز بنتمام العراقي رحمة الله عليهم ورضي عنهم[f. 97r] إني طالعتُ كثيرًا من أشعار أهل الصنعة فلم أرَ أشرح لأصولهاولا أوضح لفصولها من قصيدة الحكيم الفيلسوف أبي الأصبع عبد العزيزبن تمام العراقي فإنه جمع فيها أصول جميع الصناعة حتى لعمري لقد أغنتنيعن جميع كتب الحكماء ...Ends (f. 98r, lines 6-9):... وقوله وسمت سائلها عقدًا لجامدها إنما يعنيتحليل الجسد الجامد وإجماد الزوج السيال ثم تشميعه بالجسد المحلول حتى لا يتميّز يتداخلولا يتميّز [!] وهذا الحق فاكتموه فإذا ظفرت بهذا العمل فقد نِلتَ منازل المذكورينوأكثر من ذلك بحول الله وقوتهColophon (f. 98r, line 9):تم والحمد لله وحده وصلى الله على سيدنا محمد وآله وصحبه وسلمff. 96v-98rMaterial: 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. 228Origin: As appears in colophon, executed by Muḥammad ibn ʻAlī [ibn Aḥmad] al-Ziftāwī in the first tenth of Muḥarram 783 [March-April 1381].Binding: Pasteboards covered in a light brown leather ; Western style binding ; pastedowns and flyleaves in heavy untinted wove paper ; upper and lower covers carry decoration evoking the Islamic style with central oval ornament (wreath stamped in green) and cornerpieces (scrolling vegetal motifs stamped in green) as well as stamped border of repeating floral / shell pattern in red ; sewn in white thread over three heavy white cords (flexible sewing) ; no endbands ; paper label on spine ; in fairly good condition though sewing exposed between a few separated gatherings.Support: non-European (Arab) laid paper with chain lines grouped in threes running horizontally, spaced roughly 12-15 mm. apart with roughly 42 mm. between the groups ; laid lines running vertically spaced roughly 9 laid lines per cm. ; heavy and well-burnished with undissolved fibers and inclusions visible ; staining ; numerous reinforcements and repairs throughout, mainly guards but also fills (see first folio carrying the titlepiece and opening).Decoration: Exquisite, richly illuminated titlepiece ; ansa in the form of roundel with rosette attached to upper panel, which is surmounted by fine arabesque and vertical stalks in blue, lavender, gold, green, etc. ; upper panel contains cartouche carrying title in foliated Kufic lettered in gold on a field of blue with green swirling vegetal pattern ; lower panel contains large scalloped medallion (shamsah) carrying statement of authorship and ex libris lettered in gold with lined cloud-bands and vegetal accents, surrounded by a field of blue with floral vegetal design in gold, lavender, and green ; decorative strapwork border in gold surrounds entire piece ; illuminated headpiece consisting of a rectangular panel with roundel/rosette ansa ; within the panel, the basmalah is executed in gold accented with cloud-bands and cross-hatch pattern ; illuminated tailpiece consists of a rectangular panel with roundel/rosette ansa ; within the panel two roundels with rosettes flank the date of transcription accented with cloud-bands and cross-hatch pattern ; a red rule-border outlines the text itself, with illuminated rosettes flanking the lines of the amplification (takhmīs) ; on the opening and facing page, rosettes in blue and gold along with roundel in gold bearing word "تخميس" [?] ; text partially chrysographed with final words of each line in gold.Script: Very fine Mamlūk calligraphy ; saṭr and first words of ʻajuz for each bayt in thuluth (verging on tawqīʻ), final words of ʻajuz in tawqīʻ and amplification in serifless naskh ; text and takhmīs fully vocalized ; title of titlepiece in foliated Kufic ; ex libris of titlepiece in tawqīʻ ; text of tailpiece in riqāʻ verging on tawqīʻ.Layout: Written in 12 lines per page, 3 lines of the poem and 9 of the amplification, with the saṭr and first few words of the ʻajuz of each bayt filling the column width horizontally and the remainder of the ʻajuz appended slanting down diagonally, and three lines of amplification centered below the saṭr and first few words of the ʻajuz ; frame-ruled.Collation: i, III (6), II (4), 4 I(18), I+1 (21), 2 I(25), I+1 (28), i ; difficult to discern original gatherings, but appears to consist mainly in single bifolia (singulions) ; no catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," reads: "تمت مع التخميس بحمد الله وعونه وصلى الله على نبيه محمد كتبها محمد بن علي الشهير بالزفتاوي عفا الله عنه بكرمه في العشر الاول من شهر الله المحرم افتتاح عام ثلاث وثمانين وسبعمائة حسبنا الله ونعم الوكيل"Explicit: "ما رنحت عذبات البان ريح صبا واطرب العيس حادي العيس بالنغم"Incipit: "بسم الله الرحمن الرحيم الحمد لله رب العالمين ما بال قلبك لا ينفك ذا ألم ... امن تذكر جيران بذي سلم مزجت دمعا جرى من مقلة بدم ..."Title from titlepiece.Ms. codex.An elegant copy of al-Būṣīrī's poem in praise of the Prophet with its amplification (takhmīs) by Nāṣir al-Dīn Muḥammad al-Fayyūmī (mid-14th century), as well as a fine specimen of Mamlūk calligraphy as executed by al-Ziftāwī (d.806/1403 or 4).
Comprehensive introduction to the principles of astrology by Abū al-Rayḥān Muḥammad ibn Aḥmad al-Bīrūnī (أبو الريحان محمد بن أحمد البيروني, ca 973-1048). The text is written in question and answer format (على طريق المسئلة والجواب, f. 2v, line 8), and it deals with the sciences needed by the astrologer: geometry, arithmetic and number theory, and judicial astrology (see f. 2v, lines 8-9). The author states that he composed the work for Rayḥānah bint al-Ḥasan (ريحانة بنت الحسن , f. 2v, lines 7-8).The text contains numerous diagrams and tables.The earliest ownership inscription is dated Rajab 839/January-February 1436 (f. 1r, see Custodial History), so it is likely that the copy was completed at or shortly before this dateBegins (f. 2v, lines 3-7):قال إن الإحاطة بهيئة العالم وكيفية شكل ألسماء والأرض وما بينهما على وجه الأخبارالمأخوذة بالتقليد نافعة جدًا في صناعة التنجيم لأن بها يقع للمستمع دربةيعتاد فيها الألفاظ الجارية فيما بين أهلها ويسهل تصورها ومعانئها حتىإذا عاد عليها متعرفًا وجوده عللها وبراهينها أتاها بفكرة مجردة لاجتمععليها تعب كلي الجانبين ...End (f. 158v, line 14-159r, line 1):... وعند البلوغ إلى هذا الموضع من الصناعة التنجيم كفاية ومن بعدها فقد عرّضنفسه وصناعته لما بلغت إليها لأن من السخرية والاستهذاء فقد جهلها المنتسبون إليهافضلًا على المتيقنين بها والله المستعان والحمد لواهب الحيوةColophon (f. 159r, lines 2-6):تم كتاب التفهيم لأوائل صناعة التنجيمتصنيف أبي الريحان محمد بن أحمد البيرونيرحمه الله عليه رحمة واسعةًوصلواته على محمد وآله الطاهرينوالحمد لله أولًا وآخرًاCodex; ff. i+159+iiMaterial: PaperDimensions: 225 x 150 mm leaf [143 x 105 mm written]Foliation: British Museum foliation in pencilRuling:
Misṭarah; 15 lines per page; vertical spacing 11 lines per 10 cmScript:
Naskh; title on title page in
thuluth(f. 1r); labels in one diagram in
kufī(f. 16r)Ink: Black ink, with rubricated headings (some corrupting to silver) and tables and diagrams in black and redBinding: Islamic binding in Morocco leather with envelope flap; blind tooled medallion with pendants and corner pieces all containing flowers on both boards and flapCondition: Minor water damage; upper quarter of f. 1 mutilated and repairedMarginalia: Very fewSeals: ff. 1r and 2r
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)
Extracts from
Kitāb fī Maʿrifat al-ḥajar(كتاب في معرفة الحجر) attributed to Ibn Waḥshīyah (ابن وحشية). The passages extracted relate the opinions on alchemical matters of three groups: those who resrict themselves to mineral ingredients in their work (أصحاب المعدنية), those who employ vegetable ingredients (أصحاب النبات), and those who employ animal ingredients (أصحاب الحيوانية).The text is divided into two sections (أقسام):Section One (ff. 91v-95r);القسم الثاني في التدبير ('Section Two: The Operation'; ff. 91v-96v).Begins (f. 91v, lines 4-8):قال الحكيم أبو بكر بن وحشية رحمه الله في كتابه في معرفة الحجراعلم أنّ كتابي مرشد للناظر فيه إنْ وقف منه على علم وعرف منه شيئًا فلا يكونأخذه له ووقوفه عليه بقلبه بل أنْ يأخذه بالبرهان وعلى صحته حتى لا يكون فيه شكوآخر الكلام في باقي الكتاب على وجهين وجهٌ في معرفة الحجر على الحق ووجهٌ في معرفةالتدابير الحق على سبيل الحجر ونسأل الله تعالى التوفيق ...Ends (f. 96v, lines 13-16):... ثم يردّ في القرعة ويقطر فلا تزال تفعل بهذلك حتى يثبت في القرعة كله منعقدًا إلا يقطر منه لا قليل ولا كثيرفتدام النار عليه حتى ينقطع بخاره الذي يرتفع إلى الأنبيق ثم ينقطععرقه الذي يظهر على وجهه وهو أصغر صعرةً يسيرة. والحمد لله وحدهff. 91v-96vMaterial: 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)
Abstract: A commentary, with numerous additions, of a work on Zaydi law. Includes an anonymous supercommentary, entitled Tanqīḥ al-anẓār al-mawaṣṣil ilá Hidāyat al-afkār.Title from title page.Title from the edge of the manuscript.عليه شروع سماع لهذه النسخة على سيدنا حسين بن محمد النعماني يوم السبت لعله 26/ ربيع الآخر / 1131هـ كتبه محمد بن الحسين بن أحمد بن المؤيد لقطة 19.كتاب هدايه الافكار الى معَانى الازهَار / الف عقودها الذَّهبيه ونظم سموطها اللولويه وانس شواردها الابيه وقيَّد أوايدها؟ القصيَّه حتى تألف الشارد مِنها بالانس وانقاد ذلولاً الايد منها والشامِر ونسج متفرق غزلها ثوبا يزين اللابس ويفخر الملابس النفايس وسقا روض الازهار معين يقاح؟ عيوث التحقيق ففتحت عُيونَها شاخِصه مِن وجوه هدايه الافكار الى نَوّارها الانيق من أخذ بمقاود البلاغه حتى أسْرح نَغَم الفاظها فى مرعى سعدان المعانى وخلّص من اسر العْيا والحيره عنق فكر العانى؟ وكشف نقاب اللَبس عن وجوه جرايد العلوم الغوانى واحيى من علوم اهل البيت ونصوصهم ما كانَ مواتا ونشر من اقوالهم المتفرقه اعظماً رفاتاً وجمع من حكمهم واحكامهم ما كان شتاتا بسطها فى موايد الايجاز ولخصَّها للطالبين فى عباره كسَاها دلايل الاعجاز ذلك مولانا السَّيد القدوه المحقق الرجل الحَافظ الاصولى الفقيه المحدث المؤرخ النسابه الحجه بقيَّه مشايخ ال الرسول وانسان عيون آبنا الوصى والبتول ابومحمَّد صارم الدين ابرهيم بن محمَّد بن عبدالله بن الهادِي بن ابراهيم بن على بن المرتضى بن المفضل بن العفيف بن المفضلBrockelmann, G II 188; S II 248. Dedication to al-Qāsim ibn al-Muʼayyad billāh Muḥammad ibn al-Imām al-Qāsim written with a modern pen. Reading and ownership notes. Inclues numerous fragments, among them various stories, fragments on law and differences between the Sunni madhhabs, poetry and fragments on hadith sciences and Yemeni history by Imam Qāsim ibn Ibrāhīm, excerpts by Imam ʻAbd Allāh ibn Ḥamzah ibn Sulaymān, prayers by ʻAlī and Imam al-Qāsim ibn Muḥammad ibn ʻAlī, a fragment from Imam al-Muṭahhar ibn Yaḥyá, short excerpts from the Shāfī, fatwas by Imam Manṣūr billāh, the commentary by ʻAbd Allāh Dāwarī on the Lumaʻ, and short biographies of multiple figures.بعناية : السيد القاسم بن أمير المؤمنين المؤيد بالله محمد بن الإمام القاسم بن محمد (مكتوب بقلم حديث أزرق)جيده، وهو عبارة عن مخطوط مجلد بغلاف جلدي، على أوراقه إطار باللون الأحمر كما عليه حواشي ومكتوب بالمداد الأسود والأصفر والأحمريوم الثلاثاء لعله 24/جماد الأول / 1074هـIncipit: بِسم الله ... وبه نستعين التقليد في مسايل الفروع العمليه القطعيَّه , والظنيَّه جائز لغير مجتهد الا في عملي يترتب عَلى عّلمى كالموالاه والمعاداه والايمه المشهورون والمقتصدون من اهل البيت ... أولى من غيرهم لا سيما القدما الجامعين ...Explicit: ومن حجته أعطى نصيبه محجوباً ومن شاركه استحب لهُ تاخير القسمه فان استعجل ترك له نصيب اكثر الحمل عاده وهو اربعه ذكور والله اعلمNaskh-thuluth script, written in black, yellow and red ink. Text enframed in red.13 lines.1- فوائد متفرقة مكتوبة بخط ضعيف لقطة 9-12.2-قصة الأشتر مع أهل الرقة لقطة 12.3- فوائد في معرفة الأوزان الشرعية ومما يشيع به الحنفية على الشافعية و أقوال عن إبن ابي الحديد وشعرللإمام القاسم بن إبراهيم وأقوال آخرى متفرقة لقطة 13. 4-نقول من خط الإمام عبد الله بن حمزة وكلام قيل أنه للإمام القاسم في المقبول من الأحاديث وأبيات شعرية متفرقة لقطة 14.5- نقول وأبيات شعرية متفرقة لقطة 15.6- أدعية متفرقة بعضها مروي عن الإمام علي (ع) + نسب الإمام القاسم بن محمد بن علي (لقطة 16).7-فوائد متفرقة ونقول متعددة لقطة 17.8- فائدة عن الإمام القاسم بن إبراهيم (ع) عندما جاءه أهل اليمن يطلبون إنتقاله منقولة من خط الإمام القاسم بن محمد + فائدة عظيمة قال في كاشف الغمه ومن رساله الإمام المطهر بن يحيى أجاب بها على من إعترضه سيرته في الشرف + مسئلة في ولد آل الرسول لقطة 18. 9-نقول صغيره من الشافي وفتاوى الإمام المنصور بالله ومن شرح القاضي عبدالله الدواري على اللمع + ترجمة للرموز التي يشير بها المصنف + وفائدة عن حي الفقيه سليمان ... عن حي الإمام المهدي أحمد بن يحيى (ع) أن مسائل الأزهار منطوقها ومفهومها سبعة وعشرون الف مسئلة. لقطة 19.1-تقريض لهداية الإفكار قال الناسخ لمؤلف الكتاب في مدحه هذه النسخة وأبيات للمؤلف ولعبدالله بن أمير المؤمنين لقطة 465.2- قصيدة للحميدي مكتوبة بخط ضعيف لقطه466.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 248Origin: As appears in colophon on p.69, copied by Ḥamzah ibn ʻAbd al-Wahhāb in 828 [1424 or 1425], likely in Egypt. As appears in patronage statements/ex libris on p.6 and in titlepiece on p.13, copied for Karīm al-Dīn, perhaps al-Wazīr al-Ṣāḥib Karīm al-Dīn ʻAbd al-Karīm ibn Kātib al-Manākh (d.852/1448) (see Ibn Taghrībirdī, Ḥawādith al-duhūr, sanat ithnatayn wa-khamsīn wa-thamānimiʼah, shahr Rabīʻ al-Ākhir).Former shelfmark: "۱۱۹" on paper label on upper cover (repeated in pencil on titlepage for al-Asmāʼ al-ḥusná, p.7).Binding: Pasteboards covered in dark red-brown leather with spine and edges/turn-ins in dark brown leather of similar color ; Type III binding (without flap) ; flyleaves and pastedowns in yellow-tinted European laid paper ; upper and lower covers bear stamped and gold-painted scalloped mandorla with vegetal composition (compare Déroche class. NSd 7) ; sewn in red thread, four stations ; overall in fair condition with staining, abrasion, some lifting of leather at edges, etc.Support: non-European laid paper (likely Egyptian) with 7-8 laid lines per cm. (horizontal) and chain lines grouped in threes (vertical) with 9-11 mm. between the chains and 37-42 mm. between the groups ; alternating tinting of the bifolia ; flyleaves in a yellow tinted European laid paper with 8-9 laid lines per cm. (vertical), chain lines spaced 28 mm. apart (horizontal) and moon in shield with face in profile and 'B G' watermark as well as in an untinted European laid paper with 9 laid lines per cm. (horizontal), chain lines spaced 26-27 mm. apart (vertical), and watermarks of spread eagle and coat of arms with lion rampant in shield with crown above ; numerous repairs.Decoration: Rectangular panel at opening (p.6) carries poetic patronage statement (خدمت بها من قد سما بفعاله واقواله ما بين قارئ وكاتب كريم يعادي الباخلين وانه بمصر عزيز صاحب وابن صاحب) accented by cloud bands and swirling arabesque ; on p.7, illuminated titlepiece for al-Asmāʼ al-ḥusná in the form of a rectangular panel with accompanying ansa (in this case, roundel) carries title in white (الاسما الحسنى نفع الله بها) with gold outline set among gold vegetal design on a field of blue ; entire piece is framed by a heavy gold band and blue rule ; on p.12, at close of al-Asmāʼ al-ḥusná a fine illuminated tailpiece in gold and blue in the form of an almond-shaped panel flanked by illuminated rosettes carries inscription in white (تمت الاسما) ; on p.13, exquisite illuminated titlepiece for al-Burdah consisting of a large rectangular panel divided to smaller rectangular panels carrying the title and ex libris (الكواكب الدرية في مدح خير البرية صلى الله عليه وسلم برسم خزانة المقر الاشرف العالي المخدومي الصاحبي الكريمي كريم الدين عظم الله شأنه) in white set in lozenge-shaped cartouches with flanking roundels filled with vegetal design in gold on fields of blue ; ansa in the form of a roundel accompanies uppermost panel ; textual dividers in the form of illuminated rosettes with blue and red accents appear throughout ; keywords occasionally chrysographed ; for each of bayt of al-Burdah, saṭr in black and ʻajuz rubricated ; written area of incipit and facing page of al-Burdah surrounded by frame consisting of gold band and heavy blue rule ; tailpiece in the form of a rectangular panel carrying the colophon follows al-Burdah on p.69 and closely resembles opening rectangular panel (p.6).Script: Text of al-Asmāʼ al-ḥusná in fine Mamlūk naskh, tailpiece in script resembling 'Eastern Kufic' ('broken cursive' or New Abbasid Style, NS) ; titlepiece for al-Burdah in thuluth, saṭr of each bayt in muḥaqqaq, ʻajuz in fine Mamlūk naskh ; fully vocalized ; glosses (takhmīs, mainly in Turkish, ending abruptly at p.28) in naskh-nastʻalīq, varying hands.Layout: Written in 6 lines per page ; frame-ruled.Collation: ii, II (4), III (10), VII (24), III+3 (33), ii ; foliation in black ink, Hindu-Arabic numerals begins with incipit page (p.14) ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Colophon: "Scribal," rectangular, reads: "تمت البردة الشريفة بحمد الله تعالى وعونه على يد الفقير الى الله تعالى حمزة بن عبد الوهاب غفر الله له ولوالديه وللمسلمين اجمعين وذلك في عام ۸۲۸".Title supplied by cataloguer.Ms. codex.Fine copy of Qaṣīdat al-Burdah by al-Būṣīrī (d.1294–7?) with later takhmīs mainly in Ottoman Turkish. Preceded by al-Asmāʼ al-ḥusná (with numerical values for each name) and following by notes and excerpts.
A treatise on alchemy attributed to Abū Hāshim Khālid ibn Yāzīd al-Umawī (ca 48 AH/AD 668 - 85 AH/AD 704), the Umayyad prince credited (probably spuriously) with sponsoring the first translations in Islam, and notably the first translations of alchemical texts into Arabic (Ibn Nadīm,
Fihrist, 303). 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, f. 14r).Incipit (fol. 11b, lines 3-6):وبعد رأيت الناس قد طلبوا صنعة الحكمة في كل عصر ورأيت الحكماءقديمًا كرهوا إذاعتها وصانوها عن الجهال وكانوا أكرم أخلاقًا وأحسن مذاهبًامن أنْ يضنّوا بها بها [sic] على العقلاء الأبرار فلو لم يكتموها ويضعوها للكشفوالبيان والمصرّح فتصير إلى السفلة والأوضاع الرذلة ...Explicit (fols 13b, line 16-14a, line 1):... فيلزم بعضهببعض ويتمازجا ويصيرا شيئًا واحدًا لأنّ الطبيعة تلزم الطبيعةوالطبيعة تظفر بالطبيعة هذا حقّ لمن عقله وفهمه وكباريتالأشياء أدهانها وبالأدهان يجري ومن أجل ذلك وقفوا عن الكباريت[fol. 14a] وهي تصابر النار بعد التدبير ولا تفارقه الجسود ولا تأبق ولا تتغيّرColophon (fol. 14a, line 2-7):تمّت الرسالة بحمد اللّه وحسن توفيقهوصلّى اللّه على سيّدنا محمد خاتمالنبيين وعلى آلهوصحبه أجمعينوسلم تسليمًاكثيرًافي أواخر شهر الله الأصمّمن شهور سنة تسعة عشروتسعمائة على يد قدرة اللهالمرندي الآذريبأرض المغرببمدينة فاس صانها الله عن الاندراسفي المدرسة المولوية العلويةروّح اللّه روح بانيهاآمينff. 11v-14aMaterial: 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)