19.yüzyılın ünlü hattatlarından Kazasker Mustafa İzzet’den (ö. 1876 ) sülüs ve nesih hat meşk eden Abdullah Zühdi, celi sülüs hatlarıyla üne kavuşmuştur. İstanbul’da Nuruosmaniye Cami meşkhanesi’nde, Mühendis mektebinde resim ve hat hocalığı yapmış, resim, taş baskı ve fotoğraf alanında da ustalaşmış, kendisi de hattat olan Sultan Abdülmecid’den (h.1839-1861) destek görmüş, padişah tarafından Medine’de Mescid-i Nebi’nin kubbe kasnağı yazılarını yazmakla görevlendirilmiş, burada yedi yıl kalmıştır. Daha sonra Kahire’ye giden hattat Abdullah Zühdi, Hidiv İsmail Paşa’nın hizmetinde çalışarak, hattat yetiştirmiş, bina yazılarını yazmış ve burada vefat etmiştir. Türkiye’deki Müslümanlar, Kuran-ı Kerim’in en çok Nebe suresiyle başlayıp Nas suresiyle biten son 30. cüzünü; Amme cüzünü okurlar. Hattat, cüzün sonuna Fatiha suresini yazmış ve bu sureyi izleyen ketebe sayfasına hat sanatı tarihi için önemli bilgiler eklemiştir (y.26b).Binding: Miklepli cildin dış kapakları koyu yeşil deridir. Dış kapalarda, ortasında kıvrımlı bir rozet bulunan , kalın yaprakların oluşturduğu ortası şişkin oval bir şemse vardır. Köşelere yapraklar ve küçük yuvarlaklar yerleştirilmiştir. Sertabının üzerine yaprak dizileri yapılmıştır. Fırçayla yapılan süslemeler sarı ve yeşil tonunda altınla boyalıdır. İç kapaklar ve yan kağıtlar altınlı noktalar ve çizgilerle süslenmiş pembe renk kağıttır.Illuminations: Cüz, Haşiyeli enli pervazlı serlevha tezhiple başlar. Enli pervazın içi altın zemine yer yer yeşil ve kırmızıyla boyalı minicik yapraklar ve çiçeklerle süslenmiş, sayfa kenarı sıvama altınlanmıştır. Y.1b’ye, içi lacivert mavi zemine altınlı kartuşlar ve koyu pembe yapraklı bir çelenkle süslü haşiyeli unvan tezhibi yapılmıştır. Duraklar, sayfa kenarındaki uzun tığlı güller, sure başlıkları, Besmele okunun içi birbirinden farklı tasarımlarla tezhiplenmiştir. Kitabın son sayfasına (y.27a), iri çiçekli, bol yeşil yapraklı kurdele ile bağlanmış bir buket yerleştirilmiştir.Measurements: 21.2x 14.8 cm; 27 yaprak, sayfada 10 satırScript: Nesih; Sülüs; Naskhī; Thuluth
Hattat Muhammed Şefik, Kazasker Mustafa İzzet’in (ö. 1876) öğrencisidir. Sultan Abdülmecid (h. 1839-1861) Mustafa İzzet’i ikinci imamlığa atayınca, Muhammed Şefik hocasının yerine Musika-i Hümayun’un ve Saray’ın hüsnühat hocalığı görevine getirilmiştir. Muhammed Şefik, Sultan Abdülmecid’in yaptırdığı caminin yazılarını yazmak üzere 1855’te Sakız adasına gönderilmiş, aynı yıl depremde zarar gören Bursa Ulu Cami’nin kitabelerinin onarımı için de görevlendirilmiştir. Sultan Abdülmecid’in türbesinin yazılarını da Muhammed Şefik yazmıştır. Hattatın bu eserinin son sayfasına yazdığı satırlarda, kendisinin Mustafa İzzet talebesi el-Seyyid Şefik olduğunu ve eseri 1269 yılında istinsah ettiğini belirtir (y.27a). Kuran-ı Kerim’in 30.cüzü olan Amme cüzü Nebe suresiyle başlar Nas suresiyle biter. Bu cüzde son kısma Fatiha suresi de eklenmiştir (y.26b).Binding: Miklepli cildin dış kapakları vişne çürüğü renk deridir. Cildin dış kapaklarının ortasında içi çiçeklerle dolu bir vazo vardır. Vazonun dışındaki alana agantus yaprakları, rozet çiçeklerden oluşan bezeme yapılmıştır. Dal yaprak ve rozet çiçek dizileri ise enli pervazın içini doldurur. Aletle yapılan süslemeler, sarı ve yeşil tonunda altın ve yer yer gümüşle renklendirilmiştir. İç kapaklar ve yan kağıtlar, baskıyla yapılmış bitkisel motifli nohudi renkte kağıtla kaplıdır.Illuminations: Nebe suresi altın zemine yeşil yapraklı, pembe renkli iri güller, renk renk rozet çiçek dizileri, çiçeklerle dolup taşan sepetler, mavi, pembe, mor agantus yaprakları, içi çiçeklerle dolu bereket boynuzlarıyla süslü unvan tezhibiyle başlar (y.1b). Nebe suresinin ilk iki sayfa kenarını altınla boyalı iri rozet çiçekli, bol yapraklı dallar doldurur (y.1b-2a). Sure başları altın zeminli kartuş içine üstübeç mürekkebiyle nesih hatla yazılmış, kartuşun iki yanına altın zemine iri çiçekli ve bol yeşil yapraklı bir dal yerleştirilmiştir. Ketebe satırlarının sonundaki dar alan altın zemine pembe, mavi, mor agantus yaprakları ve aynı renklerde iri çiçeklerden oluşan dallarla tezhiplenmiştir.Measurements: 22,5 x 15,6 cm. 27 yaprak, sayfada 9 satırScript: Nesih; Sülüs; Naskhī; Thuluth
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).
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. 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).