Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 97Origin: As appears in colophon on p.447, transcription finished ("wa-qad waqaʻa al-farāgh min taḥrīr hādhā al-kitāb...") in the first part of Jumādá I 929 [March 1523].Former shelfmark: British Museum, London "No.146. Glosses on the Wikayah."Binding: Pasteboard covered in dark brown leather with red-brown leather repairs on spine and at edges/turn-ins ; Type II binding (with flap, now lost) ; board linings in laid paper ; cover bears blind-stamped scalloped mandorla with floral vegetal composition (compare Déroche class. OAi2 5) ; sewn in white thread, two stations ; worked chevron endbands in red and sky blue, fine condition ; overall in poor condition with upper cover and flap lost, significant abrasion, staining, lifting and losses of leather, delamination of boards, etc.Support: non-European laid paper with 7 laid lines per cm. (horizontal) and chain lines grouped in threes with 9-10 mm. between the chains and roughly 35 mm. between groups ; well-burnished.Decoration: Keywords, section headings, and abbreviations rubricated ; occasional overlining and textual divders in the form of discs in red ; written area (opening through p.64 and then p.251 to close) surrounded by red rule-border.Script: Naskh-nastaʻlīq ; virtually serifless ; mainly closed counters ; effect of words descending to baseline, occasionally more exaggerated ; occasional extension of horizontal strokes ; colophon in thuluth.Layout: Written in 29 lines per page ; frame-ruled.Collation: ii, 6 V(60), II+2 (66), V (76), II (80), 4 V(120), II (124), 6 V(184), IV+1 (193) ; chiefly quinions ; p.134 and p.444 left blank, unmarked ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves and inserts ; drops from p.132 to p.131 thus repeating pp.131-132).Colophon: "Scribal," rectangular, reads: "وقد وقع الفراغ من تحرير هذا الكتاب في اوائل جمادى الاولى في سنة تسع وعشرين وتسعمائة"Explicit: "وان لم يمتد اعتقاله او لم يعلم اشاراته لم يكن حكمه حكم الاخرين فلا يعتبر اشارته و كتابته تم بعون الله تع"Incipit: "الحمد لله الذى شرح صدر الشريعة الغراء ... وبعد فان تكميل النفوس الانسانية بالفضائل القدسية و تحليتها بالخصائل الانسية... فشرعت فيها ثانيا بعد ايابي من تلك الاراضي المقدسة ... وسميتها بذخيرة العقبى في شرح صدر الشريعة العظمى ..."Title from opening (p.7).Ms. codex.Fine copy of the gloss by Yūsuf ibn Junayd Akhī Chelebi on Sharḥ al-Wiqāyah by Ṣadr al-Sharīʻah al-Aṣghar (al-Thānī) ʻUbayd Allāh ibn Masʻūd al-Maḥbūbī, itself a commentary on Wiqāyat al-riwāyah fī masāʼil al-Hidāyah by Maḥmūd ibn Ṣadr al-Sharīʻah al-Maḥbūbī, an epitome on the celebrated work of Ḥanafī fiqh, al-Hidāyah by ʻAlī ibn Abī Bakr al-Marghīnānī. (see Isl. Ms. 86 for another ms. copy of this work).
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. 230Origin: As appears in colophon on p.38, executed by es-Seyyid Abdullah, known as el-İmam, pupil of Hafız Osman Efendi, with transcription finished in 1109 [1697 or 8].Former shelfmark: "332 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on 'title page' (p.1) ; "118" also inscribed in pencil on 'title page' (p.1).Binding: Pasteboards covered in olive-tan leather ; Type II binding (with flap) ; pastedowns and flyleaves in purple coated and embossed paper with central gold-painted floral accents and border ; upper and lower covers carry stamped, gold-painted scalloped mandorla (filled with symmetrical vegetal composition over red onlays) and pendants as well as gold guilloché roll border ; design continues on flap ; sewn in yellow thread, four stations ; overall in fair condition with some abrasion, lifting and losses of leather (at foreedge especially), staining, etc.Support: non-European laid paper with 8-9 laid lines per cm. (vertical or horizontal, contrasting direction for written area and surrounding frame into which it has been set / mounted) and occasional chain lines visible, cloudy formation, crisp and transluscent, well-sized and burnished to glossy ; final leaf in wove paper.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) appears at opening on p.2 consisting of a rectangular panel with empty gold cartouche and flanking floral pieces in pink, white, red and orange on fields of gold and blue, surrounded by heavy frame or well in bands of gold and black interlace, white crosses on a red ground, and white crosses on a blue ground, and surmounted by vertical stalks (tīgh) in blue ; written area surrounded by frame in heavy gold band outlined by black fillets with a narrow gold band outlining the panels formed by the layout of alternating line filling the column width and three centered lines.Script: Exquisite specimen of Ottoman calligraphy ; opening and every fourth line (saṭr or ʻajuz of a particular bayt) in a fine thuluth ; following three lines (ʻajuz or saṭr of continued or following bayt) in naskh ; fully vocalized.Layout: Written in 9 lines per page with the opening line (the basmalah) and every fourth line thereafter (saṭr or ʻajuz of a particular bayt) filling the column width and the three following lines (ʻajuz or saṭr of continuing or following bayt) centered below.Collation: i, IV+I (10), IV+2 (20), i ; two anomalous quaternions ; pagination in black ink, Hindu-Arabic numerals, appearing in the lower-inner left corner of the written area beginning with the incipit page ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," reads: "كتبه الفقير السيد عبد الله المعروف بالامام من تلاميذ عثمان افندي غفر الله ذنوبهما آمين سنة ۱۱۰۹"Explicit: "ما رنحت عذبات البان ريح صبا واطرب العيس حادي العيس بالنغم اللهم صل وسلم على اشرف الخلق واكمل الخلق محمد واله والطاهرين اجمعين وسلم تسليما كثيرا كثيرا الى يوم الحشر والقرار ما دام الدهور والايام"Incipit: "بسم الله الرحمن الرحيم آمن تذكر جيران بذي سلم مزجت دمعا جرى من مقلة بدم ..."Title supplied by cataloguer.Ms. codex.Exquisite copy of al-Būṣīrī's poem in praise of the Prophet executed by the renowned Ottoman calligrapher, Seyyid Abdullah of Yedikule (Yedikuleli Seyyid Abdullah Efendi, 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. 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.
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).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 221Origin: As appears in authorial colophon on p.838, composed in Mecca. Details on the origin of this copy lacking. Paper, hand, decoration, etc. suggest early 17th century (see Velkov, Les filigranes dans les documents ottomans). Date of waqf-seal impression provides a terminus ante quem of 1782.Former shelfmark: "71 T. De M. [i.e. Tammaro De Marinis]" and "51" in pencil on front flyleaf (affixed to opening leaf) ; "124" in Hindu-Arabic numerals on tail of text block.Binding: Pasteboards covered with black leather ; Type II binding (with flap), two-piece binding (seam of overlapping hinges visible at spine) ; doublures in red leather ; upper and lower covers carry large, stamped (red recessed onlays) and gold-painted mandorla (filled with vegetal composition, compare Déroche class. NA 4), pendants and cornerpieces as well as tooled and gold-painted chain and rule borders ; design continues on envelope flap ; sewn in white thread, two stations (repair to opening gathering in rose thread) ; worked chevron endbands in white and blue, good condition, primaries sewn through inner leather spine lining ; overall in fairly good condition with some abrasion, staining, etc.Support: Gatherings mixed with leaves of non-European (likely Persianate) and European laid paper of at least two types ; all fairly thin, crisp and extremely well-burnished ; leaves of likely Persianate laid paper exhibiting especially cloudy formation with laid lines vertical but difficult to measure ; leaves of European laid paper, least two types, both with roughly 10 laid lines per cm. (horizontal), chain lines spaced 30-33 mm. apart (vertical, difficult to examine) and watermarks of cross in tear-drop shape with letters below (see p.68, 80, etc.) and of anchor in circle with trefoil above (see p.266, etc.).Decoration: Splendid double-page illumination on pp.2-3 executed in gold, blue, orange-red, and white, consisting of rectangular panels corresponding to the written area, the panel of the right-hand with five large cartouches (set off by arabesques and floral motifs) carrying text "ونسخة قاموس قد تحررت بها مد مجد الدين فى الطرس ابحرا ففاخرت الافلاك فيها موادها وقد ملئت تبرا ودرا وجوهرا صلى الله على من لا نبي بعده وسلم" executed in white thuluth on gold grounds and surmounted by a rectangular headpiece (ʻunwān / sarlawḥ), the panel of the facing page with similar headpiece surmounting rectangular pieces carrying title, central medallion (shamsah) carrying an authorship statement, and rectangular piece with the ṣalwalah, all text in white on gold grounds set off by blue and red vegetal accents ; frames of gold, red, and blue rules defined by black fillets surround panels of opening illuminated titlepiece / frontispiece and incipit and facing pages ; illuminated roundels appear in the margins of all of the opening illuminated pages as well ; similar illuminated headpieces with cartouches carrying the basmalah, etc. appear on incipit page and facing page of the opening half of the text (pp.4-5) as well as at the opening of the second half (p.432) ; further rectangular headpieces set off chapter headings ; gold rule borders throughout ; section headings chrysographed, many keywords (terms) and letters (abbrevation symbols) rubricated ; textual dividers in the form of gold discs.Script: Naskh ; small, elegant Syro-Egyptian or Turkish hand in a thin line ; mainly serifless with slight effect of inclination to the left, some elongation of horizontal strokes, curvilinear descenders, pointing in distinct dots ; mainly vocalized ; chapter headings, section headings, and keywords (terms) in larger script reminiscent of tawqīʻ.Layout: Written in 37 lines per page ; impression of ruling board evident.Collation: i (affixed to opening leaf), 3 V(30), V-2 (38), V (38), V-2 (56), 4 V(96), IV+1 (105), V (115), IV+1 (124), 5 V(174), IV+1 (183), V (193), 2 IV(209), III (215), 3 V(245), 2 II (249), 1 (250), 3 V(280), V-1 (289), V-2 (297), 4 V(337), V-1 (346), V (356), IV (364), V-3 (371), 2 V(391), V-1 (400), V (410), V-1 (419) ; chiefly quinions with several anomalous quires ; pages between the two halves of the work left blank (see p.430 and 431) ; catchwords present ; quire numbering in the form of Hindu-Arabic numerals, upper outer corner of the recto of the first leaf of each quire (3rd through 23rd, first half of the work) ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Authorial," rectangular, reads, "قال مؤلفه الملتجي الى حرم الله تعالى محمد عفا الله عنه ابن يعقوب بن محمد الفيروزاباذي رحمهم الله تعالى هذا اخر القاموس المحيط والقابوس الوسيط عنيت بجمعه وتأليفه وتهدينه وترصيفه ولم ال جهدا في تلخيصه وتخليصه واتقانه راجيا انه يكون خالصا لوجه الله ورضوانه وقد يسر الله تعالى اتمامه بمنزلي على الصفا بمكة المشرفة تجاه الكعبة المعظمة زادها الله تعالى لعظما وشرفا وهيأ لقطان باحثها من بحابح الفراديس غرفا ونقع بهذا الكتاب المكنسي من تركها اخوانه وحسنه بالقبول لتستعير من حسنه الغواني لطائف المعاني أجزل من فضله العميم ثوابي وجعله نورا بين يدي يوم حسابي والحمد لله...والصلوة...وحسبنا الله ونعم الوكيل وصلى الله على سيدنا محمد واله وسلم"Explicit: "لان قبلها كسرة تخلفها ويا الجزم المنبسط رأيت عبدي الله لم تسقط لانه لا خلف عنها"Incipit: "الحمد لله منطق البلغا باللغى في البوادي ومودع اللسان السن اللسن الهوادي...وبعد فان للعلم رياضا وحياطا"Title from illuminated titlepiece on p.3.Ms. codex.Elegant copy of al-Fīrūzābādī's renowned dictionary of the Arabic language.
Abstract: Volume three of a five-volume collection of hadith from numerous sources, with commentary and interpretations and other information about reports.Title from title page.اَلَجُزْءُ الَثَّالثُ مِنْ خَمْسَةِ أَجْزَا مِنْ جَامِع الأصَوْلِ فِي أَحَادِْثِ الرَّسُوْلِ صَلَّى اللهِ عَليْه وعَلَى آله وَسَلَّمْ وَشَرَّف وَكَرَّمOwnership note by the sisters Dahmāʼ and Fāṭimah bint al-Ḥusayn.جيده، ولكن عليه آثار بلل في بعض صفحاته ، وأيضاً بعض صفحاته مقطوعة من أطرافها وهو عبارة عن مخطوط كبير الحجم مجلد بغلاف جلدي بني مع بعض القماش ملفوف على حافته وعليه نقشه محفوره في الجلد وعلى صفحاته اطار أحمر وتم كتابة المخطوط بالمداد الأسود والأحمرIncipit: بِسْمِ اْللهِ... حَرْفُ اْلَضَّاد وَفِيْةِ كِتَابَان، كِتَابُ الَضِّيَافَة، وَكِتَابُ اْلضَّمَانِ، الكِتَاب الأَوَّل؛ فِي اْلضِّيَافَةِ أبوُ كَريْمَةَ قَالَ قَالَ رَسُوْل الله صَلَّى اْلله عَليْهْ وَآلهْ وَسَلَّم اْلضَّيْفُ حَقٌ عَلى كَلِّ مُسْلِمِ فَمَن أَصَبَح بِفِنَايهِ فَهْوَ عَلَيْه دَيْنٌ...Explicit: وَردوا امرّهم الى الاشتر النخعى رضي الله عنه فكتبوا الى عثمان ليؤمر عَليّهم غيّره فانفذ اليّهم أبا موُسَى الاشعَريِ اْميراً اْخَالفك... غير مكتملNaskh and thuluth scripts, written in black and red ink. Text enframed in red. Some traces of water damage and some pages have been cut.20-21 lines.كتابة مقلوبه مكتوب في آخره هذا خط الوالد العزي محمد بن عبدالله مطهر جحاف لقطة 3
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 596Origin: As appears in colophon on fol.166b, copied by Muḥammad ibn Muḥammad ibn ‘Alī ibn ‘Umar Ibn al-Saqqā for himself. Transcription finished ("wa-najiza taʻlīquh...") Sunday, 27 Rabīʻ II 983 [ca. 5 August 1575].Accompanying materials: a. Inventory cataloguing slip in hand of Winifred Smeaton Thomas.Former shelfmark: From spine label and inscription on upper doublure, "IL 40" (likely supplied by Yahuda).Binding: Pasteboard covered in marbled paper and dark-brown leather at edges, lower cover missing and replaced with heavy brown laid paper (like shipping paper) ; Type II (with flap) though flap now missing (see pattern of wear on fol.1a); upper doublure covered in cream European laid paper with a few lines of poetry scribbled on, as well as former shelfmark ; on the "lower cover" (brown paper) is a rectangular stamp containg a large "R" over the word "BOMBAY," possibly vestigial, as well "Kairo aegypten," "Le Caire Egypte," and "[orie]ntalische Buchhandlung und antiquaria [?]" written in a large, rough cursive hand ; in poor condition.Support: non-European laid paper with laid lines running horizontally and spaced roughly 9 laid lines per cm., chain lines in two groups of three, spaced roughly 12-13 mm. apart with roughly 36 mm. between the groups ; the replaced bifolia of the 5th and 13th quires appear to be on European laid paper.Decoration: Textual dividers in the form of inverted commas, three dots, etc. in red ; text rubricated using orangeish red, lime green, and light purple inks in a purposeful and somewhat systematic manner, occasionally in combination (e.g., a word in purple ink pointed in red dots)- to mark the beginning of each year (purple), to mark death notices or other important events (green), for markers such as "فيها" or "قلت" (red) ; none of these usages is very consistent however, and all three colors can appear serving any of these functions.Script: Naskh ; likely Syrian (or Egyptian?) hand ; round with very curvilinear descenders, though not too terribly swooping ; descenders occasionally reach back up to the centerline to connect with the succeeding word; alifs and vertical strokes have a slight leftward slant ; alifs are unserrifed though they have a very slight s-shaped curve to them ; replaced folia supplied in a different hand ; on fol.1a, title in a large red thuluth and beneath it a downward-pointing triangle of text with the author's name and titles in naskh.Layout: Written in 25 lines per page ; occasional poetry with textual dividers lying between and on either side of each bayt ; frame-ruled.Collation: i, V-1 (9), 15 V (159), V-3 (166), i ; chiefly quinions ; outermost bifolia of the 5th and 13th quires have been replaced ; 4th quire and most of the final quire are entirely loose ; quire numbering in the form of full words appears in the upper right corner of the recto of the first leaf of each quire after the first ; catchwords present ; foliation for every 10th folio and the final one (fol. 166) in Western numerals ; pagination in pencil, Western numerals (supplied during cataloguing).Colophon: "Scribal," triangular, reads: "وانتهى التاريخ بموته سامحه الله تعالى ونجز تعليقه نهار الاحد السابع والعشرين من ربيع الثاني سنة ثلث وثمانين وتسعماية...علقه لنفسه الفقير المعترف بالعجز والتقصير الواثق بربه القدير حقا محمد بن محمد بن علي بن عمر بن السقا غفر الله له ولوالديه ولمن طالع هذا الكتاب ولمؤلفه ولجميع المسلمين والحمد لله رب العالمين وصلى الله على سيدنا محمد واله وصحبه اجمعين وحسبنا الله ونعم الوكيل. ابتدى به في نهار الاحد وفرغ منه كذلك"Explicit: اموالنا شهاب الدين اني حمدت الله اذبك تم مجدي جميع الناس عندكم نزول وانت جبرتني ونزلت عندي. وفي سابع عشرين ذي الحجة سنة تسع واربعين وسبعماية توفي مؤلف هذا الكتاب عمر بن مظفر بن محمد بن الوردي بمدينة حلب المحروسة ودفن ما لاصقا لاخيه القاضي جمال الدين بمقابر الصالحين خارج باب المقام بحلب [..؟]الله تعالى برحمته ورضوانهIncipit: ثم دخلت سنة احدى وخمس ماية فيها في رجب قتل سيف الدولة صدقة بن المنصور بن دبيس بن فريد الاسدى امير العرب في مقابلته [مقاتلته] السلطان محمد [كذا ; للسلطان محمد] وحمل راسه الى محمد وعمر صدقة تسع وخمسون وامارته احدى وعشرون سنة وقتل من اصحابه فوق ثلاثة الاف وكان متشيعاً وهو الذي بني الحلة بالعراقTitle from 'titlepage' inscription on fol.1a.Ms. codex.Part two of Ibn al-Wardī 's abridgement of the chronicle of Abū al-Fidāʼ with a continuation from 729 to 749 / 1329-49. Text is followed by a death notice for Ibn al-Wardī himself. Description provided by Noah Gardiner.
Abstract: Leaf from chapter 29 of the Mūnis al-aḥrār, a collection of poetry. Each verse alternates with a corresponding illustration as follows: battle gear; weapons; fruit trees; four types of doves; peacock, parrot, and nightingale; and jewelry.Ms. leaf.Physical description: Written in large thuluth and medium naskh in gold, blue, black, and red. Each line of verse alternates with an illustration. The leaf is damaged along the bottom; it was cut out of its original frame and glued onto another page of a different text that now forms its margins.Origin: This page is from chapter 29 of a ms. which is now scattered. The ms. is dated Ramaḍān 741 H February-March 1341 and was copied and illustrated in Isfahan according to its colophon (Swietochowski and Carboni, p. 25).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 246Origin: As appears in colophon on fol.210b (p.420), copied by Sulaymān ibn Yūnus ibn Khaṭṭāb ibn Shaḥḥādhah [?] ibn Muḥammad ibn Ḥurayz al-Satafī [?] al-Mālikī. Transcription finished "wa-kāna al-farāgh min istinsākh hādhā al-dīwān..." 14 Dhū al-Qaʻdah 1016 [ca. 31 March 1608].Accompanying materials: a. between pp. 322-23 folded slip with numerals, etc. -- b. between pp.404-405 slip in laid paper with verses copied in ruqʻah.Binding: Pasteboards covered in deep brown leather ; Type II binding (with flap) ; pastedowns and flyleaves as well as interior of envelope flap in shell marbled paper (pink, brown and white) ; interior of fore edge flap in same brown leather ; upper and lower covers bear gold-stamped central piece and decorative border (formed from two repeating vegetal pattern stamps and interlocking architectural pattern stamp) along with pendants and corner pieces (formed from a repeated scrolling floral pattern stamp) ; envelope flap bears complementary design formed from same stamps ; sewn in cream thread, four stations ; worked chevron endbands in cream and blue ; in fair condition with some abrasion, staining, fading, some pest damage, loss to endbands, and spine slant (cocked) ; housed in box for protection.Support: non-European laid paper ; laid lines oriented horizontally or vertically (some variation from quire to quire) spaced roughly 7-9 laid lines per cm. (also varying) with some sagging or curving ; chain lines very feint and indistinct but occasionally visible - may be grouped ; quite firm, somewhat crisp, and of medium translucency ; well burnished ; only a few inclusions and undissolved fibers visible ; flyleaves in European laid paper, laid lines vertical spaced roughly 11 laid lines per cm. ; chain lines horizontal spaced 30 mm. apart ; large shield/scrollwork (six pointed star within) watermark partially visible in back flyleaf.Decoration: Illuminated titlepiece on fol.1a (p.1) consisting of upper and lower rectangular panels with central roundel (shamsah) ; upper panel bears title in gold thuluth ; shamsah bears author's name,etc. in blue and gold, highly ligatured tawqi verging on thuluth ; lower panel continues blessings upon the author in gold thuluth ; outlined by vegetal accents in blue ; framed in pink band with blue crosses and a series of gold bands outlined with black fillets ; superbly executed illuminated headpiece (ʻunwān) on fol.1b (p.2) consisting of rectangular panel surmounted by scalloped semi-circular piece (dome) surmounted by vertical stalks (tigh) in blue and gold ; rectangular panel contains stylized cartouche in gold carrying title "ديوان شعر ابي الطيب" in white, surrounded by floral vegetal decoration in gold, orange-red, white, light blue, etc. on a field of lapis lazuli flanked by semi-circular pieces in light-blue and gold ; semi-circular piece carries floral vegetal design in gold, orange-red, pink, white, etc. on fields of lapis lazuli and gold ; bordered in a well with blue crosses on a pink band ; between the two pieces a rectangular band floral vegetal decoration in gold, blue, orange-red, and white on a field of black ; written area and margin (including decoratively arranged lines) framed in a series of gold bands flanked by black fillets ; incipit and facing page various floral designs in orange-red, blue, white, green, and gold ; partially chrysographed with section (divisions by letter) headings in gold ; text of titlepiece in gold and blue ; text rubricated with verse headings, numerals corresponding to glosses, etc. in red.Script: Naskh ; large, clear hand of Persianate character (Iraqi ?) ; mainly sans serif but with occasional right-sloping head serif on free-standing alif, lām of definite article, etc. and left-sloping head serif on joined alif, etc. (irregular), kāf mashqūqah preferred, but mabsūṭah also appears, slight effect of inclination to the left, elongation of horizontal strokes, some sweeping descenders, quite rounded and curvilinear, pointing in distinct dots, point of final / free-standing nūn set down in bowl ; fully vocalized ; glosses of very similar character only thinner line and smaller size (likely supplied by same copyist).Layout: Written in 15 lines per page ; single column, often divided to two to set off poetry, and fine ruled margin with lines arranged obliquely in decorative geometric patterns (triangles, zig-zag, etc.) ; frame-ruled.Collation: ii, V-1(9), 19 V(199), VI(211), ii ; chiefly quinions ; final leaf left blank ; catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular then rectangular, reads: "وكان الفراغ من استنساخ هذا الديوان المبارك رابع عشر شهر ذي القعدة من شهور سنة ستة عشر والف من الهجرة النبوية على صاحبها افضل الصلات والسلام تم وعلى يد العبد الفقير الى الله تعالى سليمان بن المرحوم يونس بن خطاب بن شحاذة بن محمد بن حذير الستفي المالكي غفر الله له ولوالديه ومشايخه واخوانه ولمن طالع فيه ودعا لم [كذا] بالمغفرة ولكل المسلمين اجمعين وصلى الله على سيدنا محمد واله وصحبه اجمعين وسلم"Explicit: "ومثلك يؤتى من بلاد بعيدة ليضحك ربات الحداد البواكيا. وقال ايضا يمدح سيف الدولة ... وكانه جيش ابن حرب رعته حتى كانك يا علي علي. تم شعر ابي الطيب برياذاته والحمد لله كما هو اهله. يقول كاتب اصله المنقول منه هذه النسخة نقلت هذا الديوان من نسختين ..."Incipit: "قافية الهمزة قال ابو الطيب احمد بن الحسين المتنبى رحمه الله ومولده بالكوفة في كندة سنة ثلث وثلثماية يمدح سيف الدولة وكان امره باجازة ابيات على هذا الوزن وهذا الروي شعر عذل العواذل حول قلبي التائه وهوى الاحبة منه في سودائه ..."Title from titlepiece on fol.1b (p.2).Ms. codex.Fine copy of the renowned dīwān and glosses, closing with a discussion of the source material for the recension contained in the model from which this manuscript was transcribed.
Abstract: The collection of poems by the author.Ownership note on colophon page.ديوان المتنبيOwnership note, dated October 1916.برسم: الشيخ عز الدين بن محمد الكنوديسيئة فهو مبتور الغلاف الأول والأوراق ممزقة من أوله وعليها آثار معالجة من التمزق والأرضة مما أثر بشكل واضح على النصوص خصوصاً في أول المخطوط وآخره لكن اعتناء الناسخ به جيد في الخط والكتابة والترتيب وتسطير الجداول المناسبة للأبيات الشعرية وهو مكتوب بالمداد الأسود والأحمر والأخضر وعليه حواشٍ وشروح وتعليقات في معظم الصفحات14 رمضان 1117هـIncipit: وان عرفتَ مُرادي ، تكشَفَت عَنك كُربَه ، وان جَهلتَ مرادي ، فَإنَّه بِكَ أشْبَه ، وَقَال يُعَزِّي عَضُدَ الْدَّولَه.، بِعَمَّتِهِ اخْتَ اَبيه آخِرْ مَا المُلك مُعزَّى به هَذَا الذي اَثَّر فى قَلبَهExplicit: يَاسَيفَ دَولة ذِي الجَلاَل ومن له خير الخلايق والاَنامَ سَمِيُ اَوَمَا تَرَى صَفِينَ حِين اَتَيتَهَا فَانجَابَ عَنهَا الْعَسْكرُ الغَربيُّ فكانه جَيْشُ ابنُ هِندٍ رُعْتَهُ حَتَى كَاَنَكَ يَا عَليُّ عَلِيُّNaskh-thuluth script, written in black, red and green ink. Defective beginning, with worm holes and traces of repairs. Frequent marginalia.18 lines.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 95Origin: Lacks dated colophon ; likely late 14th or 15th century.Accompanying materials: Vast number of slips bearing notes, virtually all tipped in (paginated pp.7-8, pp.11-12, etc.).Former shelfmark: British Museum, London. "No. 123. Kanz al-dakaik."Binding: Pasteboards faced in laid paper with brown leather over spine, fore-edge and edges/turn-ins (paper faced, leather edged, framed binding) ; Type II binding (with flap) ; board linings in laid paper ; sewn in pink thread, two stations ; worked endbands in red and green (headband) and in red and cream (tailband) ; in poor condition with significant abrasion, staining, lifting and losses of leather, delamination of boards, moisture damage, etc.Support: non-European laid paper with extremely faint laid and chain lines, very difficult to examine ; numerous repairs ; added leaf with table of contents in European laid paper.Decoration: Abbreviations rubricated throughout ; overlining in red throughout ; keywords, section headings and abbreviations rubricated in excerpts ; written area of final excerpt (p.275-278) surrounded by rule-border in two fillets.Script: Naskh ; Syrian or Turkish hand ; virtually serifless ; large and clear, quite rounded, with open and closed counters, occasional slight effect of tilt to the left and swooping descenders, section headings in bold thuluth ; two additional hands supply the text of the exerpts (from p.272 to p.278) ; the first of these (see p.272-274) similar but more compact, with many closed counters, swooping descenders, etc. ; the final (see p.275-278) more compact, in a heavier line and with fewer swooping descenders ; pointing in main hand and final hand utilizes inverted caret for two dots ; in second hand inverted caret or distinct dots for two dots, and inverted comma for three dots ; marginalia in numerous other hands.Layout: Written in 15 lines per page ; excerpts of final leaves in 21 lines per page ; frame-ruled.Collation: i, III+1 (7), 2 III(19), I(21), 6 V(81), VI-1 (92), 2 (94) ; chiefly quinions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes vast number of inserts).Explicit: "ثم اقسم المبلغ على التصحيح ومن صالح من الورثة على شيء فاجعل كان لم يكن واقسم على سهام من بقي ما بقي"Incipit: "الحمد لله الذي أعز العلم في الاعصار وأعلى حزبه في الامصار ... قال مولانا ... ابو البركات عبد الله بن احمد بن محمود النسفي ... رايت الهمم المائلة الى المختصرات ... واردت ان الخص الوافي ... فشرعت فيه بعد التماس طائفة من اعنان الافاضل ... وسميته بكنز الدقائق ..."Title from opening (p.6).Ms. codex.Extensively annotated copy of the important treatise of Ḥanafī fiqh, a synopsis of the author's own Kitāb al-Wāfī, modelled on the Hidāyah of ʻAlī ibn Abī Bakr al-Marghīnānī (d. 1196 or 7), followed by exerpts.
Abstract: A commentary on a work of Zaydi inheritance, the Miftāḥ al-fāʼiḍ fī ʻilm al-farāʼiḍ by ʻUṣayfirī, al-Faḍl ibn Abī al-Saʻd, 12th/13th cent.Title from title page.Contents.كتَاب جَوهرة الفَائض في علم الفرائض الكاشف لمعاني مفتاح الفائض/ تأليف الفقيْه الأفضل العالم العامل الورع الكامل عزّ الاسلاَم لسان الفرضيين الفخام محمّد بن أحمد بن ابى القاسم النّاظريBrockelmann S I 702; S II 968. Ownership and sale notes.جيده ، وهو عبارة عن مجلد مغلف بقطعة قماشية على جلده وهو مكتوب بالمداد الأسود والأحمر والوردي والبني وعليه حواشٍ كثيرة خطه جيد ومرتب ومسطر ومنظم الحواشي خصوصاً في أولهليلة الاثنين 21 شهر رجب سنة 1356هـ. وافق الإنتهاء من تحشيته الثلاثاء 17/ ربيع الأول / 1394هـ لقطة (454)Incipit: بسم الله... وَبه نَستَعِيْنُ الحمْد لله عَلىَ أنعامِه وأفضَاله وَصلاَته وسلامه عَلى سيّدنا محمّدٍ وآله وَبَعْد فأنه سألنى بعض أخوانى الصَّالحين أَنْ أضع كتَاباً يقرب فهمه للمبتدين ويسهّل مطلبه للطَّالبين... وَسمّيْته كتاب جوهرة الفرايض الكاشف لمعاني مفتَاح الفايض مع اعترافي بأنّي لا أبلغ دَرجة الكمال...Explicit: فقد طَاب للسّيد وكذى ما اخذه السّيد من أرش جراحات العبد أذَا كان قدر أرش العبد ويردّ ألزّايد تمت وبتمام هذى الكتاب تمّ الكلام في الورثه ومراريثهم ...Persian naskh script, with headings illuminated in thuluth script, written in black, red, pink and brown ink. Frequent marginalia, organized in lines.11 lines.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 470Origin: Lacks dated colophon ; paper and hand may suggest 16th century.Accompanying materials: a. Inventory cataloguing slip in hand of Winifred Smeaton Thomas. (pp.1-2)-- b. Acquisitions slip from Yahuda. (pp.3-4).Former shelfmark: From inner front cover and spine label, "IL 169" (likely supplied by Yahuda, see acquisitions slip).Binding: Pasteboards covered in marbled paper (in shades of pink and blue) with red leather over spine, fore edge flap and fore edge of upper board ; Type II binding (with flap) ; board linings in European laid paper ; sewn in grey thread, two stations ; overall in good condition with only minor abrasion, lifting and losses of leather.Support: non-European (likely Arab) laid paper with roughly 8-9 laid lines per cm. (vertical) and chain lines grouped in threes (horizontal) with roughly 8-11 mm. between chains and 36-39 mm. between groups ; well-burnished and quite smooth ; firm and fairly crisp.Decoration: Section headings, keywords, and abbreviations (abbreviation symbols) rubricated ; textual dividers in the form of red discs.Script: Naskh ; fine Turkish hand ; mainly sans serif though left sloping head-serif appears occasionally on alif of lām-alif ligature ; effect of tilt to the left ; many open counters ; pointing in distinct dots, with two dots occasionally oriented vertically ; fully vocalized ; section headings in larger curvilinear script approaching thuluth.Layout: Written in 11 lines per page ; frame-ruled.Collation: 6 V (60) ; exclusively quinions ; catchwords inconsistently present ; quire signatures (numbering) in the form of full words in the top left corner of the recto of the first leaf of each quite ; pagination in pencil, Western numerals, supplied during digitization (includes inserts).Explicit: "واخر دعوانا بتوفيق ربنا ان الحمد لله الذي وحده علا وبعد صلاة الله ثم سلامه على سيد الخلق الرضي متنخلا محمد المختار للمجد كعبة صلوة تباري الريح مسكا ومندلا وتبدي على اصحابه نفحاتها بغير ثناه زرنبا وقرنفلا كملت بحمد الله وعونه وحسن تأييده وصلى الله على سيدنا محمد و اله وسلم تسليما"Incipit: "قال الشيخ الاجل الامام المقرئ ابو القاسم بن فيره بن خلف بن احمد الرعيني ثم الشاطبي رضي الله وارضاه بدأت ببسم الله في النظم اولا تبارك رحمانا رحيما وموئلا وثنيت صلى الله ربي على الرضى محمد المهدى الى الناس مرسلا"Title from inscriptions on interior of upper cover and 'title page' (p.7).Ms. codex.Fine copy of al-Shāṭibī's versification (ṭawīl, in 1173 verses) of al-Dānī's compendium of the seven readings, al-Taysīr, intended as a didactic poem which eases the task of memorization via a clever mnemonic device in the form of carefully introduced sigla. A table with these sigla and abbreviation symbols appears on the recto of the opening leaf of the codex (p.5). Table of contents on 'title page' (p.7) would indicate that this work was once part of a collection of texts from which it has been since separated. Description provided by Maxim Romanov.
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.
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.
Abstract: "Part one of the famous Qur'an commentaryAbstract: up to surat al-Kahf."Title from title page.Title from the bottom edge of the manuscript.عليه شروع في قراءة بمحروس شهارة في محرم الحرام سنة 1356هـ بخط صاحب المكتبة.لقطة رقم(19) ، وكذلك عليه سماع من أول سورة النساء لدى الوالد العلامه العلم القاسم بن الوجيه بتاريخ 2/جماد الآخر/سنة1367هـ بخط السيد العلامة محمد بن أحمد بن محمد الكبسي ثم قال بخطه:بلغ قراءته لدى سيدي الوالد العلامه العلم الى منتهى سورة الأنفال وذلك في الليلة المسفرة عن صبيحة يوم الأربعاء الموفي لـ28من شهر رمضان الكريم...محمد بن احمد بن محمد الكبسي.لقطة رقم (17).كتَابُ الكَاشفْ عَنْ حَقَآئِقِ التَنْزيْلِ وعُيوْنِ الاقَاوِيْل ومحجبَاتِ التأْويْل / تاليف الشيخ العلاّمه ذى العلم الزاخر والفضل الباهِر...جار الله ابي القسم محمود بن عمر الزمخشريMultiple ownership notes, dated 1701, 1732, 1785 and 1803. Reading notes, dated 1937 and 1948. Includes several fragments, among them lines of poetry by the author, a prayer in praise of Muhammad by ʻAlī, and excerpts from the Shams al-ʻulūm wa-dawāʼ kalām al-ʻArab min al-kulūm by Nashwān ibn Saʻīd al-Ḥimyarī and the Sharḥ Qāḍī Zayd.جيدة وهو عبارة عن مجلد كبير إلى متوسط الحجم مغلف بغلاف كحلي وقد كُتب بخط ممتاز رائع استخدم فيه المداد الأسود والأحمر والأخضر والأصفر ، وعليه بعض الحواشي والتعليقات1059؟Incipit: بِسْمِ الله...وَبِهِ الثّقَهُ ومِنْهُ الإِعَانَةُ الحَمْدُ للهِ الذي انزلَ القرانَ كلاماً مُؤَلفاً مُنَظَماً...والصَّلوة على خير من اوحي اليهِ حَبيب الله ابي القَسم محمد بن عبداللهِ بن عبدالمطلب بن هاشم...اعلم ان متن كل علمِ وعمود كل صِنَاعةٍ طبقات العلمآ فيه مُتَدَانيه...سُورَةُ فاتحه الكتاب مكيه وقيل مدنيه...Explicit: مَنْ قرا سوره الكهف من آخِرِهَا كانت له نُوراً من قَرْفه الى قدمِه ومن قرأها كلها كانت له نوراً منَ الارض الى السّمَآ...يصلون عليه حتى يستيقظ سُوْرة مَرْيَم مَكّيّهْ وَهىَ سَبعُون وَثمانُ أَوْ تسْعُ أَياتٍ بسمِ اللهِ...قال رب اني وهن العظم منى واشتعل الراس شيْباًNaskh and thuluth scripts, written in black, red, green and yellow ink. Some marginalia appended.31 lines.1-قصائد وأبيات شعرية لجار الله الزمخشري وغيره . لقطة رقم (11-12) . -2-دعاء الاستخارة بعد صلاة ركعتين بإخلاص وتوجه وإقبال ، ثم صلاة على النبي محمد صلى الله عليه وآله وسلم مشهورة الفضل تليها ستة أبيات لأمير المؤمنين علي بن أبي طالب كرم الله وجهه في الجنة أولها : لضرب ألفٍ وجذع ألفٍ..وقطع كفٍ وقلع ضرسِ...وآخرها : أهون من وقفةٍ بدارٍ..تلقاك بوابه بعبس . لقطة رقم (19) . -3-فوائد ونقول من شمس العلوم وشرح القاضي زيد وغيرها في التفسير واللغة والشعر . لقطة رقم (20-23)1-فائدة في أنواع المدود (تجويد)-2-فوائد متفرقة في التفسير . لقطة رقم (707-708)
Abstract: "Part one of the famous Qur'an commentaryAbstract: beginning with surat Maryam and ending with surat al-Nās."Title from title page.Title from the bottom edge of the manuscript.عليه تمام قراءة في سنة 1256هـ بخط العلامه أحمد عبدالرحمن المجاهد ثم تصحيحاً كاملاً في شهر شوال سنة1270هـ. لقطة رقم (781)النصف الثانى من كتاب الكاشف عن حقائق التنزيل وعيون الاقاويل ومحجبات التاويل / تاليف الشيخ العلامه وبحر العلم الزاخر والفضل الباهر الفائق للامم الاوايل والاواخر...جار الله ابي القاسم محمود بن عمر الزمخشرىDedication to Muḥammad ibn Qāsim al-ʻAbdī. Ownership notes dated 1794 and 1916. Reading note dated 1840. Collation note dated 1853. Includes an excerpt from a certain work entitled "al-Itqān fī tafsīr al-Qurʼān" on the meaning of the phrase "lā jarama".بعناية : محمد بن قاسم بن سالم بن علي العَبْدِيجيدة وهو عبارة عن مجلد كبير إلى متوسط الحجم مغلف بقماش مخطط بالأخضر والأحمر وقد كُتب بخط ممتاز رائع استخدم فيه المداد الأسود والأحمر والأخضر والأصفر ، وعليه بعض الحواشي والتعليقاتنهار الجمعة لعله سلخ شهر شوال سنة 1059هـIncipit: سُورة مريم مَكيَّه وهي سبعونتِسْعُوْنوثمان او تسع ايات بسم الله الرحمَن الرحيم كهيعص ذكْرُ رحمَتِ رَبِّكَ عَبْدَهُ زَكَرِيآءَ...قَولهُ كهَيَعص بفتح الهَآ وَكسرِ اليَا حَمزةٌ وبكسرهما عَاصم وَبضمّهما الحسَنُ...Explicit: مِنَ الجِنَّةِ والنَاسِ بَيَانٌ للذي يُوَسْوسُ على ان الشيطان ضربان جِنىّ وانسِيٌّ...وَانا اعود باللهِ وبهمَا وبجميع كلمة اللهِ الكَامِلَةِ التَآمة...وَالحَمدُ للهِ اوَّلاً واخِرا...تَمَّ الكِتابُ وَالحمْدُ للهِ الكَريم الوَهَّاب...وَلاَحَوْلَ وَلاقُوَّةَ الاَّ بالله العَلي العَظيمNaskh and thuluth scripts, written in black, red, green and yellow ink. Some marginalia appended.31 lines.نقل من كتاب" الإتقان في تفسير القرآن" في معنى تفسير " لا جرم " . لقطة رقم (15)
An introduction to the principles of alchemy spuriously ascribed to Democritus. This Democritus is not the atomist philosopher of Abdera, but the Greek alchemical authority of the same name, sometimes equated with Bolos of Mendes. The text’s style and content suggest that it is not, in fact, a Greek, pre-Islamic text translated into Arabic. The lower half of fol. 57b and the whole of 58a are taken up by tabulated descriptions of the four elements, and the remaining text is divided into three sections (
maqālāt):Section 1 (ff. 57v line 1 - 59r, line 10) describes a progression of the 4 elements from the grossest (earth) to the most refined (fire) and this progression with that of the 4 seasons;Section 2 (fols. 59a, line 10 - 64a, line 7) deals with the unity of matter; the formation of the microcosm out of opposing forces; the relationship between chemical substances and the four elements and other subjects;Section 3 (ff. 64r, line 7 - 66r, end) is divided into seven parts (
abwāb), each one describing a chemical procedure.The text was copied in the middle of Rajab 925 AH (mid-July AD 1519) at Damascus by Qudrat Allāh al-Marandī al-Ādharī (see colophon, f. 66r).Begins (f. 57v, lines 2-5):قال الحكيم ذومقراطيس إنّه ينبغي لمن طلب هذه الحكمة أنْ يعرف الأركان التي وُضِعَتْعليها والأجناس والطبائع والألوان والائتلاف والبعث والثبات والقراباتوالملائمة والمخالفة والتعادي والطعوم والتمازيج والهئات والدفاع وتزويج الأركانوتركيب الأجناس ثم يضع يده بعد ذلك الصناعةَ المكرّمةَ ...Ends (f. 66r, lines 15-19):... هذه المنازل السبعة قد أفصحت بها جهدي وبالله الذيإليه معاد كلّ شيء ما كتمتُ أهلَ العلم من أصل هذا الحجر شيئًا ولا من منازل تدبيرهوما أرجو أنْ يكون قد وضح لأهل العلم والرأي ومَن أراد الله إفهامه وعميتذلك على أهل الجهل والنقص والدين (sic) وأنا أوصي مَن طلب هذا العلمأنْ لا يستخف بهذا الكتابColophon (f. 66r, lines 19-22):... تم الكتاب بحمد الله تعالىوحسن توفيقه على يدي العبد قدرة الله المرندي الأذريفي أوساط شهر رجب سنة ٩٢٥بدمشق المحروسةوصلواته على نبيه سيدنا محمدوآله وصحبه أجمينff. 57v-66rMaterial: 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)
A general treatise on practical chemistry, composed in Tilimsān in 897 AH/AD 1492 (see Ullmann, 1972, p. 245) by Muḥammad ibn Aḥmad al-Maṣmūdī (محمد بن أحمد المصمودي). The text was copied on 27 Ramaḍān 1177 AH (30 March AD 1764) at Algiers by Muḥammad ibn Sulaymān al-Mawṣilī (محمد بن سليمان الموصلي) (see colophon, f. 158v, line 21, transcribed below). Folio 146r is blank.There are illustrations and a table on ff. 153v and 154r:f. 153v:Right: Illustration of a sealed vessel used for the sublimation. The top of the vessel, into which the gasses released by the substance being sublimed rise, is labeled سماءهم (‘their [i.e. the sages’/philosophers’] sky’); the middle is labeled إناءهم (‘their vessel’); and the bottom of the vessel, in which the substance to be sublimed rests, is labeled أرضهم الذي فيه السواد (‘their earth, which contains blackness’).Left: Table indicating the varying degrees of heat, cold, dryness and moisture in a given substance.f. 154r: Illustrations of three vessels for heating substances. The vessel depicted in line 17 is ‘an earthenware pot to be used buried in [hot] ashes’ (طاجين معمول مدفون في الرماد). The two vessels at line 25 are a two versions of a ‘crucible for ceration [i.e. softening by heat of solid substances that cannot be melted]’ (قدح التشميع).Begins (f. 113r, lines 1-2 and 16-19):الحمد لله الذي خلق السموات والأرض وجعل الطلمات والنور ثم الذين كفروابربهم يعد لون الحمد لله الواحد الأحد الفرد الصمد الذي لم يلد ولم يولد... أما بعد أدام الله تشريف أرواح المؤمنينأعلمكم أني لما دمت النظر الممارس والتفكر في كتب من مضامن قبلنا من العلماء والحكماءالأجلاء الفضلاء المؤلفة في الصنعة الإلهية العظمى وتصاييف المتصفين فريتأنها أم المصنائع وأخلها وأكثرها ...Ends (f. 158v, lines 15-18):... وقدان (؟) أن نختم هذا الكتاب بدعاء مرجو الإجابة يفر لأبي الحسنالشاذلي رضي الله عنه اللهم على من انشقت الأسرار غلى آخرها وهي صلاة عبد السلامبن مشبش رضي الله عنه ورحمه وأما من الكتاب وهو هذا وقل ربي لا إله إلا هو عليهتوكلت وإليه متاب وصلى الله على محمد عبدك ونبيك الرسول النبي الأمي وعلى آله وصحبه وسلمColophon (f. 158v, lines 19-27):قد تمته هذا الكتاب في يوم الخميس في سبعةوعشرين من شهر رمضان المبارك على يد أضعفعباد الله محمد بن سليمان الموصلي في بلد الجزائرالمحروسة حرسها من جمع المكادةآمين يا رب العالمينسنة ١١٧٧تم الكتاب بعونالملك الوهابتم الكتاب بحمد الله الوهاب اللهم فتح على كاتبه وقارئه آمينff. 113r-158rMaterial: 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. 238Origin: As appears at close, calligraphy executed by ʻUthmān, known as Ḥāfiẓ Kalām al-Wahhāb (i.e. Hafız Osman Efendi) in 1099 [1687 or 8]. Decoration and earlier mounting likely 18th century. Most recent mounting and borders likely 19th century.Former shelfmark: "546 T.D.M. [i.e. Tammaro De Marinis]" in pencil on reverse of uppermost panel ; "113" in pencil in border adjacent to illuminated headpiece.Binding: The three pieced panels of the levha are mounted on boards backed with silk, edged and hinged together with red-brown leather, unfolding like a triptych but vertically ; some repairs to the edging in purple leather ; minor hinge repairs in Japanese paper.Support: European laid paper, well-burnished, pieced and mounted on boards.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) appears in a rectangular panel above the baş makam, consisting of a semi-circular piece (dome) filled with a depiction of al-Masjid al-Ḥarām at Mecca (kaʻbah visible) and set off by an outer border of swirling vegetal designs in white, lavender, mint green, pink, gold, etc. on a blue ground with heavy gold and black borders and surmounting vertical stalks (tīgh) ; the same vegetal designs fill the area around the göbek and the koltuklar ; a black and gold frame surrounds the uppermost rectangular panel, the baş makam, the square containing the göbek, hilâl (in gold), and names of the çiharyâr, the ayet and the etek ; bands of turquoise and gold surround the circles with names of the çiharyâr ; textual dividers in the form of illuminated rosettes accent the hilye text ; a heavy border in olive green with gold painted floral accents, itself set-off by white fillets and framed by black and gold bands, surrounds the entire levha.Script: Exquisite specimen of Ottoman calligraphy ; basmalah (besmele), āyah (ayet) and names of the first four caliphs (çiharyâr) in thuluth (sülüs) ; hilye texts (of the göbek and etek) in naskh (nesih).Layout: Baș makam with besmele (opening with "انه من سليمان وانه" in small cartouche above "بسم") ; göbek with 9 lines of text ; ayet in a single line ; etek with 4 lines of text.Collation: Three 'panels' (likely once a single levha, now pieced) hinged together with red-brown leather, opening for display as a levha.Colophon: "كتبه اضعف الكتاب عثمان المعروف بحافظ كلام الوهاب سنه تسع وتسعين والف"Explicit: "يقول ناعته لم ار قبله ولا بعده مثله صلى الله عليه وسلم"Incipit: "عن علي كان اذا وصف النبي صلى الله عليه وسلم قال لم يكن بالطويل الممغط ولا بالقصير المتردد ..."Title supplied by cataloguer.Ms. (three panels hinged together).Exquisite hilye (written depiction of the Prophet) executed by the master who developed this graphic form of the hilye, Hafız Osman Efendi (d.1698). Decoration and mounting later, likely in at least two distinct stages (18th and 19th century).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 440Origin: Dates in dated pieces range from 1006 [1597 or 8] to 1252 [1843 or 4]. Some pieces possibly earlier. Binding late 19th or early 20th century, likely produced in Yıldız Palace workshop and certainly not earlier than 1882 when the arma was finalized by Sultan Abdülhamit II.Former shelfmark: "208" inscribed in pencil on opening panel.Binding: Heavy boards covered in red leather ; Western style binding ; interior of boards (and facing panels) lined with white, textured paper (satin-like pattern) ; upper and lower covers carry central panel gold-stamped with the Ottoman arms (upper cover) or crescent and star (lower cover) at center, outlined in gold-tooled stars and bordered in gold-stamped (with olive green leather onlays) decorative panels in vegetal designs with crescents gold-stamped on olive green leather onlays at the four corners ; board edges heavily beveled and gold-tooled ; edges of panels gold-painted ; sewn in heavy pink cord ; overall in fairly good condition with minor abrasion, lifting and losses of onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted, marbled or silhouette ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper (resembling reptile hide) with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes).Script: Naskh (nesih), thuluth (sülüs), tawqīʻ (tevki'), and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: Twenty-one heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.42. fol.21b : [blank].41. fol.21a : piece in divani signed by the calligrapher Mehmet Recai (كتبه الحاج محمد رجائى رئيس الكتاب سابقا) and dated 1186 [1772 or 3].40. fol.20b : unsigned piece in thuluth and naskh, undated.39. fol.20a : unsigned piece in thuluth and naskh, undated (with area left unfilled, perhaps for colophon or icazet text).38. fol.19b : unsigned piece in thuluth and naskh, undated.37. fol.19a : unsigned piece in thuluth and naskh, undated.36. fol.18b : unsigned piece in thuluth and naskh, undated.35. fol.18a : unsigned piece in thuluth and naskh, undated.34. fol.17b : piece in nastaʻlīq signed by the calligrapher Ḥusayn ʻAlī (العبد حسين على كاتب) and undated (set in a border of silhouette paper with floral motifs).33. fol.17a : piece in nastaʻlīq signed by the calligrapher Ḥusayn ʻAlī (العبد حسين على كاتب) and undated (set in a border of silhouette paper with animal motifs).32. fol.16b : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with bird motifs).31. fol.16a : piece in nastaʻlīq signed by the calligrapher Aḥmad al-Ḥusaynī (كتبه المذنب احمد الحسينى) and undated (set in border of silhouette paper with bird motifs).30. fol.15b : unsigned piece in thuluth and naskh, undated.29. fol.15a : piece in nastaʻlīq (talik) signed by the calligrapher Yesari Mehmet Esad Efendi (d.1798) (الفقير محمد اسعد اليسارى) and undated.28. fol.14b : piece in thuluth and naskh signed by the calligrapher Hafız Ahmet (مشقه المذنب الخاظئ السيد حافظ احمد المعروف بتوفيقى) and dated 1196 [1781 or 2].27. fol.14a : piece in thuluth and naskh signed by the calligrapher “جزائري” and dated 1107 [1692 or 3].26. fol.13b : unsigned piece in naskh, undated.25. fol.13a : unsigned piece in thuluth and naskh (opening of müfredat exercises), undated.24. fol.12b : piece in nastaʻlīq (talik) signed by the calligrapher Mehmet Kasim (محمد قاسم) and undated.23. fol.12a : piece in thuluth and naskh signed by the calligrapher Mehmet Şevki Efendi (d.1887) (كتبه العبد الضعيف السيد محمد شوقى) and undated.22. fol.11b : piece in thuluth and naskh signed by the calligrapher İmamzade [possibly Eğrikapılı Mehmet Râsim Efendi (d.1756) who early in his career signed İmamzade] (كتبه امام زاده) and undated.21. fol.11a : unsigned piece in thuluth and naskh, undated (likely accompanying piece on fol.11b).20. fol.10b : unsigned piece in thuluth and naskh, undated.19. fol.10a : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with floral motifs).18. fol.9b : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with floral motifs).17. fol.9a : unsigned piece in nastaʻlīq, undated (set in border of silhouette paper with dragon motifs).16. fol.8b : piece in thuluth and naskh approaching tawqīʻ signed by the calligrapher Hafız Osman Efendi (d.1698) (مشقه الفقير عثمان المشتهر بحافظ القرآن) and dated 1098 [1686 or 7].15. fol.8a : unsigned piece in naskh, undated.14. fol.7b : piece in nastaʻlīq signed by the calligrapher Muhammad (محمد) and undated.13. fol.7a : piece in thuluth and signed by the calligrapher Afif (كتبه عفيف) [possibly İbrahim Afif, d.1767] and undated.12. fol.6b : piece in thuluth and naskh signed by the calligrapher Salıh Namık [?] (سوده صالح نامق) and undated.11. fol.6a : piece in thuluth and naskh with icazetname signed by the calligrapher Şekerzade Mehmet Efendi (d.1753) authorizing the student who executed the piece (اجزت لصاحب هذه القطعة الشريفة وضع الكتبة فما كتبه وانا الفقير السيد محمد المعروف بشكر زاده) and dated 1155 [1742 or 3].10. fol.5b : piece in thuluth and naskh signed by the calligrapher Hafız Ahmet (حرره السيد حافظ احمد) and dated 1197 [1782 or 3].9. fol.5a : unsigned piece in thuluth and naskh, undated.8. fol.4b : unsigned frontispiece with excerpt (اول از بالای کرسی بر زمین آمد سخن او دگر ...) in thuluth at center of shamsah, undated.7. fol.4a : unsigned piece in thuluth and naskh, undated.6. fol.3b : piece in nastaʻlīq (talik) signed by the calligrapher Ahmet Çelebi (احمد چلبی) dated 1006 [1597 or 8].5. fol.3a : unsigned composite piece in nastaʻlīq of different sizes, undated.4. fol.2b : piece in thuluth and naskh signed by the calligrapher Mahmut Celalettin (Mahmud Celaleddin Efendi d.1829, نمقه الفقير محمود المعروف بجلال الدين) and undated.3. fol.2a : piece in naskh and thuluth signed by the calligrapher Mehmet Şefik Bey (d.1879) (كتبه محمد شفيق عن خلفا الحاج مصطفى عزت) and signed 1259 [1843 or 4].2. fol.1b : piece in nastaʻlīq (talik) signed by the calligrapher Mehmet Zeynelâbidin Haşimi (حرره المذنب محمد زين العابدين الهاشمى) and undated.1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (40 kıt'alar / pieces), likely assembled and bound for Sultan Abdülhamit II (r.1876-1909). Contents briefly addressed by Muhittin Serin in "Amerika Birleşik Devletleri’ndeki Bazı Kütüphanelerde Bulunan İslam El Yazma Eserleri ve Michigan Üniversitesi II. Abdülhamid Koleksiyonu." Contributions to the cataloguing from Marion Frenger, Mamoun Sakkal, and Irvin Schick.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 438Origin: Dated pieces range from 914 [1508 or 9] to 1317 [1899 or 1900]. Binding late 19th or early 20th century, likely produced in Yıldız Palace workshop and certainly not earlier than 1882 when the arma was finalized by Sultan Abdülhamit II.Former shelfmark: "210" inscribed in pencil on opening panel.Binding: Heavy boards covered in red leather ; Western style binding ; interior of boards (and facing panels) lined with white, textured paper (satin-like pattern) ; upper and lower covers carry central panel with the Ottoman arms (upper cover) or crescent and star (lower cover) gold-stamped on bright green satin, outlined in gold-tooled stars and bordered in gold-stamped (with light green-gold onlays) decorative panels in vegetal designs with crescents gold-stamped on mint-green silk onlays at the four corners ; board edges heavily beveled and gold-tooled ; edges of panels gold-painted ; sewn in heavy pink cord ; overall in fairly good condition with minor abrasion, lifting and losses of silk onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted or marbled ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes) ; two miniatures, one in Indian style, the other Persian, each featuring a pair of lovers.Script: Naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: Twenty-two heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.44. fol.22b : [blank].43. fol.22a : unsigned piece in nastaʻlīq executed in filigree / cut-work, undated (compare Calligraphie islamique: Textes sacrés et profanes, no.140).42. fol.21b : piece in nastaʻlīq (talik) signed by the calligrapher Dedezade (مشقه الفقير الحقير دده زاده) and undated.41. fol.21a : piece in naskh with icazetname for a student of es-Seyyid Mustafa Efendi (من تلاميذ السيد مصطفى افندى) authorizing the student to sign his name to his work and to teach others, undated.40. fol.20b : piece in nastaʻlīq signed by the calligrapher Asad Allāh Shīrāzī (العبد المذنب اسد الله شيرازى) and dated 1254 [1838 or 9].39. fol.20a : piece in celi sülüs signed by the calligrapher Mahmut Celalettin (Mahmud Celaleddin Efendi, d.1829, حرره محمود جلال الدين) and undated.38. fol.19b : piece in thuluth and naskh signed by the calligrapher Mustafa b. Osman Keskin (fl.1758) (الفقير مصطفى بن عثمان المعروف بكسكين) and dated 1172 [1758 or 9].37. fol.19a : piece in nastaʻlīq signed by the calligrapher Mīr ʻImād al-Ḥasanī (d.1615) (مشقه عماد الحسنى) and undated (compare Calligraphy and the decorative arts of Islam, no.7).36. fol.18b : piece in nastaʻlīq signed by the calligrapher Faqīr ʻAlī (فقير على) and undated (compare Calligraphy and the decorative arts of Islam, no.8).35. fol.18a : piece in thuluth and naskh signed by the calligrapher Ahmet b. Ali Kütâhî (سوده احمد بن على المعروف بالكوتاهى) dated 1100 [1688 or 9].34. fol.17b : piece in naskh signed by the calligrapher Hocazade Ahmet (كتبه الفقير الى رحمة القدير السيد احمد المعروف بخواجه زاده) and dated 1161 [1748].33. fol.17a : piece in naskh signed by the calligrapher Derviş Ali [possibly İkinci Derviş Ali, d.1716] (الحقير درويش على) and undated.32. fol.16b : piece in nastaʻlīq signed by the calligrapher Muḥammad Muhtadī (الحقر المذنب محمد مهتدى) and undated.31. fol.16a : unsigned piece in thuluth and naskh, undated.30. fol.15b : piece in thuluth and naskh signed by the calligrapher al-Sayyid ʻAbd Allāh (likely Yedikuleli Seyyid Abdullah, d.1731, "كتبه السيد عبد الله") and undated.29. fol.15a : piece in thuluth and naskh signed by the calligrapher İsmail (اسمعيل, possibly Ağakapılı İsmail Efendi, d.1706) and undated.28. fol.14b : piece in thuluth and naskh signed by the calligrapher İsmail (اسمعيل, possibly Ağakapılı İsmail Efendi, d.1706) and undated.27. fol.14a : piece in nastaʻlīq signed by the calligrapher Muʻizz al-Dīn Muḥammad al-Ḥusaynī (كتبه معز الدين محمد الحسينى) and dated 986 [1578 or 9].26. fol.13b : piece in thluth and naskh signed by the calligrapher Hocazade Mehmet (d.1695) (كتبت له اذنا وانا الفقير محمد خواجه زاده) and dated 1162 [1749].25. fol.13a : piece in thuluth and naskh signed by the calligrapher Şekerzâde Mehmet Efendi (d.1753) (كتبه السيد محمد المعروف بشكر زاده) and dated 1144 [1731 or 2].24. fol.12b : unsigned piece in nastaʻlīq, undated.23. fol.12a : piece in nastaʻlīq signed by the calligrapher ʻAbd al-Bāqī (Abdülbâki / الفقير المذنب عبد الباقى) and undated.22. fol.11b : piece in thuluth and naskh signed by the calligrapher Yedikuleli Seyyid Abdullah (d.1731) (كتبه العبد الفقير السيد عبد الله المعروف بالامام) and dated 1114 [1702 or 3].21. fol.11a : piece in nastaʻlīq signed by the calligrapher Aḥmad Rashīd (الفقير احمد رشيد) and dated 1194 [1780].20. fol.10b : unsigned piece in naskh, undated.19. fol.10a : piece in nastaʻlīq signed by the calligrapher Muḥammad Amīn al-Ḥusaynī al-Tirmidhī (مشقه المذنب محمد امين الحسينى الترمذى) dated 1010 [1601 or 2].18. fol.9b: piece in thluth signed by the calligrapher Hulusi (پر تقصير خلوصى) and dated 1128 [1715 or 16].17. fol.9a : piece in thuluth signed by the calligrapher Hulusi (الفقير خلوصى) and dated 1128 [1715 or 16].16. fol.8b : piece in naskh appearing to be the opening of the piece on fol.8a.15. fol.8a : piece in naskh (appearing to be the continuation of the piece on fol.8b) signed by the calligrapher Yedikuleli Seyyid Abdullah (d.1731) (كتبه العبد الفقير السيد عبد الله المعروف بالامام) and dated 1120 [1708 or 9 ].14. fol.7b : piece in nastaʻlīq signed by the calligrapher Maḥmūd Isḥāq Shihābī (مشقه محمود اسحق شهابى) and undated.13. fol.7a : piece in nastaʻlīq signed by the calligrapher ʻAbd al-Jabbār (الفقير الحقير المذنب الراجي عبد الجبار غفر له) and undated.12. fol.6b : unsigned piece in nastaʻlīq, undated.11. fol.6a : piece in thuluth and naskh signed by the calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876) (حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء) and dated 1288 [1871 or 2].10. fol.5b : piece in thuluth and naskh signed by the calligrapher Hulusi (الفقير خلوصى) and undated.9. fol.5a : piece with text in nastaʻlīq (possibly signed ʻAbd al-Raḥmān) surrounding oval with unfinished drawing.8. fol.4b : piece in nastaʻlīq signed by the calligrapher Mīr ʻAlī ("مشقه المذنب مير على") and undated.7. fol.4a : painting of two lovers, likely Safavid.6. fol.3b : painting of two lovers, in Mughal style.5. fol.3a : piece in nastaʻlīq signed by the calligrapher Badīʻ al-Zamān Quṭbʹshāhī (بديع الزمان قطبشاهى) and undated.4. fol.2b : unsigned piece in nastaʻlīq.3. fol.2a : piece in nastaʻlīq signed by the calligrapher Sulṭān Muḥammad Khandān (سلطان محمد خندان) and dated 914 [1508 or 9].2. fol.1b : piece in thuluth and naskh signed by the calligrapher Mehmet Hilmi (محمد حلمى) and dated 1283 [1866 or 7] with illuminations signed by the illuminator Osman Yümni Efendi (d.1919) (عثمان يمنى) and dated 1317 [1899 or 1900].1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (42 kıt'alar / pieces), many signed, likely assembled and bound for Sultan Abdülhamit II (r.1876-1909). Contents briefly addressed by Muhittin Serin in "Amerika Birleşik Devletleri’ndeki Bazı Kütüphanelerde Bulunan İslam El Yazma Eserleri ve Michigan Üniversitesi II. Abdülhamid Koleksiyonu." Contributions to the cataloguing from Mamoun Sakkal.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 439Origin: Dates in dated pieces range from 1009 [1600 or 1] to 1211 [1796 or 7]. Some pieces possibly earlier. Binding late 19th or early 20th century, likely produced in Yıldız Palace workshop and certainly not earlier than 1882 when the arma was finalized by Sultan Abdülhamit II.Former shelfmark: "211" inscribed in pencil on opening panel.Binding: Heavy boards covered in red leather ; Western style binding ; interior of boards (and facing panels) lined with white, textured paper (satin-like pattern) ; upper and lower covers carry central panel with the Ottoman arms (upper cover) or crescent and star (lower cover) gold-stamped on bright green satin, outlined in gold-tooled stars and bordered in gold-stamped (with dark green leather onlays) cartouches with crescent and star accents ; board edges heavily beveled and gold-tooled ; edges of panels gold-painted ; sewn in heavy pink cord ; overall in fairly good condition with minor abrasion, lifting and losses of onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted or marbled ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes).Script: Naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: 19 heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.38. fol.19b : [blank].37. fol.19a : unsigned piece in nastaliq, undated.36. fol.18b : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, نمقه الفقير اسمعيل الزهدى) and undated.35. fol.18a : piece in thuluth and naskh signed by the calligrapher İbrahim Afif (d.1767) (سوده ابراهيم عفيف) and undated.34. fol.17b : piece in nastaʻlīq (talik) signed by the calligrapher Şeyhülislam Veliüddin Efendi (d.1768) (العبد الداعى ولى الدين المفتش باوقاف الحرمين) and dated 1142 [1729 or 30].33. fol.17a : piece in thuluth and naskh signed by the calligrapher Usturacızade Mehmet Şehri (d.1740) (سوده الفقير محمد المعروف بشهرى) and undated.32. fol.16b : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, كتبه العبد الضعيف اسمعيل الزهدى) and undated.31. fol.16a : unsigned piece in thuluth and naskh, undated.30. fol.15b : piece in nastaʻlīq (talik) signed by the calligrapher Şeyhizade Mehmet Şihabuddin (الفقير حرقه شريفه شيخى زاده السيد محمد شهاب الدين) dated 1211 [1796 or 7].29. fol.15a : unsigned piece in thuluth and naskh, undated.28. fol.14b : piece in nastaʻlīq signed “بنده درگاه صفی” and dated 1182 [1768 or 9].27. fol.14a : piece in thuluth and naskh signed by the calligrapher Hüseyin Hamid (d. after 1787) (كتبه العبد الضعيف السيد حسين الحامد) and dated 1181 [1767 or 8].26. fol.13b : piece in nastaʻlīq signed by the calligrapher Sulṭān Ḥusayn (نمقه سلطان حسين) and undated.25. fol.13a : piece in thuluth and naskh signed by the calligrapher Hafız Yusuf Efendi (d.1787) (كتبها عبد مذنب لا طاعة له يوسف المعروف بحافظ القرآن) and undated.24. fol.12b : unsigned piece in nastaʻlīq (talik), undated.23. fol.12a : unsigned piece in thuluth and naskh, undated.22. fol.11b : unsigned piece in thuluth and naskh, undated.21. fol.11a : piece in nastaʻlīq signed by the calligrapher Mīr ʻImād al-Ḥasanī (d.1615) (الفقير الحقير المذنب عماد الحسنى) and dated 1009 [1600 or 1].20. fol.10b : piece in nastaʻlīq signed by the calligrapher Muḥammad ʻAlī (الفقير محمد على) and undated.19. fol.10a: piece in nastaʻlīq (talik) signed by the calligrapher Mehmet Refi Efendi (d.1769) (الفقير المذنب محمد رفيع) and undated.18. fol.9b : piece in thuluth and naskh signed by the calligrapher Ebubekir Raşit (d.1782) (سوده اضعف المذنبين ابو بكر راشد) and undated.17. fol.9a : piece in nastaʻlīq signed by the calligrapher Shāh Maḥmūd al-Nishāpūrī (fl.1517-1572) (كتبه المذنب شاه محمود النشابورى) and undated, on textile.16. fol.8b : unsigned piece in thuluth and naskh, undated.15. fol.8a : unsigned piece in thuluth and naskh, undated.14. fol.7b : unsigned piece in thuluth and naskh, undated.13. fol.7a : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, كتبه اسماعيل الزهدى) and undated.12. fol.6b : piece in nastaʻlīq (talik) signed by the calligrapher Durmuşzade Ahmet (d.1717) (الفقير المذنب احمد المدعو بطورمش زاده) and dated 1107 [1695 or 6].11. fol.6a : piece in nastaʻlīq (talik) signed by the calligrapher Durmuşzade Ahmet (d.1717) (الفقير المذنب احمد المدعو بطورمش زاده) and dated 1107 [1695 or 6].10. fol.5b : piece in nastaʻlīq signed by the calligrapher Aḥmad al-Ḥusaynī (كتبه العبد احمد الحسينى) and undated.9. fol.5a : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (حرره الفقير الى رحمة ربه القدير محمد راسم) and undated.8. fol.4b : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (نمقه الفقير محمد راسم) and undated.7. fol.4a : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (حرره الفقير محمد راسم) and undated.6. fol.3b : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (نمقه محمد راسم) and undated.5. fol.3a : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (حرره محمد راسم) and undated.4. fol.2b : piece in thuluth and naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (نمقه محمد راسم) and undated.3. fol.2a : unsigned piece in nastaliq, undated.2. fol.1b : piece in thuluth and naskh signed by the calligrapher Mehmet Nuri Musa Efendizade (العبد المذنب محمد نورى بحافظ القرآن موسى افندى زاده) dated 1193 [1779 or 80].1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (36 kıt'alar / pieces), likely assembled and bound for Sultan Abdülhamit II (r.1876-1909). Contents briefly addressed by Muhittin Serin in "Amerika Birleşik Devletleri’ndeki Bazı Kütüphanelerde Bulunan İslam El Yazma Eserleri ve Michigan Üniversitesi II. Abdülhamid Koleksiyonu." Contributions to the cataloguing from Mamoun Sakkal.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 441Origin: Origin: Dates in dated pieces range from 1080 [1669 or 70] to 1323 [1905 or 6]. Some pieces possibly earlier. Binding late 19th or early 20th century, likely produced in Yıldız Palace workshop and certainly not earlier than 1882 when the arma was finalized by Sultan Abdülhamit II.Former shelfmark: "208" inscribed in pencil on opening panel.Binding: Heavy boards covered in red leather ; Western style binding ; interior of boards (and facing panels) lined with white, textured paper (satin-like pattern) ; upper and lower covers carry central panel gold-stamped with the Ottoman arms (upper cover) or crescent and star (lower cover) at center, outlined in gold-tooled stars and bordered in gold-stamped (with olive green leather onlays) decorative panels in vegetal designs with crescents gold-stamped on olive green leather onlays at the four corners ; board edges heavily beveled and gold-tooled ; edges of panels gold-painted ; sewn in heavy pink cord ; overall in fairly good condition with minor abrasion, lifting and losses of onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted, marbled or silhouette ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper (resembling reptile hide) with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes).Script: Muḥaqqaq (muhakkak), naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: Twenty-one heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.42. fol.21b : [blank].41. fol.21a : piece in thuluth and naskh signed by the calligrapher Mehmet Hilmi (نمقه السيد محمد حلمى) and dated 1287 [1870 or 1].40. fol.20b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding pieces (from fol.10a).39. fol.20a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.38. fol.19b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.37. fol.19a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.36. fol.18b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.35. fol.18a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.34. fol.17b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.33. fol.17a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.32. fol.16b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.31. fol.16a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.30. fol.15b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.29. fol.15a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.28. fol.14b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.27. fol.14a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.26. fol.13b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.25. fol.13a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.24. fol.12b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.23. fol.12a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.22. fol.11b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.21. fol.11a : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.20. fol.10b : piece in nastaʻlīq (talik) likely by the calligrapher Yesari Mehmet Esad Efendi (d.1798) and belonging to the preceding and following pieces.19. fol.10a : piece in nastaʻlīq (talik) signed by the calligrapher Yesari Mehmet Esad Efendi (d.1798) (الفقير محمد اسعد اليسارى) and undated, likely (with the following pieces fol.10b-20b) concluding piece of a meşk murakkaa.18. fol.9b : piece in thuluth and naskh signed by the calligrapher Hocazade Mehmet (d.1695) (سوده الحقير محمد الشهر بخواجه زاده) and dated 1080 [1669 or 70].17. fol.9a : piece in thuluth and naskh signed by the calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876) (بندۀ ال عبا سيد عزت مصطفى) and possibly dated 1278 [1861 or 2].16. fol.8b : piece in thuluth and naskh signed by the calligrapher Hasan Rıza Efendi (d.1920) (حرره الحاج السيد حسن رضا ) and dated 1323 [1905 or 6].15. fol.8a : piece in thuluth and naskh signed by the calligrapher İsmail b. Abdullah student of İbrahim Rodosi (d.1787) (مشقه العبد المذنب اسمعيل بن عبد الله من تلاميذ ابراهيم الردوسى) and undated.14. fol.7b : piece in thluth signed by the calligrapher Usturacızade Mehmet Şehri (d.1740) (سوده محمد الشهرى) and undated.13. fol.7a : piece in thuluth and naskh signed by the calligrapher Hasan Rıza Efendi (d.1920) (حرره الحاج السيد حسن رضا ) and dated 1323 [1905 or 6].12. fol.6b : unsigned piece in thuluth and naskh, undated.11. fol.6a : piece in naskh signed by the calligrapher Deli Osman Afif Dâmâdı (d.1805) (كتبه الفقير السيد عثمان المعروف بداماد العفيف) and dated 1205 [1790 or 1].10. fol.5b : piece in thuluth and naskh signed by the calligrapher İsmail Zühtü (İsmail Zühdi d.1806, كتبه اسمعيل الزهدى) and undated.9. fol.5a : piece in thuluth and naskh signed by the calligrapher Tevfiki [?] (كتبه توفيقى) and undated.8. fol.4b : piece in nastaʻlīq (talik) signed by the calligrapher, most likely the Ottoman Sultan Murat IV (r.1623-1640) (كتبه مراد خان), and undated.7. fol.4a : piece in thuluth and naskh signed by the calligrapher Hafız Yusuf Efendi (d.1787) (نمقه المذنب يوسف المعروف بحافظ القرآن) and unsigned.6. fol.3b : unsigned piece in thuluth and naskh, undated.5. fol.3a : piece in naskh signed by the calligrapher Eğrikapılı Mehmet Râsim Efendi (d.1756) (محمد راسم) and undated.4. fol.2b : unsigned piece in muḥaqqaq (continuation of the previous), undated.3. fol.2a : unsigned piece in muḥaqqaq, undated.2. fol.1b : impression of the seal (مهر) of Muḥammad Shāh Qājār (محمد شاه قاجار, r.1834-1848) with inscription “الملک لله محمد شاه غازی صاحب تاج و نگین آمد شکوه ملک و ملت رونق آیین دین آمد” and date 1250 [1834 or 5] set in illuminated four-lobed ornament.1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (40 kıt'alar / pieces), likely assembled and bound for Sultan Abdülhamit II (r.1876-1909). Contents briefly addressed by Muhittin Serin in "Amerika Birleşik Devletleri’ndeki Bazı Kütüphanelerde Bulunan İslam El Yazma Eserleri ve Michigan Üniversitesi II. Abdülhamid Koleksiyonu." Contributions to the cataloguing from Mamoun Sakkal.
Kitapta Delâ’ilü’l-Hayrât (y. 1b-12b), İsm-i Nebî (y. 12b-16b), Mekke-i Mükerreme ve Ravzatü’l-Mutahhara (y. 17a-19a), dualar (y. 19b-130a) vardır.Binding: Kitabın vişne rengi deri şemseli ve köşebentli cildi 20. yüzyılda yapılmış olmalıdır.Illuminations: Yaprak 1b ve 19b haşiyeli zarif unvan tezhibiyle, ara bölüm başları (y. 16b, 17a, 125b, 127a) kare ve dikdörtgen şeklinde tezhiplidir. Hz. Muhammed’in isimleri sekizgenler içine yazılmıştır. Kitapta Mekke-i Mükerreme ve Ravzatü’l-Mutahharra başlığını izleyen satırları takiben önce Mekke şehri ve Kâbe (y. 17b), karşı sayfaya da Medine şehri ve Ravzatü’l-Mutahharra tasvirlenmiştir (y. 18a). Köşeleri tezhipli oval çerçeve içine alınan resimlerde Mekke şehri binaları ve Kâbe avlusundaki yapılar, geride görülen tepeler üç boyutlu çizilerek, özenle yapılmıştır. Aynı özenli çizim Medine şehrini çevreleyen mazgallı sur duvarları ile diğer binalarda ve arkadaki manzarada da görülür. Peygamber’in kabri üzerinden kutsallık simgesi altınlı hale-nur gökyüzüne uzanır.Measurements: 14,3 x 10,4 cm; 130 yaprak, sayfada 9 satırScript: Nesih; Sülüs; Rıka; Naskhī; Thuluth
Ünlü hattat Şeyh Hamdullah’ın öğrencisi Selanikli Mustafa b. Nasuh tarafından eğitilen Kadı Mahmud Bağdat ve Diyarbakır kadılığı da yapmıştı. Bu eserinde hattat Kuran’dan Kehf suresini istinsah etmiştir. Her sayfada alt ve üstteki birer satır, mavi veya yeşil mürekkep kullanılarak muhakkak hatla; orta satır zer mürekkep kullanılarak muhakkak hatla; aralarda kalan ikişer satır ise siyah mürekkep ve sülüs hatla yazılmıştır. Kehf suresinin son ayetlerinin (y. 19a) iki yanına satırlar rıka ile mailen yazılmıştır. Bu satırlar, sağda İsra suresinin “Biz Kuran'dan, müminler için şifa ve rahmet olacak şeyler indiriyoruz. Zalimlerin ise Kuran, ancak zararını artırır” anlamına gelen ayeti ile (İsra: 82) başlar ve Kehf suresinin faziletini anlatan hadisle devam eder: “Hz. Peygamber –Allah onu ve ailesini hayırla kuşatsın– şöyle buyurmuştur: Kim yatarken Kehf suresini okursa, bu, kendisi için Mekke’ye kadar parıldayan bir nur olur. Bu nur içinden Melekler kendisine kalkana kadar dua eder. Bulunduğu yer Mekke ise, bu, kendisi için Kâbe’ye kadar uzanan bir nur olur. Bu nur içinden Melekler kendisine uyanana kadar dua eder. Kim Kehf suresinin sonunu okursa, bu kendisine ayağından başına kadar nur olur. Tamamını okursa gök ile yerin arası nurla dolmuş olur. Kim ahir zamanda Kehf suresini okursa, deccalın şerrinden emin olur. (Resulullah) doğru söyledi.”Binding: Kitabın kestane rengi deriden miklepsiz cildi 19. yüzyıla aittir.Illuminations: Eserde, 8b sayfasına kadar, yazı alanını çevreleyen cetveller yapılmıştır. Ayetler arasına durak işaretleri konmamıştır. Muhtemelen kitabın bezenmesine başlanmış, cetveller ilk sayfalara çekilmiş, ancak yarım bırakılmıştır. Serlevhada yer ayrıldığı halde bezeme yapılmamıştır.Measurements: 28 x 19,5 cm; 19 varak, sayfada 7 satırScript: Muhakkak; Sülüs; Rıka; Muḥaqqaq; Thuluth
A treatise on the elixir containing many extracts from poetical and prose sources. The text was copied in late Rajab 919 (Sept-Oct 1513) at al-Madrasah al-Maulawiyyah al-ʿAlawiyyah in Fez by Qudrat Allāh al-Marandī al-Ādharī (see colophon, fol. 11a). Although the title states that the author is unknown, a note in the left-hand margin of f. 3a claims that the author is the monk Ibn al-Muhadhdhib and the title of the treatise is
Idhhāb al-ẓulmah(مصنّف هذه الرسالة فضل ابن المهذّب الراهب اسمه [!] إذهاب الطلمة).Begins (f. 3r, lines 3-8):قال مخاطب الطالب لعلم الصنعة الإلهية والموهبة السنية شفقة عليهوهداية له اعلم أيّها الحكيم والسيد العليم أيدك الله وإيانا بروح منه أنّا لما علمنابالنص عن من سبقنا من الحكماء والمؤيدين الفلاسفة المتقدمين أنّ علل المعادنالمنطرقة والمنسحقة أصول أعدتها الطبيعة آلة لما كوّنه جنس المعدنالأنواع المندرجة تحته بالتكوين الطبيعي علمنا أنّ الحجر الأعظم الجوهر المكرم الذيمنه توليد الإكسير التام ...Ends (f. 11r, lines 13-16):والآن أذكر واضعها أيها الأخ الكريم الحكيم والسيد العظيم أيّدك الله بالتأييدوشرّفك كقول داؤود في زبوره من حجر كريم بلّغك الله أملك وقضىمنك وطرك قبل انحلال الحرارة الغريزية وتباين الهيئةالعزيزية والحمد لله أوّلاً وآخرًا باطنًا وظاهرًاColophon (f. 11r, lines 17-20):وصلوة على رسوله محمد وآله وصحبه أجمعينوسلام على المرسلينوالحمد لله ربّ العالمينفرغتفي أواخر شهر رجبمن شهور سنة ٩١٩على يد قدرة اللهالمرندي الأذريكتبت بمدينة فاس صينتعن الانطماس في المدرسةالمولوية العلويةرحم اللهبانيهاff. 3r-11rMaterial: PaperDimensions: 215 x 150 mm leaf [168 x 112 mm written]Foliation: British Museum foliation in pencil; Arabic foliation in the purple crayon typical of Lebanese bookdealers of the 19th centuryRuling:
Misṭarah; 19 lines per page; vertical spacing 11 lines per 10 cm (ff. 113r-158v: 29 lines per page; vertical spacing 17 lines per 10 cm)Script:
Naskhwith
nasta‘līqtendencies and some titles in
thuluth(ff. 113r-158v:
naskh)Scribes: Qudrat Allāh al-Marandī al-Ādharī (ff. 3r-112v) and Muḥammad ibn Sulaymān al-Mawṣilī (ff. 113r-158v)Ink: Black ink, with rubricated, yellow and green headings and overlinings in red (ff. 113r-158v: black)Binding: British Museum bindingCondition: Some worm damage, foxing, and tears towards the fore edge. Folios 19, 21 and 24 have been replaced.Marginalia: Extensive marginal corrections, conjectures, glosses in Arabic and Persian and other evidence of collation and textual study (ff. 113r-158v: very few)
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 279Origin: Date below vase with large floral spray 1281 [1864 or 5] ; other features also suggest 19th century. As appears in opening text, possibly executed for the Ottoman statesman Mehmet Fuat Paşa (d.1869).Former shelfmark: "598 [?]" inscribed in pencil on verso of 'front' flyleaf ; "123" inscribed in pencil on recto of 'back' flyleaf.Binding: Pasteboards covered in dark green leather (appearance of straight-grain leather but likely impressed straight grain or other artificial grain) ; Type II binding (with flap) ; pastedowns and flyleaves in a streaked paper (in yellow, dark purple, etc. reminiscent of tree-marbling or stream marbling) ; upper and lower covers carry gold-stamped central vegetal pendant, corner accents and vegetal border ; sewn in red thread, four stations, failed ; overall in fair condition with abrasion, staining, etc.Support: Paper of written area embossed to carry text and figurative designs, set in surface-dyed frames of bright green and mounted on pasteboards.Decoration: Embossed borders (reminiscent of mountains) as well as vegetal and figurative designs with such animals as lions, dragons, stags, bulls, etc. accenting the calligraphy or filling a page.Script: Mainly nastaʻlīq with occasional thuluth ; exquisite calligraphic hand executed with the fingernail or stylus in the technique known as khaṭṭ-i nākhunī ( خط ناخنی / khaṭṭ-e nākhonī). Compare no. 1-85-154.63 at the Library of Congress and see description provided by Christiane Gruber in Selections of Arabic, Persian, and Ottoman Calligraphy (available online).Layout: Varies widely, pages carrying text with mainly 6-8 lines per page ; many pages carrying figurative or vegetal decoration only.Collation: Seven 'panels' (mounted leaves) hinged together with blue textile.Explicit: "ایا چرخ در پیش قدر تو واله ... تویی آنکه بر درگهت چرخ دربان كتبه ابو تراب افتاده"Incipit: "مديح سپهر رفعت بحر و قار و كدهي يكانه كوهر بحر كرم فؤاد پاشا ... "Title supplied by cataloguer.Ms. codex.Superb album of calligraphy (muraqqaʻ or murakkâ) employing verses of Anvari, etc. with interspersed figurative illustrations of lions, dragons, stags, bulls, etc. as well as vegetal motifs, all embossed in white paper likely with the fingernail, a technique known as khaṭṭ-i nākhunī ( خط ناخنی / khaṭṭ-e nākhonī). Contributions to the description from Ulrich Marzolph and Emily Neumeier.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 241Origin: As appears at the close of each piece (kıta), executed by es-Seyit el-Hac Mustafa İzzet. In three of the signatures he includes "known as Reisülulema". He has signed the final piece "Bende-yi Al-i aba, Seyit İzzet Mustafa," a modest expression which, according to M. Uğur Derman (see Letters in gold, p.118), he preferred to use in his later years. Only one of the pieces is dated 1282 [1865 or 6] with the others likely completed around the same time or slightly later.Former shelfmark: "570 T.D.M. [i.e. Tammaro De Marinis]" and "93" in pencil on opening panel.Binding: Boards now covered in green and black mottled paper (sponge painted or faux marbled look, traces of another paper underneath) with dark purple to black leather over spine ; Type III binding (without flap) ; boards lined in same mottled paper ; panels hinged together in accordion format with same dark purple to black leather and hinged into case ; overall in fairly good condition with some abrasion and staining.Support: Written area on well-burnished paper, pieced, set into frames of blue and orange-tinted paper, and mounted.Decoration: Written area and divisions within surrounded by frames of gold defined by further gold and black fillets ; illuminated textual dividers in the form of gold rosettes with red and green-blue accents.Script: Exquisite specimen of Ottoman calligraphy ; large opening line of each panel in thuluth (sülüs), followed by four lines in naskh (nesih).Layout: Written in 5 lines per page, one large line of thuluth and four smaller lines of naskh.Collation: Four panels hinged together in accordion (concertina) format ; opens vertically.Colophon: [1] "حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء غفر الله ذنوبه وستر عيوبه امين" ; [2] "حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء غفر الله ذنوبه امين سنة ١٢٨٢" ; [3] "حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء غفر الله ذنوبه وستر عيوبه امين" ; [4] "بندۀ آل عبا سيد عزت مصطفى"Incipit: "اذكروا الله ذكرا كثيرا قال رسول الله صلوات الله عليه وسلامه مثل الذي يذكر ربه والذي لا يذكر ربه مثل الحي والميت ..."Title supplied by cataloguer.Ms. codex.Exquisite album of calligraphy (muraqqaʻ / murakkaa) of four kıtalar employing ḥadīth of the Prophet executed by the renowned Ottoman calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 242Origin: As appears in colophon, executed by Hasan Rıza Efendi in imitation of a model by the renowned calligrapher Kazasker (Kadiasker) Mustafa İzzet Efendi (d.1876) with transcription completed in 1304 [1886 or 7]. Signature in the illuminated panel to the left of the close identifies the gilder (mudhahhib, müzehhip) as Hasan Rıza.Former shelfmark: "563 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "94" inscriped in pencil on recto of opening leaf/'panel'.Binding: Pasteboards covered in dark lavender leather ; Type III binding (without flap) ; board linings in golden yellow to orange surface-dyed paper ; upper and lower covers carry exquisite gold-stamped scalloped octagonal piece (filled with vegetal decoration emanating from a central floral motif) and rosette accents (at the apices of the scallops, forming pendants, etc.), as well as elaborate tooled border in gold accented by gold-painted fillets ; overall in somewhat poor but fair condition with only minor abrasion, losses of silk, panels detaching from spine and warping in some, and lifting of spine leather.Support: Well-burnished paper mounted on heavy board, with area framing written area surface-dyed (golden yellow to orange) and gold-flecked, edged in red silk ; sheets of red wove paper rest between many of the panels.Decoration: Illuminated panels consisting of rectangular panels filled with various swirling vegetal patterns on fields of gold, blue, light pink, etc. and surrounded by frames in blue, green, light pink, red, etc. flanking mainly the lines of naskh ; entire written area surrounded by heavy gold and light pink frames with narrower gold rules surrounding panels within ; textual dividers in the form of illuminated rosettes with accents in green, pink, blue, white, etc.Script: Exquisite specimen of Ottoman calligraphy ; large line of each page in a fine thuluth ; central lines of each page in a superb naskh ; fully vocalized ; each continues a distinct stream of ḥadīth text or excerpts.Layout: Written in 5 and 6 lines per page, a large line of thuluth followed by four or five lines of naskh, with lines in thuluth and those in naskh constituting two distinct streams of text ; written area is divided into upper panel accomodating the large line of thuluth and centered lower panel carrying the more compact lines of naskh ; opens vertically with writing parallel to spine.Collation: Six heavy leaves or 'panels' hinged together.Colophon: "Scribal," reads: "حرره الحاج السيد حسن رضا مقلدا بمصطى عزت غفر الله ذنوبهما وستر عيوبهما امين سنه ١٣٠۴"Title supplied by cataloguer.Ms. codex.Exquisite album of calligraphy (muraqqaʻ or murakkaa) employing assorted ḥadīth, executed by the renowned Ottoman calligrapher Hasan Rıza Efendi (d.1920), a master of naskh and thuluth.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 239Origin: Lacks dated colophon ; likely 18th or 19th century.Former shelfmark: "561 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on spine 'lining' where it extends onto upper cover ; "112" inscriped in pencil at opening.Binding: Unbound ; leaves/'panels' were originally hinged together via green silk and adhesive ; paper has been wrapped around the long (horizontal) edge to join the leaves and form a spine ; 'panels' are delaminating and separating from one another ; some abrasion ; currently housed in envelope.Support: Well-burnished laid paper set into heavy (likely thin pasteboard) painted and gold-flecked frame, edged in green silk ; colors of facing panels match (orange, purple, and green).Decoration: Written area surrounded by gold-stamped border in interlocking geometric design ; written area divided into rectangular panels by gold rules ; often a white fillet appears at the center of the gold-flecked frame.Script: A fine thuluth.Layout: Written in two lines per page.Collation: Nine leaves or 'panels' originally hinged together.Incipit: "رب يسر ولاتعسر رب تمم بالخير وه"Title supplied by cataloguer.Ms. codex.Fine album of calligraphy (muraqqaʻ or murakkaa) employing alphabetic exercises (müfredat).
Book compiled by Muḥammad ibn Ismāʻīl al-Kibsī. Ownership note, dated 1954.جيده وهو عبارة عن مجلد كبير بني غامق اللون عليه نقشة محفورة في الجلد وقد بدأ جلده في التآكل من طرف المخطوط جهة خيوط الحباكة وعليه آثار بلل وهو متنوع الخطوط وأحجام الخطوط والنُسَّاخ متعددون وعليه آثار بلل ومكتوب بالمداد الأسود والأحمرCompiled volume, works of various origins and copyists. Naskh, Persian naskh and thuluth scripts, written in black and red ink. Traces of water damage and worm holes. Obscured labeling on the edge of the manuscript.
Volume One (المجلد الأول) of a medical compendium on the use of simples to cure various ailments by the Andalusian botanist Ḍiyā’ al-Dīn Abū Muḥammad ʻAbd Allāh ibn Aḥmad ibn Muḥammad al-Mālaqī (ضياء الدين أبو محمد عبد الله بن أحمد بن محمد المالقي; d. 1248), known as Ibn al-Bayṭār (ابن البيطار), Chief Herbalist (رئيس العشابين) to the Ayyubid sultan al-Malik al-Kāmil (reg. 1218-38). The text is dedicated to al-Malik al-‘Ādil II (الملك العادل سيف الدين أبو بكر بن الملك الكامل, reg. 1238-40, see. f. 3v, lines 5-12).The text is arranged by affected part from head to toe in twenty chapters (باب), of which this copy contains the first eight. Each chapter is then subdivided by ailment into sections (فصول). A list of all twenty chapters and their titles is found on ff. 4r-4v. The contents of the present volume are as follows:Chapter One: Simple Drugs Beneficial for Ailments of the Head (الباب الأول في الأدوية المفردة النافعة من أمراض الرأس, ff. 5r-59r);Chapter Two: Simple Drugs Beneficial for Ailments of the Eye (الباب الثاني في الأدوية المفردة النافعة من أمراض العين, ff. 59r-89v);Chapter Three: Simple Drugs Beneficial for Ailments of the Ear (الباب الثالث في الأدوية المفردة النافعة من أمراض الأذن, ff. 89v-101v);Chapter Four: Simple Drugs Beneficial for Ailments of the Nose (الباب الرابع في الأدوية المفردة النافعة من أمراض الأنف, ff. 101v-105v);Chapter Five: Simple Drugs Beneficial for Ailments of the Mouth (الباب الخامس في الأدوية المفردة النافعة من أمراض الفم, ff. 105v-129r);Chapter Six: Simple Drugs Beneficial for Ailments of the Throat, Organs of Respiration, the Chest and its Contents (الباب السادس في الأدوية المفردة النافعة من أمراض الحلق وآلات التنفس والصدر وما يحويه, ff. 129r-180v);Chapter Seven: Simple Drugs Beneficial for Ailments of the Stomach, Liver and Spleen (الباب السابع في الأدوية المفردة النافعة من أمراض المعدة والكبد والطحال, ff. 180v-236v);Chapter Eight: Simple Drugs Beneficial for Ailments of the Intestines (الباب الثامن في الأدوية المفردة النافعة من أمراض الأمعاء, ff. 236v-287r).The title page (f. 2r) claims that the volume was owned by the Ottoman sultan Bāyezīd II (بايزيد بن محمد خان مظفر دائمًا, reg. 1481-1512). This claim is substantiated by what appears to be the defaced seal of Bāyezīd II to the left of the colophon on f. 287r (see Chester Beatty Library Islamic Seals Database no. 2 and cf. impressions of this seal in Add. MS 18866, f 292r and Add. MS 7515, ff. 1r and 132v).The copy was completed in early Jumādá I 851/second half of July 1447 by Ways ibn ‘Awaḍ (ويس ابن عوض, see colophon, f. 287r, lines 4-7, transcribed below).Begins (f. 2v, lines 2-4):الحمد لله الذي أنزل لكل داء دواء فاستحق بوجود نعمائه على عبادهحمدًا وثناءً وأقام لكل علم حملة جمعوا منها اشتاتًا وتحملواله أعباءً فإن احوا (!) من كد النصب من سلك سبيلهم اقتدا ...Ends (f. 286v, line 13-f. 287r, line 1):قال أبو جريح يولد الحيات في البطن من الأشياءالفجة اللينة مثل القمح والفول واللوبيا والحمص وأكل اللحم الفتيمن لحم الخنزير وسف الدقيق وإدمان شرب اللبن وشرب العسل بالماءبالماء (!) بعد الطعام كثيرًا ومن أكل الخبز الوسخ الحبColophon (f. 287r, lines 2-9):تم المجلد الأول من الكتابالمرسوم بمفردات ابن بيطار رحمه اللهرحمة واسعة حرر في أوائلجمادى الآخرة أحد شهورسنة إحدى وخمسين وثمانيةكتبه ويس ابن عوض غفر الله لهولجميع المسلمين والمسلمات والمؤمنين والمؤمناتبرحمتك يا أرحم الراحمينCodex; ff. i+287+iiMaterial: Eastern laid paperDimensions: 260 x 170 mm leaf [190 x 120 mm written]Foliation: Eastern Arabic pagination in black ink extends only as far as p. 200 (f. 102r), British Museum foliation in pencilRuling: No ruling visible; 15 lines per page; vertical spacing 8 lines per 10 cmScript:
Naskh; the scribe is Ways ibn ‘Awaḍ (ويس ابن عوض, see colophon, f. 287r, lines 4-7)Ink: Black ink, with rubricated headings and occasional punctuation and overlinings in redDecoration: Calligraphic
basmalain thuluth script (f. 2v)Binding: Red leather Western binding, with blind-tooled medallions and bordersCondition: Tidemarks at tail towards front of volume and at head towards back of volume, edge corners mutilated and repaired on ff. 1-15 and 271-87 with no loss of text, minor insect damageMarginalia: Very fewSeals: f. 287r
جيدة وهو عبارة عن مجلد كبير مغلف بقماش أحمر مقلم باللون الأصفر وهو مكتوب بالمداد الأسود والأحمر وكثير الحواشيPersian naskh script, written in black and red ink.
Lines 1-9 give instructions for producing false ambergris (عنبر); lines 9-15 give instructions for a distillation process for oil of cloves and roses; and lines 16-17 give brief instructions for the washing of
ṭaḥīnah.Begins (f. 159v, lines 1-4):خذ من الشب ٣٠ درهم ومن البارود ٣٠ درهم وقطرهمبالقرعة والأنبيق وبعده خذ من اللادن ٣٠ درهموقطعه قطع صغار وبعد اطرحه في ذلك الماء القاطر علىالنار اللينة ...Ends (f. 159v, lines 14-18):... وكذلك الرملة مناع الورد لاكن الوردبزبادة النكرار وتقم الماء الورد على ٣ أقسام أو ٥ أقسام أو سبعة أقسام انتهىصفة غسل الطحينة خذ دهنه بالماء وبعد عليه حتى تذهبرائحة افعل به ما شئت انتهى لو كانت الكتب تنيكم بحالاتي كتبت من دموعأياتيf. 159vMaterial: PaperDimensions: 215 x 150 mm leaf [168 x 112 mm written]Foliation: British Museum foliation in pencil; Arabic foliation in the purple crayon typical of Lebanese bookdealers of the 19th centuryRuling:
Misṭarah; 19 lines per page; vertical spacing 11 lines per 10 cm (ff. 113r-158v: 29 lines per page; vertical spacing 17 lines per 10 cm)Script:
Naskhwith
nasta‘līqtendencies and some titles in
thuluth(ff. 113r-158v:
naskh)Scribes: Qudrat Allāh al-Marandī al-Ādharī (ff. 3r-112v) and Muḥammad ibn Sulaymān al-Mawṣilī (ff. 113r-158v)Ink: Black ink, with rubricated, yellow and green headings and overlinings in red (ff. 113r-158v: black)Binding: British Museum bindingCondition: Some worm damage, foxing, and tears towards the fore edge. Folios 19, 21 and 24 have been replaced.Marginalia: Extensive marginal corrections, conjectures, glosses in Arabic and Persian and other evidence of collation and textual study (ff. 113r-158v: very few)
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.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 235Origin: As appears in colophon, executed by one Ḥamdī [Hamdî] with possible date or number for this piece.Former shelfmark: "567 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover.Binding: Pasteboards covered in golden olive-tinted and gold-flecked paper with black leather over board edges/turn-ins (leather edged / framed binding) ; board linings in yellow-tinted paper ; upper and lower covers carry gold-tooled and gold-painted rosettes and guilloché roll border ; panels hinged together with dark brown to black leather ; in fair condition with some abrasion and lifting of leather at board edges and joints/hinges (some split).Support: Well-burnished European laid paper bordered by strips of marbled paper and tinted-frame (orange, pink, etc. though papers of facing panels match) ; watermark faintly visible in final panel but difficult to make out.Decoration: Written area surrounded by frame consisting of strips of marbled paper (in pink, blue, and white) flanked by white and green fillets and heavy and narrow gold bands outlined in black fillets ; panels within written area surrounded by narrow gold band ; textual dividers in the form illuminated rosettes with white, pink, red and blue accents ; additional illuminated floral accents appear above elongated horizontal strokes and elsewhere to set-off text.Script: Fine specimen of Ottoman calligraphy ; opening line of each page in thuluth ; four centered lines thereafter in naskh ; fully vocalized.Layout: Written in 5 lines per page, one large line in thuluth and four more compact lines in naskh ; written area divided to upper panel (accommodating the large line) and centered lower panel (for the shorter lines).Collation: Ten 'panels' (consisting of written area and border pieces mounted on another leaf) hinged together in accordion format (opens vertically) ; 'pagination' in black ink, Hindu-Arabic numerals, appears in the upper left-hand corner of each panel.Colophon: "Scribal," reads: "كتبه المذنب حمدى ۷۹"Explicit: "وللخازن مثل ذلك لا ينقض بعضهم اجر بعض شيئا اللهم صل وسلم على اشرف الخلق محمد واله الطاهرين"Incipit: "قال رسول الله صلى الله عليه وسلم عن ابي هريرة رض قال قال النبي صلى الله عليه وسلم اذا مضى شطر الليل او ثلثاه ينزل الله تبارك وتعالى الى سماء الدنيا ..."Title supplied by cataloguer.Ms. codex.Fine album of calligraphy (muraqqaʻ or murakkaa) employing the text of assorted ḥadīth, executed by one Hamdî.
Instructions for the production of a distilled ‘hot water’ (ماء حار ; f. 159r, line 23, transcribed below) that can split and dissolve stone. The text begins abruptly and appears to have been copied by Muḥammad ibn Sulaymān al-Mawṣilī (محمد بن سليمان الموصلي) (see colophon, f. 158v, line 21).Begins (f. 159r, lines 1-3):وذكر لي أنه من أخذ ملح الطعام الحيدراني مع وزنه جير غير مطفئ وبيته فيالفرن ليلة وجره وعقد هكذا ٧ مرات فإنه يكونوا دهنًا وقيل إنه من أخذ منهذه الدهن والعقرب ذائب في بوط وزن ٥ درهم ورماه على العقربEnds (f. 159r, lines 19-23):... قال الحكيم إذا زوج النطرونبالنشادر يتولد منها مفتاح صفة مياه الصناعة خذملح الطعام وملح مر وملح طبرزد وملح حيدراني وملح هندي وملح قليوملح بول أجزاء سواء ومثل الجميع عقابًا فحلهما بالرطوبة وقطرهما فإنهيقطر منهما ماء حار يفلق الصخور والحجر يحلها بإذن الله تعالىf. 159rMaterial: 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)
A collection of fifteen or more extracts taken from Fakhr al-Dīn al-Rāzī’s (AD 1149/50-1210)
Kitāb al-Mulakhkhaṣ fī al-falsafah. The extracts all deal with physics, and cover such subjects as ‘that movement is either caused by fleeing what is unnatural or seeking what is natural’ (f. 67v, line 17 - fol. 68r, line 4), ‘that moisture repels heat’ (f. 68r, lines 4 - 11), and ‘that the celestial sphere is neither moist nor dry’ (f. 68r, lines 12 - 14).Begins (f. 67v, lines 15 - 19):... هذه الفصولفي فوائد منتخبة من مباحث الجوهر والأعراض من الطبيعيات من كتاب الملخصللإمام التمام فخر الملة والدين الرازي رحّمه الله عليه فصل في أنّ الحركة بسبب الهربعن غير الطبيعي أو بسبب الطلب الطبيعي الحق الثاني وإلّا لم يكن حركة إلى جانب أولى منها إلى جانب آخرفي أقسام الحركة القسرية أمّا في الأينية فقد تكون خارجة عن الطبع فقط كحركة الحجر عن وجه الأرضEnds (f. 76v, lines 16-19):كان حدوث ذلك النوع واجبًا فإذن حدوث هذه الأنواع تولّد اتعلّقبأمور ممكنة والمعلق بالممكن ممكن فحدوث هذه الأنواع تولّدًا ممكن وأيضًافلا استبعاد في حدوث الأمور الصناعية أمّا بالاتفاق أو لقوةٍ تفيدهاإنْ جوّزنا ذلك في الجملة وليكن هذا آخر كلامنا في البحث عن أحوال الأجساموالحمد لله رب العالمين والصلوة على رسول الله محمدوآله وصحبه جمعين (sic)ff. 67v-76vMaterial: 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)
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
Excerpts from the
Risālah fī al-Ṣināʿah al-falsafīyahby al-Sayyid al-Sharīf al-Bukhārī al-Naqshabandī, a native of Constantinople (see scribal correction above line 2, f. 111r). The compiler explains his method of abridgement and tells us a bit more about this unknown author in a note appended to the title (f. 111r): وهو جمع رسالته من كتب الصنعة ولم يكن واصلاً من الصنعة بشيء فأخذنا من رسالته ما كان مشروعًا ومعقولاً وتركنا ما كان واهيًا مجهولاً ‘He [sc. al-Bukhārī al-Naqshabandī] compiled his treatise from the books of alchemy and had no direct connection with alchemy at all. We took from his treatise what is lawful and reasonable and we left what is trivial and obscure.’Directly after the colophon there follow eleven lines in the same hand which are apparently not part of the same text because they have been struck through, and partially erased to make room for the colophon.Begins (f. 111r, lines 2 - 6):قال الشيخ السيد البخاري رحمه الله في رسالة له في الصناعة الفلسفيةالباب الثاني في معرفة صحّة وجود الصنعة بالدلائل الشرعية منها قوله تعالىومما يوقدون عليه في النار ابتغاء حلية أو متاع زبده مثله فالخالق سبحانه وتعالى عيّن عبادَه بأنّهسخّر لهم النارَ في تحصيل الحلي أصولاً وفروعًا أي جسدًا وهيئةً وفي تحصيل كل ما يحتاج إلىالنار ...Ends (f. 112, lines 5 - 8):... وقال ينبغي أن يكون الكانون شبرين في شبرين وعلوهامثل عرضها وتجعل له ثقبة خلفه من أعلاه لمصروف الدخان وباب الكانون شبر في شبرٍوينبغي أن يكون الكانون مهندمًا والوقيد على ثلثة أنواع أحدها الحطبوالثاني بالفحم والثالث بالسرجين يعني الزبل ...Colophon (f. 112, line 8):... تمت الفوائد الملقطة من رسالة السيد البخاري رحمه اللهff. 111r-112rMaterial: 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)
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
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
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)
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
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)
Fols. 21; 22.7 x 15.7 cm.; written surface 16.5 x 10.5 cm.; 9 lines to page; on glazed Arabic paper; in thuluth and naskhi; with full vowel signs; headings in red.Part XVIII of the Koran; containing Sūrahs XXIII, XXIV and XXV: 1-22.Top, middle and bottom lines are in thuluth and the others in naskhi. MS in good condition; mended; Arabic leather binding with flap; blind stamped and tooling on cover and flap. Probably from the sixteenth century.Acquired from Brill, Leyden, A.D. 1900.
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
An influential alchemical treatise by Muʾayyad al-Dīn abū Ismāʿīl al-Ḥusayn ibn ʿAlī al-Ṭughrāʾī (d. 515 AH/AD 1121), a high-ranking Seljuq vizier and the most important alchemist of his time.The text was copied in early Raǧab 925 (June/July 1519) at Damascus by Qudrat Allāh al-Marandī al-Ādharī (see colophon, f. 57r). At the end of the colophon, the scribe tells us that he collated his text and corrected it as far as possible. 3 folios have been replaced (ff. 19, 21 and 24).Begins (f. 14v, lines 3-7):الحمد لله الذي فضّلَنا على كثير من عباده والمؤمنين وأتانا ما لم يؤت أحدًا من العالمينوخصّنا بالحكمة التي خصّ بها عبادَه الصالحين فقال جلّ من قائل يؤتي الحكمة مَنيشاء ومَن يؤت الحكمة فقد أؤتي خيرًا كثيرًا وما يذكّر إلّا أو لو الألباب وصلى الله على سيّد المرسلينمحمد وآله الطيبين وأصحابه الطاهرين وبعد فقد بعثتني الرأفة بكم معاشرالإخوان ...Ends (ff. 56v, line 19 - 57r, line 5):... ولا يزال تغلظ رطوبتهما بالصعود والنزولإلى أنْ تصير في المعدن خميرةً تعمل المثلَ دائمًا أبدًا فسبحانالدائم بلا زوال أبدًا هو الله الذي خلق الوجود من غير خمير موجودفما أحسن صُوَرَهُ وأعظم حكمة فله الحمد دائمًا أبدًا والحمد لله وحدهوصلى الله على سيدنا رسوله محمد النبي الأمي وعلى آله وصحبه وسلموحسبنا الله ونعم الوكيل ...Colophon (f. 57a, lines 5-12):... تم الكتاب بالخير والصوابوقع الفراغ من كتابته في أوائل شهر رجب المرجبسنة خمس وعشرين وتسعمائة بمدينةدمشق المحروسة على يدي العبد الفقيرلله المولى الغني قدرة الله بن محمد بن محمدالمرندي الأذري حامدًا لله[two lines missing through iron gall corrosion]قوبلت صححت بقدر الإمكانff. 14v-57rMaterial: 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)
A summary of Books Two, Three, Six, Seven, and Nine of Rāzī’s
Twelve Books, his most complete exposition of the art of chemistry. In this copy, the summary of Book Seven is not numbered and Book Eight has been mistakenly numbered Nine. For the titles and correct order of the
Twelve Bookssee Bīrūnī,
Fihrist, pp. 20-21.The books are arranged as followsكتاب الثاني وهو كتاب علل المعدن (‘
Book Two: The Causes of Minerals’; ff. 77r, line 1 - 78v, line 1);كتاب الثالث وهو كتاب الإثبات في الصناعة (‘
Book Three: The Confirmation of the Art’; ff. 78v, line 1 - 79v, line 7);كتاب السادس وهو كتاب الإكسير (‘
Book Six: The Elixir’; ff. 79v, line 7 - 84r, line 15);كتاب شرف الصناعة
(‘[Book Seven:]The Nobility of the Art’; ff. 84r, line 16 - 90r, line 7);كتاب الثامن وهو كتاب التدابير (‘
Book Eight: Operations’; ff. 90r, line 8 - 91v, line 2).Begins (f. 77r, lines 1-4):هذه الفصول في فوائد منتخبةمن الكتب الاثنى عشرة للحكيم الفاضل محمد بن زكريا الرازي رحمه اللهقال في الكتاب الثاني وهو كتاب علل المعادن: الملح يتولّد من احتراقالشمس وسيلان الماء. والدليل على ذلك أنّ كلّ شيء أحرقتَه ثمّ غسلتَه بالماء ثمّ أجمدتَهEnds (ff. 91a, line 17 - 91v, line 2):وقال أصحاب التصعيد نحن نعلم أنّ النار تغرق بينلطيف الأشياء وكثيفها وتُحرق ما احترق منها ولا محالة إنّا إذا صعدنا الكبريتبها نقَلَتَها إلى المائية وأحرقت عنها أكثر الدهنية والدليل على ذلك[f. 91v] إنّا إذا أسرجنا زيتًا قد قُطّر مرّات فلم يشتعل وإذا كان ذلك كذلك علمنا أنّالكباريت إذا صعدت ذهب عنها حرقها. والحمد لله وحده والصلوة على رسوله محمد وآله وصحبهff. 77r-91vMaterial: 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 collection of literary, scholarly, historical and poetic texts, with the beginning part of the dīwān of ʻAlī ibn Muḥammad al-ʻAnsī.Contents.سفينة أدبية تحتوي في أولها على ديوان العنسيIncludes numerous fragments and poems, among them excerpts from the Sharaf asrār al-ṭibb lil-ʻayān by Muḥammad ibn Aḥmad ibn ʻAlī al-Ḥamawī, a history of the Ayyubid dynasty in Yemen, a letter by Abū Bakr al-Khwārizmī to the people of Ṭabaristān, selections of poetry by Ṣafī al-Dīn ʻAbd al-ʻAzīz ibn Sarāyā Ḥillī, and an excerpt on astronomy.عبارة عن مجلد بني اللون تمت حباكته من أعلى المخطوط وهو مكتوب بالمداد الأسود والأحمرالجمعة 18/ذي الحجة/سنة 1218هـIncipit: واحد بعد واحِد . ومما اتَّفَق للشيخ العلامه عبدالرحمن بن محَمد الذهبى تمام دخوله صنعا المحميَّه أنه طلب من القاضى العلامه البَليغ ذو اللطايف التى لعبت بالعقول...على بن محمد العنسى رحمهما الله ان يرسل اليه بدِيوان شعره فأرسله اليه وكتب بهذين البيتين ضمَّن فيهما قول امرء القيس اَيَا مَن لَهُ النظم الذى نُسِيَت به قفا نبك من ذكرى حبيبِ ومَنْزِلِ...Explicit: تذيع دموعى سر وجدي كانها لنص احاديث الغرام شروح ولولاك ما هب النسيم معطراً ولا راح نشر المسك منك يفوح. لقطة رقم (148).Naskh, Persian naskh and thuluth scripts, written in black and red ink.12-37 lines.1-منقول من كتاب شرف أسرار الطب للعيان تأليف محمد بن أحمد بن علي الحموي. لقطة رقم (149-151). 2-فوائد متفرقة منها: تاريخ مختصر في ذكر أيام بني أيوب ودولتهم في اليمن .من كلام الشيخ أبو بكر الخوارزمي رسالة كتبها إلى أهل طبرستان. مختارات من أشعار الصفي الحلي.نقول في علم الفلك. أشعار متفرقة لعدد من الشعراء. من اللقطة رقم (152-208).
Abstract: An unknown work on Arabic grammar.Contents.كتاب الحقائق في النحوOwnership notes by Muḥammad ibn Muḥammad al-Kibsī.بعناية المالك العلامة عامل شهاره :محمد بن محمد الكبسيجيده لكنه بغير غلاف ومدبس الأوراق وهو مكتوب بالمداد الأسود والأحمر والأخضرليلة الأثنين ساعة خمس 9/شعبان/1370هـIncipit: بسم الله... وبه نستعين وصلى الله وسلم على سيدنا محمد وآله أعلم انه لا بد لطالب علم النحو من مقدمة تشتمل على خمسه امور الاول في وجه الابتدا ببسم الله الرحمن الرحيم الثاني في اعرابها...Explicit: وحذف زيادة التثنيه والجمع مذكر كان او مونثا الا علماً قد اعرب بالحركات فانها لا تحذف فيه لزيادة التثنيه والجمع.Naskh-thuluth script, written in black, red and green ink. Interlineal commentary. No cover to the manuscript.3-14 lines.
Contents: الثلث الآخر من شرح الازهار المنتزع من الغيث المدرار المفتح لكمائم الازهار من فقه الائمة الاطهارContents: تبصرة ذوي الالباب في معرفة تحقيق النصاب المقرر للمذهب الشريف المجرد عما يشوبه من التحريف
Ownership note, dated 1931.جيده وهو عبارة عن مجلد بني اللون غامق عليه نقشة محفورة في الجلد وهو مرتب وجيد ومكتوب بالمداد الأسود والأحمرTitles of the individual works illuminated and written in thuluth script. Title of collection found on the bottom edge of the manuscript. Includes table of contents at the beginning.30 lines.فهرسة المجموع من اللقطة رقم ( 5 - 9 )
Abstract: The ms. consists of pieces of paper of two distinct origin inserted in larger pages of laid paper. A leaf with text written in thuluth is followed by an earlier leaf with the same text written in a script leaning towards New Style 1.Binding note: Lacquered binding. The outer side has a central panel with flowers and leaves and a border consisting of a simply executed -scroll. Daffodil and wallflowers on a red ground on the doublure. Text-block detached from binding.Ms. codex.Title supplied by cataloger.Physical description: 5 lines per page. The inlaid portion is framed in red, gold, and blue; fol. 1 and 12 are plain paper with no inlaid portion. A leaf with text written in thuluth on cream paper is followed by an earlier leaf (dark cream paper, large laid lines) with the same text written in a script leaning towards New Style 1 (see in particular lām-alif and final ṭāʾ), with diacritics consisting of gold circles outlined in black; in these latter leaves, verses marks consist of a circle with a letter surrounded by thin petals in gold outlined in black; juzʾ marks consist of a large medallion filled with decoration in gold and white and outlined in blue with small dots and radiating flecks in black (see fol. 9b) ; vocalization added in red by a later hand.Origin: According to P. Hitti, the thuluth should be dated to the 12th/18th cent. The earlier leaves appear to date to the 6th/12th cent. The final form of the ms. appear to date to the 19th or 20th cent.Beginning: يحيى ويميت وهو على كل شىء قدير هو الاول والاخرEnd: الذين كفروا ما وبكم النار
Abstract: A portion of an unknown work on history, spanning the years 1638 to 1655, during the reign of Imam Mutawakkil ʻalá Allāh Ismāʻīl ibn al-Qāsim.Contents.مجهول في التاريخIncludes an introduction to a work summarizing the seven methods of Quranic recitation, and family trees for the Banū al-Sharafī and the descendents of al-Mahdī al-ʻAbbās.عبارة عن ستة عشر ورقة بدون غلاف من جزء من كتاب في التاريخ تم تدبيسها بمسامير دباسة حديثة وهو جميل الخط ومكتوب بالمداد الأسود والأحمر والأصفر والأخضر ويوجد مكان مخصص للحواشيIncipit: عالما منيفاً فى كل فن من العلوم لا يعزب عنه شيأً وكا شجاعاً كريماً سخي الكف...Explicit: بلاد بن عفيف فى غرة شهر ربيع الاخر ودخلت جميع تلك البلاد تحت وطاه الامام ولم ينتطح فيهاإلى هنا انتهى الموجود من الكتابةNaskh and thuluth scripts, written in black, red, yellow and green ink. Unbound, taken from a larger work.19 lines.1-بداية مقدمة لكتاب مختصر في مذاهب القراء السبعة وهي بخط صاحب المكتبة كما عرفناه وميزناه سابقا. لقطة رقم (1). 2-مشجر نسب السادة بني الشرفي ومشجر نسب السادة أولاد المهدي العباس. لقطة رقم (2).
Excerpts from an anonymous and unattributed commentary on the alchemical poem
Shudhūr al-dhahabby Abū Ḥasan ʿAlī ibn Mūsá ibn ʿAlī ibn Muḥammad Ibn Khalaf al-Anṣārī al-Jayyānī al-Andalusī, known as Ibn Arfaʿ Raʾs (died 593 AH/AD 1197).The title in full is given as follows (f. 98r, 11-15): في الفوائد المنقولة من شرح مختصر على الشذورمنسوب تارةً إلى الحكيم الفاضل شهاب الدين أحمد بنعبد الملك الأرموي التارةً إلى الحكيم الكاملركن الدين [rest of line deleted]فرحمة الله على صاحب الديوان وعلى شارحه كل من كانIn the full title, the scribe claims not to know the author of the
Shudhūr al-dhahab, but the anonymous commentator names the author as Abū Mūsá ‘Alī ibn Abī al-Qāsim Mūsá al-Andalusī (أبو موسى علي بن أبي القاسم موسى الأندلسي; f. 103v, lines 5-6). For variations of this name found in the manuscripts, see Ullmann, 1972, p. 231. As for the author of this commentary, a note at the top of f. 98v reads هذه الرسالة للمصنف الجديد الرومي رحمة الله عليه (‘this treatise is by a contemporary Byzantine [
rūmī] author - may God’s mercy be upon him’). At the end of the text (see colophon, f. 110v, lines 19-21), the scribe explains that ‘up to this point, we have copied out the book in order; next we excerpted it and copied it out following the notes in the
Ghāyat al-surūr’ (i.e. the
Ghāyat al-surūr fī sharḥ al-Shudhūr, ʿIzz al-Dīn Aydamar ibn ʿAbd Allāh al-Jaldakī’s [d. 743 AH/AD 1342, Cairo] great commentary on the
Shudhūr al-dhahab;see Ullmann, 1972, p. 239). Some folios appear to be missing after this because the commentary ends with these words.Begins (f. 98v, lines 2-8):نحمدك اللهم حمد العارفين بوحدانيتك المتصرفين بحكمتك خلقتَ الإنسانوفضّلته على سائر الحيوان وجعلته زبدة عالم الكون والفساد وركّبتهمن جوهرين متباينين متخالفين غير إضداد أحدهما ملكي روحاني وهوالنفس الناطقة والثاني الجسم الحيواني القريب من الاعتدال وخلقتكل شيء من أجله إذ كان ذا جسم وينفس وروح ووهبته العقل الذي أحببتهفاستنبط به سائر المهن والصناعة وميّز به المعقولات والمحسوسات وخصصتهبالعلوم ...Ends (f. 110v, lines 15-19):فانظر يا أخي إلى اتفاق هذا المعنى بتغير الألفاظ ولكن كم بين لفظ الطغرائي وبين لفظ صاحبالشذور مثلما بين الأخرس والفصيح والأعمي والبصير كما تقدم القول في التوطئة وإن كانمؤيد الدين الطغرائي أقرب المتأخرين إلى حجر الحكماء وتدبيرهم ورموزهم وواقع على أسرارهموموافق لأقوالهم وما نصّوه في كتبهم بما لا يقاس من غيره فلهذا استشهدنا بقوله وأسندنابقوله مع قول صاحب الشذور فإنّ معانيهم معنى واحد ...Colophon (f. 110v, lines 19-21):... فكتبنا الكتاب إلى هناعلى الترتيب ثم انتخبناه وكتبناه على حواشي غاية السروروالحمد لله وحدهff. 98r-110vMaterial: 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)
Anonymous.Fols. 244; 20.9 x 11.3 cm.; written surface 17 x 8.5 cm.; 17-23 lines to page; on glazed Arabic paper; in naskhi and thuluth; with vowel signs; headings and rubrications in red.A collection of parts of the Qurʼān, wise sayings, stories, prayers and poems by various authors.Beg.: القاضي صلاح الدىن ابوالصفاء خلىل بن اىبك ابن الالبلي الصفدي. اقول وقد رق عىشيEnding: وادع لي من هواك بالفرحMarginal notes and glosses. MS is in red, green and black throughout; some parts are within circles. On the two folios before the title page are three poems by Abū ʻAlī ibn Sīnā A.H. 370-428 A.D. 980-1036/7; several poems by the Sulṭān al-Malik al-Nāṣir ibn Dāwūd ibn al-Malik ʻĪsá ... ibn al-ʻĀdil Abī Bakr Muḥammad ibn Najm al-Dīn Ayyūb, who reigned A.H. 624-626 A.D. 1227-1228; the autograph and seal of an owner, Muṣṭafá; a statement that the MS is dedicated to the Ḥamawī Mosque; several verses of poetry; several verses by al-Thaʻālibī A.H. 350-429 A.D. 961/2-1037/8; several verses by Ibn ʻArabī A.H. 560-638 A.D. 1164/5-1240/1; a table of contents, with the headings within circles; a statement about the phases of the moon; and a birth and a death date. On the title page is the autograph of the copyist, Muḥammad al-Adyīkhī sic, dated A.H. 1006 A.D. 1597/8 and an Arabic seal inscribed: ʻʻwhat God wishes, there is no power but through God.ʼʼ After the ending are several dates of birth and death. Some small slips with poems on them are inserted between the folios; several folios are blank. MS in good condition; Arabic binding with flap; blind stamped and tooling on cover and flap.Acquired from Brill, Leyden, A.D. 1900.
The volume comprises two manuscripts. The first (ff. 3-112) was the notebook of the Qudrat Allāh al-Marandī al-Ādharī, who copied into it thirteen alchmical texts between 919 AH/AD 1513 and 925 AH/AD 1519, first at Fez and then Damascus (see colophons on ff. 11r, 14r, 57r and 66r). The second (ff. 113r-159v) was copied in the 18th century, beginning with ff. 113r-158r copied in 1177 AH/AD 1764 by Muḥammad ibn Sulaymān al-Mawṣūlī in Algiers (see colophon on f. 158v).The volume contains 16 alchemical texts:Anonymous,
Risālah nāfi‘ah fī ghāyat al-naf‘ wa-l-nafāsah lam yu‘raf muṣannifuhā(رسالة نافعة في غاية النفع والنفاسة لم يعرف مصنّفها) (ff. 3r-11r);Khālid ibn Yazīd al-Umawī (خالد بن يزيد الأموي),
Risālah li-Abī Hishām al-Amīr Khālid(رسالة لأبي هشام الأمير خالد ) (ff. 11v-14r);al-Ṣafadī, Khalīl ibn Aybak (الصفدي، خليل بن أيبك), Extract from
Kitāb al-Ghayth al-musjam fī sharḥ Lāmīyat al-ʿAjam(كتاب الغيث المسجم في شرح لامية العجم) (f. 14r);al-Ṭuġrāʾī, al-Ḥusayn ibn ʿAlī (الطغرائي، الحسين بن علي),
Kitāb tarākīb al-anwār(كتاب تراكيب الأنوار) (ff. 14v-57r);Democritus (ذومقراطيس), Untitled alchemical treatise (ff. 57v-66r);Jābir ibn Ḥayyān (جابر بن حيان),
Ayn fuṣūl az ba‘z̤ kutub ustaẕ Jābir(اين فصول از بعض كتب أستاذ كبير جابر ) (ff.66v-67v);al-Rāzī, Fakhr al-Dīn Muḥammad ibn ʿUmar (الرازي، فخر الدين محمد بن عمر), Selections from
Kitāb al-Mulakhkhaṣ(كتاب الملخص) concerning physics (ff. 67v-76b);al-Rāzī, Abū Bakr Muḥammad ibn Zakarīyā (الرازي، أبو بكر محمد بن زكريا), Selections from al-Rāzī’s
al-Kutub al-Ithná ‘asharah(الكتب الإثنى عشرة) (ff. 77r-91v);Ibn Waḥshīyah, Aḥmad ibn ‘Alī (ابن وحشية، أحمد بن علي), Extracts from
Kitāb fī Maʿrifat al-ḥajar(كتاب في معرفة الحجر) (ff. 91b-96b);Anonymous, Excerpts from a commentary on the poem of ʿAbd al-ʿAzīz b. Tammām al-ʿIrāqī (عبد العزيز ابن تمام العراقي) (ff. 96v-98r);Anonymous, Excerpts from a commentary on the alchemical poem
Shudhūr al-dhahab(شذور الذهب) (ff. 98r- 110v);al-Sayyid al-Sharīf al-Bukhārī al-Naqshabandī (السيد الشريف البخاري النقشبندي), Excerpts from the
Risālah fī al-Ṣināʿah al-falsafīyah(رسالة في الصناعة الفلسفية) (ff. 111r-112r);Anonymous, Cancelled page of Persian alchemical poetry (f. 112v);al-Maṣmūdī, Muḥammad ibn Aḥmad (المصمودي، محمد بن أحمد),
Kitāb al-Wāfī fī al-Tadbīr al-kāfī(كتاب الوافي في التدبير الكافي) (ff. 113r-158r);Anonymous, Fragment of a treatise on practical chemistry (f. 159r);Anonymous, Instructions for producing perfumes (f. 159v).Codex; ff. 159+iMaterial: 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)
Complete copy of the Qurʼān, written in at least three hands with varying page layout; also includes six replacement pages on rougher paper (f. 55-57, 59-61).
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)
A page of anonymous alchemical poetry in Ottoman Turkish, which has been struck through and cancelled. Its catchword does not match the first word of the following folio.Begins (f. 112v, lines 2-3):گل ای نجم سعادت آفتابی ° اِشِت گل كيبی بو نازک جوابیندندر سيم وزريا علم كميا ° قوپر هر قطردن صبريله درياEnds (fol. 112v, lines 21-22):كه تربيّت اولب عرض مطهّر ° كه اولرسيم دمنده گاه اولر زراگرحل اوله پر مئله ظاهر ° درون جانده گورينه جواهرf. 112vMaterial: 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)