Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 431Origin: As appears in colophon on p.16, executed by Sulṭān ʻAlī [possibly Sulṭān ʻAlī Mashhadī?] ; date of transcription not specified ; decoration, hand, etc. suggest early 16th century.Former shelfmark: "450 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of both front flyleaves.Binding: Pasteboards covered in dark purple leather ; Type III binding (without flap) ; pastedowns and flyleaves in light-blue textured paper ; upper and lower covers bear gold-painted central floral motif with tooled borders in gold (two different shades) ; sewn in heavy yellow thread, four stations ; overall in fair condition with some abrasion, lifting and losses of leather and paper, etc.Support: Written area mounted in lovely silhouette paper (floral designs in pink) in leaves of non-European (likely Persian) laid paper with 8 laid lines per cm. (horizontal, fairly distinct) and no chain lines visible, thin and transluscent though sturdy, well-burnished ; some staining and tide lines.Decoration: Elegant illuminated headpiece (ʻunwān) at opening on p.2 consisting of rectangular piece with empty gold cartouche and surrounding floral vegetal accents in gold, red, lavender, orange, pink, light blue, white, etc. on a field of lapis lazuli bordered in bands of lapis, gold and orange-red, surmounted by a scalloped triangular piece or hasp set in a narrow rectangular piece continuing the floral vegetal design and itself surmounted by vertical stalks (tīgh) in lapis lazuli ; written area throughout surrounded by frame in bands of green and gold with outermost blue rule ; panels within written area (and entire written area of incipit page) gold-flecked ; ḥadīth text in light-blue and white ink.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes.Layout: Written in roughly 9 lines per page, three of ḥadīth text and six of the Persian verse paraphrase with the hemistiches of four lines of verse divided and arranged on the diagonal ; written area divided to set off the ḥadīth text and elucidation ; frame-ruled.Collation: ii, IV (8), ii ; single quaternion ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," reads "احقر العباد سلطان على"Explicit: "ومن كلامه صلى الله عليه و آله لا يشبع المؤمن من دون جاره هر که در خطه مسلمانی باشد از نقد دین گر انمایه ... تمت ترجمه هذه الاربعين بتوفيق من هو ناصر ومعين سنه ست و ثمانين و ثمانمائة متع الله بها كل فريق فيه و الحمد لله على الاتمام و الصلوه و السلام على محمد و آله البررة الكرام اربعینهاى سالکان جامی هست بهر وصول صدر قبول منست از فضل حق عجیب و غریب که بدین اربعین رسی بوصول"Incipit: "صحیح ترین حدیثى که راویان مجالس دین ... این چهل کلمه است ازان کلمات که سهولت فهم و حفظ را بنظم فارسی ترجمه گر ده مي آید امید ... لا يؤمن احدكم حتى يحب لاخيه ما يحب لنفسه هر کسی را لقب مکن مؤمن گرچه از سعی جان وتن کاهد ..."Title supplied by cataloguer.Ms. codex.Exquisite copy of Jāmī's verse paraphrase of forty ḥadīth, possibly executed by renowned Timurid calligrapher Sulṭān ʻAlī Mashhadī (d.1520).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 430Origin: Lacks dated scribal colophon ; decoration, paper, etc. suggest 16th century.Former shelfmark: "524 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "231" inscribed in pencil on 'title page’ (p.1).Binding: Pasteboards faced in marbled paper (in red and green) with red leather over spine, fore edge of upper board, and fore edge flap ; Type II binding (with flap) ; board linings in untinted European laid paper ; sewn in dark pink thread, four stations ; overall in fair condition with some abrasion, lifting and losses of leather and paper, etc.Support: non-European laid paper with roughly 8 laid lines per cm. (vertical, indistinct) and no chain lines plainly visible, cloudy formation, quite thin though sturdy, burnished ; staining and tide lines ; back flyleaf in European laid paper with "GFA" under eagle watermark.Decoration: Elegant illuminated headpiece (ʻunwān) at opening on p.2 consisting of rectangular piece with gold cartouche carrying the basmalah flanked by floral vegetal accents in gold, yellow, red and white on a field of blue (approaching lapis lazuli), surmounted by larger rectangular piece with empty gold cartouche and surrounding floral vegetal accents in gold, red, and light blue on a field of blue bordered in bands of red and heavy gold interlace, itself surmounted by a scalloped triangular piece or hasp continuing the floral vegetal design ; larger rectangular piece and triangular piece are set in an elaborate well of gold, red, green, and blue bands and surmounted by vertical stalks (tīgh) in blue ; written area throughout gold-flecked and surrounded by a gold frame with outer gold and blue rules.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes ; contrast in thickness of horizontal and vertical strokes.Layout: Written in roughly 9 lines per page, three of ḥadīth text and six of the Persian verse paraphrase with the hemistiches of four lines of verse divided and arranged on the diagonal ; written area divided to set off the ḥadīth text and elucidation ; frame-ruled.Collation: IV-1 (7), I (9), i ; quaternion (anomalous, "missing leaf" possibly pasted to leaf carrying incipit page) followed by single bifolium ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Explicit: "لا يشبع المؤمن من دون جاره صدق هر که در خطه مسلمانی باشد از نقد دین گر انمایه... اربعینهاى سالکان جامی هست بهر وصول صدر قبول منست از فضل حق عجیب و غریب که بدین اربعین رسی بوصول"Incipit: "صحیح ترین حدیثی که راویان مجالس دین ... این چهل کلمه است ازان کلمات که سهولت فهم و حفظ را بنظم فارسی ترجمه گر ده می آید امید ... لا ؤمن احدكم حتى يحب لاخيه ما يحب لنفسه هر کسی را لقب مکن مؤمن گرچه از سعی جان وتن کاهد ..."Title supplied by cataloguer.Ms. codex.Fine copy of Jāmī's verse paraphrase of forty ḥadīth.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 291Origin: Date, copyist and place of transcription are not specified in colophon of fol.360a (p.720 ; paper and hand would suggest a dating of 16th to early-mid 17th century.Binding: Pasteboards covered in black leather (pebbled quality of shagreen) with edges/turn-ins and spine in tan leather (sheep) ; Type III binding (without flap) ; doublures in red leather (sheep) with filigree in gold leather over red and blue paper and green silk ; upper and lower covers bear central scalloped mandorla with floral vegetal pattern (compare Déroche class. OAi2 7), pendants and corner pieces (in complementary floral vegetal pattern) along with tooled border consisting of a series of s-shaped stamps framed by scored fillets ; doublures bear scalloped mandorla, pendants and corner pieces with vegetal pattern in elaborate gold leather filigree applique over red and blue paper and green silk along with gold painted accents and rule border ; fine chevron endbands in blue-green and purple ; sewing mainly in same blue-green or blue (middle quires) with two sewing stations ; a few early quires sewn in white with two stations ; primaries in same blue-green ; in quite fair condition with some abrasion and edge wear, staining, minor pest damage, some lifting and losses of leather and paper (covers and filigree of doublures), and loose quires.Support: non-European (Persian, 16th or early 17th century - prior to 1650 [?]) laid paper with fairly distinct laid lines running horizontally spaced roughly 8-9 laid lines per cm., some curving/sagging ; virtually no chain lines visible, though sporadically a single chain line is visible ; some undissolved fibers; thick ; crisp ; highly burnished with some burnisher's marks ; some pigment breakthrough along central frame of fol.1 ; some page repairs in same paper as flyleaves (apparently added later as evidenced by the traces of the doublure filigree design on fol.1a and fol.360b ; burn on fore edge of textblock ; some accretions, soiling, staining, etc.Decoration: Superbly executed illuminated headpiece (ʻunwān) appears at the opening of each main section (see fol.1b/p.2, fol.183b/p.366, fol.280b/p.560, and fol.325b/p.650), each includes a cartouch bearing the work or section title ; elaborate frame consisting of bands of green, red, light blue, gold, blue and red with black fillets appears throughout ; incipit and facing page (as well as opening and facing page for each of other main sections) bear additional blue band with white crosses around written area and dividing the columns of the written area a band in lapis lazuli with floral pattern in gold ; written area throughout is gold-flecked ; cloud bands with floral vegetal pattern in green, blue and red appear on incipit and facing page (as well as on opening and facing page for each of the other main sections) ; margins (even inner margin) of incipit and facing page bear elaborate design of flowers, vines and birds in gold (as does opening and facing page for third main section - see p.560-561) ; opening and facing pages for second main section (see p.366-367) bears essentially the same design but with what appears to be faces of lions rather than birds ; opening and facing pages for final main section bear similar design with large blossoms rather than animal motifs ; text rubricated with section headings, etc. in red.Script: Nastaliq ; fine Persian hand ; sans serif with characteristic sloping of words to baseline, final words or letters of each line superscript, closed counters, and characteristic letterforms.Layout: Written in 21 lines per page ; written area divided to two columns ; frame-ruled.Collation: i, IV+1 (9), 34 V (349), IV (357), I+1 (360), i ; chiefly quinions ; catchwords present, though occasionally lost to trimming ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular, chiefly in Arabic, reads: "تمت الكتاب بعون الله الملك الوهاب تمام شد كليات افصح المتكلمين كمال الدين اسمعيل اصفهانى عليه الرحمه تم تم تم"Explicit: "جوياى كمالند بجان اهل هنر انگاه بجان كمال جوينده ست"Incipit: "اى صفات تو بيانهار ازبان انداخته عزت ذاتت يقين را در كمان انداخته"Title from cartouche in ʻunwān on fol.1b (p.2).Ms. codex.4. fol.325b-360a : رباعيات خلاق المعانى كمال الدين اصفهانى غفر الله ذنوبه3. fol.280b-325a : غزليات كمال الدين اسماعيل2. fol.183b-fol.280a : مقطعات خلاق المعانى كمال الدين اسماعيل1. fol.1b-fol.183a : القصايد والمراثى من كلام افصح الفصحا كمال الدين اسمعيل اصفهانىExquisite copy of the collected poems of the noted panegyrist, Kamāl al-Dīn Ismāʻīl known as Khallāq al-Maʻānī, including qaṣāʼid, marās̲ī, muqaṭṭaʻāt, ghazalīyāt and rubāʻīyāt.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 296Origin: Lacks dated colophon. Executed for (bi-rasm) one Ahmet Paşa ( احمد پاشا ), likely grand vizier (possibly Kara Ahmet Paşa, Hafız Ahmet Paşa, etc.). Decoration, etc. would suggest 16th or 17th century.Former shelfmark: "185 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; traces of numeral inscribed on tail edge.Binding: Pasteboards covered in quite dark brown (nearly black) leather (spine and fore edge flap now in dark red leather) ; Type II binding (with flap) ; pastedowns / flyleaves now in untinted European laid paper with name watermark partially visible (over yellow laid paper) ; upper and lower covers carry stamped scalloped mandorla (filled with vegetal composition, compare Déroche class. OSh 9), pendants and cornerpieces with gold-painted accents and tooled border ; sewn in pale yellow and dark blue thread, two stations ; worked chevron endbands in pink and yellow, damaged ; overall in fair condition with some abrasion, staining, lifting of leather, etc. ; has been rebacked (spine repair in dark red brown leather) and fore edge flap has been repaired as well.Support: non-European laid paper with 8 laid lines per cm. (vertical and horizontal, indistinct), cloudy formation, heavily sized and burnished, glossy and crisp, medium cream in color ; much foxing.Decoration: Illuminated frontispiece (roundel) on 'title page' (p.5) carrying patronage statement / ex libris of Ahmet Paşa ( احمد پاشا ) in white on a gold ground at center and bordered by delicate arabesque with floral motifs in gold, orange, pink, red, yellow and black on a field of lapis lazuli ; elegant illuminated headpiece at opening on p.6 consisting of rectangular piece with central cartouche (more mandorla shape) carrying title ("ديوان سلطان العارفين جلال الدين مولانا الرومى") in white on a gold ground surrounded by a rich arabesque in gold with floral accents in pink, orange, red, yellow, lavender and white on a lapis lazuli ground, surmounted by a narrower rectangle continuing the arabesque composition and itself surmounted by vertical stalks (tīgh) in blue ; written area (and columns within) surrounded by gold frame ; keywords and headings chrysographed.Script: Nastaʻlīq (talik) ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 17 lines per page with written area mainly divided to two columns ; frame-ruled.Collation: i, V-3 (7), 2 V(27), IV (35), 3 V(65), IV (73), 15 V(223), IV (271), IV-2 (277) ; quinions and quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaf and skips two pages between pp.485-486).Incipit: "ای طایران قدس را عشقت فزوده بالها ..."Title from headpiece at opening on p.6.Ms. codex.Elegant copy of the Dīvān of Jalāl al-Dīn Rūmī, commonly called Dīvān-i Shams-i Tabrīz given the poet's taking the name of his spiritual guide and mystic lover Shams al-Dīn Muḥammad ibn ʻAlī Tabrīzī as his takhalluṣ.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 333Origin: Lacks dated colophon ; paper, decoration, etc. may suggest 17th or even late 16th century.Former shelfmark: "528 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark mahogany leather ; Western style binding (hollow back, not flush, rounded spine, etc.) ; pastedowns and flyleaves in textured and coated, foil-stamped paper (scalloped floral vegetal design in green and gold on white) ; upper and lower covers carry gold-stamped (over onlays, orange leather / shagreen and blue coated and embossed paper) oval central ornament with radiating vegetal design, cornerpieces and border pieces ; on spine, raised bands as well as further stamped ornaments over orange shagreen onlays and at center another oval ornament in green ; eges of text block gilt ; now sewn in white thread over two heavy recessed cords ; stuck-on endbands ; overall in fair condition with some abrasion, staining, lifting of leather, etc.Support: non-European (likely Persian) laid paper with 7-8 laid lines per cm. (mainly vertical, somewhat indistinct) and no chain lines plainly visible, cloudy formation, beige in color, sturdy, well-burnished ; some staining ; replacement leaves in wove paper ; some leaves guarded.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with gold cartouche carrying effaced title in red, surrounded by swirling arabesque (in turquoise, red, gold, etc.) and geometric motifs defined by white bands on a field of blue (approaching lapis lazuli), bordered in heavy band of gold interlace and floral vegetal desgin in gold, red and blue on a black ground, surmounted by scalloped triangular piece or hasp (filled with floral vegetal design on a gold ground) set into a rectangular band filled with arabesque on a blue (approaching lapis lazuli) ground, all surmounted by vertical stalks (tīgh) in blue ; written area throughout surrounded by frame in gold bands with outermost blue rule, columns within written area also bounded by gold rules ; numerous lacunae left, possibly for headpieces and rubricated passages (only opening mas̲navī bears headpiece ; rubricated text has been provided for opening of Silsilat al-ẕahab, see pp.582-605).Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 15 lines per page, written area mainly divided into four columns ; frame-ruled.Collation: i, 3 IV(24), 2 IV-2+2 (40), IV (8), IV-2+2 (56), 3 IV(80), III+1 (87), 5 IV(127), III (133), II (137), 7 IV(179), 2 IV(195), 3 III(213), IV-2+2 (221), III (227), 7 IV(283), II (287), 2 IV(303), 2 III(315), IV (323), III-4+4 (329), II (333), III+2 (341), III-4+4 (347), III (353), i ; mainly quaternions and ternions (some anomalous) ; numerous missing leaves have been replaced but with lacunae left unfilled ; moisture damage or intential removal of text from p.487 ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Incipit: [Yūsuf va Zulaykhā] "الهی غنچه امید بگشای گلی از روضه جاوید بنمای ..."Title supplied by cataloguer.Ms. codex.11. p.582-p.705 : [Silsilat al-ẕahab, daftar-i avval, etc.] / Jāmī.10. p.581 : [blank].9. p.472-p.580 : [Silsilat al-ẕahab, daftar-i duvvum] / Jāmī.8. p.470-p.471 : [blank].7. p.360-p.469 : [Subḥat al-abrār] / Jāmī.6. p.358-p.359 : [blank].5. p.276-p.357 : [Khiradnāmah-i Iskandarī] / Jāmī.4. p.275 : [blank].3. p.146-p.274 : Majnūn va Laylá / Jāmī.2. p.144-p.145 : [blank].1. p.2-p.143 : [Yūsuf va Zulaykhā] / Jāmī.Fine though incomplete copy of the seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang, opening with Yūsuf va Zulaykhā and concluding with Silsilat al-ẕahab (arrangement differs from that outlined in Jāmī's preface). Appears to lack Salāmān va Absāl and Tuḥfat al-Aḥrār.
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. 670Origin: As appears in colophon on p.753, copied by ʻImād ibn Muḥamad ʻImād. Date of transcription not specified. Paper, decoration, etc. suggests 16th or early 17th century. Ownership statement provides a terminus ante quem of 1629.Accompanying materials: a. Acquisitions slip from Yahuda -- b. Inventory cataloguing slip in hand of Winifred Smeaton Thomas.Former shelfmark: From upper board lining and spine label, "IL 9" (likely supplied by Yahuda, see acquisitions slip).Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap, now fully detached) ; currently two piece binding (overlapping flanges visible at spine, may represent repair / reback) ; board linings in peach laid paper, hinges in yellow paper ; upper and lower covers carry stamped (and once gold-painted) scalloped mandorla filled with vegetal composition (compare Déroche class. OAi 7) set off by gold-painted strokes, tooled rosettes and chain border ; design continues on flap ; sewn in golden yellow thread, two stations, sewing failing ; worked endbands in golden yellow and metallic threads, only primaries and core with a few threads of headband remain, primaries sewn through textile spine lining ; overall in somewhat poor condition with flap fully detached from lower cover, cover almost fully detached from text block at spine except for intact primaries at headband, extensive abrasion, some lifting and losses of leather, etc. ; extensive repairs (also damaged) in brown leather including edging (which has been tooled in a series of s-shaped stamps) on upper and lower covers as well as head and tail of fore edge flap and likely reback ; housed in box for protection.Support: non-European (likely Persian) laid paper with roughly 8 laid lines per cm. (vertical, somewhat indistinct, fairly straight) and chain lines (possibly grouped in pairs) occasionally visible, cloudy formation, thin and transluscent though sturdy, well-burnished, dark cream to beige in color ; back flyleaf in European laid paper with anchor in circle watermark.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.30 consisting of rectangular piece with almond-shaped gold cartouche carrying title and flanking pieces all evoking bookcover design, set in field of dark blue with delicate vegital motifs in gold, green, red, white, light blue and yellow, bordered in band of dark blue with white crosses and dots flanked by two narrow gold bands ; written area and ruled margins surrounded by gold frame with outermost blue rule, narrower gold band defines central written area and triangular accents on margins within (occasionally filled with floral motifs) ; keywords rubricated ; textual dividers in the form of three dots in redScript: Nastaʻlīq ; small compact Persianate hand in a medium line ; characteristically serifless with slight effect of inclination to the left and of words descending to baseline, elongation of horizontal strokes, pointing in distinct dotsLayout: Written in 51 lines per page, 17 lines in central written area and 34 lines of gloss on the diagonal in the ruled margins ; frame-ruled.Collation: IV-2 (6), 21 IV (174), IV+1 (183), III (189), III+1 (196), 2 III (202), 5 IV (248), III + 1 (255), 14 IV (372), III-1 (376), i ; leaves between opening contents listing and opening of text originally left blank (pp.21-29) ; middle of the quire marks in the form of ه (numeral khamsah or letter hāʼ) in black ink in the upper outer corner of the left-hand leaf ; catchwords present ; foliation in red ink, Hindu-Arabic numerals from pp.353-377 and in black ink from pp.379-753, beginning with Arabic numeral 38 ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," mainly Arabic, reads "تمت الكتاب بعون الله الملك الوهاب والحمد لله اولا واخرا وظاهرا وباطنا وصلى الله على محمد واله الطيبين وعترته الطاهرين اجمعين وسلم تسليما كثيرا كثيرا على يد الفقير الحقير تراب اقدام الفضلا عماد بن محمد عماد ... گر بهم برزده بینی خط من عیب مکن که مرا محنت ایام بهم برزده است"Incipit: [matn] "بسم الله الرحمن الرحیم رب سهل و تمم بالخیر الحمد لمن وفقنا امداد حمد بی عد و اعداد سپاس بی قیاس مبدعی را که آثار ابداع او بر هر ورقی از اوراق و شجری از اشجار سمت ..." ; [ḥashiyah] "و به نستعين حمد و سپاس عتاری را جل جلاله و عم نواله و عظم شانه ..."Title from rubricated inscription on 'title page' (p.29).Ms. codex.Fine copy of a work of materia medica (pharmacopoeia) by ʻAlī ibn al-Ḥusayn al-Anṣārī known as Ḥājjī Zayn al-ʻAṭṭār (d.1403 or 4) with extensive gloss on the margins. Opens with acephalous contents listing (p.1-21). Contributions to the cataloguing from Elizabeth Kunze.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 308Origin: As appears in colophon on p.249, copied by Muḥammad Amīn al-Ḥusaynī al-Tirmidhī (al-Tirmiẕī) [?] ( محمد امين الحسينى الترمذى ). Date of transcription not specified but decoration, hand, paper etc. suggest 16th century.Accompanying materials: a. Slip with verses (paginated pp.55-56) -- b. Slip with short note (paginated pp.75-76) -- c. Slip with calculations and date of 1219 [1804 or 5] (paginated pp.121-122).Former shelfmark: "113 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf.Binding: Pasteboards covered in deep red leather ; Type II binding (with flap), possibly two piece binding ; board linings in light pink-tinted paper ; upper and lower covers carry gold-tooled border and rosette corner accents ; sewn in dark pink / red thread, two stations, failing with many gatherings loose ; worked chevron endbands in dark pink and yellow, fair condition with some damage ; overall in somewhat poor condition with abrasion, staining, lifting and losses of leather to spine, upper cover detaching at spine, envelope flap detaching at fore edge flap, etc. ; pieced repairs in dark red-brown leather at board corners, spine, joints, etc.Support: non-European laid paper with roughly 6 laid lines per cm. (vertical, quite diffuse) and no chain lines visible, cloudy formation, dark cream in color, quite sturdy and well-burnished ; staining and tidelines.Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with empty gold cartouche and pendants surrounded by swirling arabesque with floral motifs (in gold, white, pink, yellow, orange, and red on a lapis lazuli ground) with accent and cornerpieces in gold, black and red and border in turquoise, surmounted by a scalloped semi-circular piece (dome) filled with same swirling arabesque design on fields of lapis lazuli and gold, itself surmounted by vertical stalks (tīgh) in blue ; keywords rubricated ; textual dividers in the form of red inverted commas and gold discs ; central written area surrounded by frame consisting of heavy gold band defined by black fillets, margins and divisions within written area also outlined in gold rules ; central (and in some places marginal) written area gold-flecked.Script: Nastaʻlīq (talik) ; elegant hand ; serifless with effect of words descending to baseline, elongation of horizontal strokes, mainly closed counters, pointing in distinct dots.Layout: Written in 15 lines per page, with up to 32 lines on the diagonal in the margin ; frame-ruled ; written area occasionally divided to two columns to set off verses.Collation: ii, 15 IV(120), I (122) ; almost exclusively quaternions ; catchwords present for marginal text (mainly Būstān) ; pagination in pencil, Western numerals (includes inserts).Colophon: "Scribal," in Arabic, reads "كتبه الفقير الحقير محمد امين الحسينى الترمدى [الترمذي ؟] غفر ذنوبه و ستر عيوبه"Explicit: "و الحمد لله وحده در خاتم كتاب كلستان و الله المستعان بتوفيق بارى تعالى درين جمله چنانكه عادت مولفانست ز شعر متقدمان بطريق استعارت تلفيقى نرفت ... واطلب لنفسك من خير تريد به من بعد ذلك غفرانا لصاحبه حكايت آورده اند كه حاتم اصم از شاكردان و ميردان شيخ بود ... چون تصانيف و رسايل نظم شيخ سعدى مشهور و معروف است شروع در ذكران نكرديم والسلام"Incipit: [Gulistān] "منت خدایرا عز و جل که طاعتش موجب قربتست..." ; [Būstān] "بنام خداوند جان آفرین حکیم سخن در زبان آفرین خداوند بخشنده ی دستگیر کریم خطا بخش پوزش پذیر عزیزی که هر کز درش سر بتافت ..."Title supplied by cataloguer.Ms. codex.Elegant copy of the Gulistān, celebrated collection of moralizing anecdotes in rhymed prose interspersed with verse (maqāmah form), composed in 1258 by the renowned Persian poet and prose writer, Saʻdī (d.1292). Accompanied by the text of his Būstān in the margins and followed by further ḥikāyat, Risālah-ʼyi dah qāʻidah of Sayyid ʻAlī Hamadānī (d.1385) and a manqabat for Shaykh Saʻdī (see pp.228-249).
Origin: As appears in colophon at close on p.344, copied by ʻĀrif Jadval-kash [?] ( كاتب العبد عارف جدول کش ) with date of transcription unspecified ; perhaps late 15th or 16th century.Binding: Leather bound codex with intricate tooling on upper and lower covers as well as envelope flap; some floral and designs around borders; central medalion features a male and female gazelle. Doublures contain leather filigree with remnants of green and gold paint.Decoration: Opening page is ornamented with gold and blue paint; following pages bordered with gold and blue paint; chapter titles written in blue and red ink.Script: Text written in nastaʻlīq.Title from illuminated headpiece (ʻunwān / sarlawḥ) at opening.Ms. codex.Masnavī (long poem in rhymed couplets) completed in 1177; narrates the allegorical tale of a mystical journey of thirty birds. Narrative frame of this mystical journey is broken into numerous anecdotes which the various birds recount along the way.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 324Origin: Lacks dated colophon ; paper, decoration, etc. may suggest early 16th century (binding much later).Former shelfmark: "130" inscribed in pencil on verso of front flyleaf and on 'title page' (p.1).Binding: Pasteboards covered in red leather ; Type II binding (with flap), two-piece binding, overlapping flanges visible at spine ; pastedowns and flyleaves in marbled paper (mainly in yellow, blue, lavender, orange, etc.) on European laid paper ; upper and lower covers carry central rectangular panel defined by gold fillets with tooled rosette accents and guilloché roll border (flanked by gold fillets) in gold ; sewn in dark pink thread, four stations ; worked chevron endbands in pink and yellow, fairly good condition ; overall in fairly good condition with minor abrasion, staining, lifting of spine leather, etc.Support: non-European (likely Persian or Indian) laid paper with 6-7 laid lines per cm. (vertical, curved and somewhat indistinct) and no chain lines plainly visible, dark cream in color, sturdy and quite well-burnished ; some breakthrough at frames (a few repaired).Decoration: Exquisite double-page illumination at opening on fol.1b-2a consists of large rectangular panels each divided to central rectangular panel carrying opening text set off by cloud-bands (in gold with floral accents) and upper and lower rectangular panels with gold cartouches carrying the title and author ("قصايد و غزليات افصح فضلا و افضل فصحى جامع فنون كلامي مولانا عبد الرحمن جامى") in white flanked by pendants and surrounded by elegant swirling arabesque with floral accents in gold, red, black, light blue, lavender, yellow, etc. on fields of gold and lapis lazuli evoking book cover design, entire rectangular panel surrounded by elaborate scalloped border (marginal decoration) evoking a series of scalloped domes and rosettes accented with perpendicular stalks [tīgh] at the spandrels and apices of the scallops and filled with continuation of the vegetal and chī cloud design on fields of gold and lapis lazuli ; further elegant illuminated headpieces at the openings of the قصايد (fol.70b) and غزليات (fol.73b) ; written area throughout gold-flecked and surrounded by frame consisting of a series of red, turquoise, gold, 'white' (blind outline in black fillets), and blue fillets ; keywords and headings in white ; bands of interlace or floral vegetal decoration on a filed of gold accent the written area of many pages.Script: Nastaʻlīq ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 14 lines per page, often divided to two columns ; frame-ruled (impression of ruling board evident).Collation: i, IV-1 (7), 2 IV(23), III (29), 34 IV(301), III (307), 8 IV(371), IV+1 (380), i ; Chiefly quaternions ; catchwords present (occasionally lacking) ; pagination in pencil, Western numerals, supplied during digitization.Explicit: "چه خوش باشد که در کاشانه غم دو همدم درد دل گویند با هم"Incipit: "بسم الله الرحمن الرحیم هست صلای سر خوان کریم ..."Title from inscription on 'title page' (fol.1a).Ms. codex.Splendid copy of the collected poetic works (prose works are not included despite use of term "kullīyāt" in 'title page' inscription) of Mawlānā Nūr al-Dīn ʻAbd al-Raḥmān Jāmī (d.1492). Opens with the opening of one of his seven mas̲navīs, Tuḥfat al-aḥrār (contribution to the cataloguing from H. Mottaghi and İ. E. Binbaş).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 355Origin: Date (likely of composition) at close of second work obscured, though according to inscription on 'title page' "برای سلطان روم بايزيد خان" and dedication in opening matter, composed (and this copy possibly executed) for Sultan Bayezit II (r.1481-1512). Decoration would suggest late 15th or early 16th century. Opening work likely contemporary or possibly slightly later.Accompanying materials: Slip of wove paper with note describing manuscript in black ink, possibly in hand of G. Meredith-Owens, reads "355 On tinted paper 1) Lavāʼiḥ A system of Ṣūfī doctrines by Jāmī. 2) Yūnus ve Muʼnis, a mas̲navī poem by Jāmī (of Rūm) for Bayezīd II followed by a qaṣīdeh in honor of the same. Copied probably in Turkey 16th century"Former shelfmark: "502 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf ; ٥٧٩ on spine label.Binding: Pasteboards covered in dark red leather ; Type II binding (with flap) ; pastedowns and flyleaves in faint-pink, coated and textured paper (embossed with scrolling vines) ; upper and lower covers carry tooled and gold-painted borders ; paper label on spine ; sewn in light pink thread, two stations ; worked chevron endbands in pink and yellow, fair condition ; overall in fairly good condition with only minor abrasion, etc.Support: non-European (likely Persian) laid paper, mainly with 8 laid lines per cm. (horizontal, curved) and no chain lines plainly visible, cloudy formation, thin and crisp, tinted mainly pale pink / salmon, quite well-burnished ; in opening section, written area mounted in frame of contrasting color (blue, pink, yellow, etc.) ; pastedowns, flyleaves, and later repairs in European laid paper.Decoration: Elegant (though somewhat damaged and repaired) illuminated headpiece (ʻunwān / sarlawḥ) at opening of first work (fol.1b) consisting of rectangular piece with empty gold cartouche flanked by gold pendants and surmounted by swirling vegetal motifs on a light blue ground bordered in bands of white (with black crosses) and heavy gold interlace, surmounted by a scalloped triangular hasp set in a rectangular band filled with swirling floral vegetal motifs in red, white, etc. on a gold ground with turquoise, black and light blue accents, itself surmounted by vertical stalks (tīgh) in light blue ; written area throughout surrounded by gold frame, divisions within defined by narrower gold bands ; in opening work, written area typically tinted light green, light yellow, light blue, etc. set into a frame of paper tinted a contrasting light pink, light blue, etc. with an outermost rule in light blue or white that contrasts with tint of margin ; marginal glosses in decorative shapes ; exquisite illuminated headpiece at opening of second work on fol.30b consisting of rectangular piece with gold cartouche (in fashion of mandorla with pendants) carrying the basmalah in white nastaʻlīq/talik amidst delicate floral vegetal decorations set on a dark blue ground overlaid with delicate arabesques, all bordered in bands of gold, turquoise and dark blue and surmounted by vertical stalks (tīgh) in dark blue ; similar illuminated headpiece at opening of closing panegyric with gold cartouche carrying heading in white ("وفى مدحه خلد ملكه") surrounded by delicate floral motifs in gold, bordered in bands of gold and dark blue with minimal vertical stalks ; headings in final works chrysographed.Script: Nastaʻlīq (talik) ; exquisite hand in a medium line ; serifless, with effect of words descending to baseline, closed counters, elongation and contrasting thickness of horizontal strokes, sweeping bar on kāf, pointing in distinct dots, point of final nūn set in a wide, deep bowl.Layout: Written in 11 and 9 lines per page with written area occasionally divided to two columns to set-off poetry ; frame-ruled.Collation: i, IV (8), 2 III(20), IV (28), I (30), IV-1 (37), 2 IV(53), III (59), III+1 (66), 1 (67), i ; mid-quire marks in the form of oblique strokes in black ink (upper outer margin of the right-hand leaf) ; catchwords present.Dedication: Second work composed for Sultan Bayezit II (r.1481-1512), see inscription on 'title page' (fol.30a) and opening matter (fol.33b).Incipit: [Lavāyiḥ-i Jāmī] "لا احصى ثناء عليك كيف و كل ثناء يعود اليك جل عن ثنائى جناب قدسك انت ... این رساله ایست مسمی بلوایح در بیان معارف و معانی که بر الواح ..." ; [Yūnis va Mūnis] "بنام کردگار انجام افروز بهم پیوسته کردان شب و روز ...آغاز حکایت یونس و مونس چنین دیدم ز تاریخ غزانی ..."Title supplied by cataloguer.Ms. composite codex.5. fol.59b-fol.63a : [panegyric for Bayezit II opening with heading "Va fī madḥih khalada mulkuh..."] / Jāmī [?].4. fol.59a : [blank].3. fol.30a-fol.58b : Kitāb-i Yūnis va Mūnis / az taʼlīfāt-i Mawlānā Jāmī.2. fol.29b : [blank].1. fol.1b-fol.29a : Lavāyiḥ dar bayān-i maʻārif va maʻānī / Jāmī.Superbly executed composite codex opening with Jāmī's Lavāʼiḥ, followed by Kitāb-i Yūnis va Mūnis also attributed to Jāmī and dedicated to Sultan Bayezit II (r.1481-1512), in fact closing with a panegyric for him.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 314Origin: Lacks dated colophon ; paper, decoration, etc. may suggest 16th century.Former shelfmark: "209 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in brown leather ; Type II binding (with flap) ; two-piece binding (overlapping flanges visible at spine) ; pastedowns and flyleaves in bright pink textured and coated paper ; upper and lower covers carry gold-painted (in two different shades) spray of flowers and leaves at the center of a rectangular panel with cornerpieces and surrounding border in heavy gold bands and rules ; edges of text block gilt ; now sewn in white thread, two stations ; worked chevron endbands in red and blue-green, excellent condition ; overall in good condition with only minor abrasion and staining.Support: non-European laid paper with 7 laid lines per cm. (vertical) and no chain lines clearly visible, sturdy, though fairly transluscent, well-burnished, beige in color ; written area gold-flecked.Decoration: Sublime illuminated headpiece ( ʻunwān / sarlawḥ ) at opening on p.2 consisting of large rectangular piece with empty gold cartouche surrounded by swirling arabesque with floral accents in gold, red, white, etc. on fields of lapis lazuli and gold (evoking book cover design) with border in white and lapis lazuli bands outlining heavy gold interlace, surmounted by band of black with arabesque and floral motifs in white, red, gold, etc. and scalloped triangular piece or hasp continuing the floral vegetal design on fields of gold and lapis lazuli, all surmounted by vertical stalks (tīgh) in blue ; written area gold-flecked and surrounded by frame consisting of gold band defined by black fillets and outermost blue rule ; keywords and headings in blue.Script: Nastaʻlīq ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written mainly in 12 lines per page with written area divided to two columns ; frame-ruled.Collation: i, 10 IV(80), I+1 (83), i ; almost exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Explicit: "بو که ز نزهتگه [نزهتگاه] دار السلام بوی علیكی رسدم و السلام"Incipit: "بسم الله الرحمن الرحیم خطبۀ قدست بملك قدیم ..."Title from inscription on 'title page' (p.1).Ms. codex.Elegant copy of Maṭlaʻ al-anvār, a moral and religious poem opening the Khamsah of Amīr Khusraw Dihlavī (d.1325), written in imitation of the opening mas̲navī of Niẓāmī's Khamsah, Makhzan al-asrār.