taʼlīf kardah-ʼi Mawlavī Muḥammad Mahdī Ṣāḥib Vāṣif.Lithographed.Date taken from colophon: Jum. I, 1277 [1860].In Persian and Urdu.Electronic reproduction. Cambridge, Mass. : Harvard College Library Digital Imaging Group, 2009. (Open Collections Program at Harvard University. Islamic Heritage Project). Copy digitized: Widener Library: Ind L 6663.15 .
Copy of a treatise on different calendars and how to convert them one to another and the revolution of heavenly bodies and their impact on different days of the year.
taṣnīf-i Mīr Inshaʼ Allāh Khān va niṣf-i s̲ānī-i muʼallifah-i Mirzā Muḥammad Ḥusayn Qatīl.Title from colophon.In Persian and Urdu.تصنيف مير انشاء الله خان و نصف ثاني مولفه ميرزا محمد حسن.
Dawlat-i mustaqilah-ʼi Afghānistān va vaẓāyif-i millat-i Afghān (The independent government of Afghanistan and the duties of its citizens) is an early 20th century work on the rights and duties of citizenship for the peoples of Afghanistan. The author, Ghulam Muhyi al-Din, begins with a discussion on the role of society in the conduct of citizens and proceeds to an enumeration of the duties of citizens to the state. The book provides descriptions of the different parts of the state apparatus, including governmental ministries and courthouses. It also has sections on the equality of citizens before the law and on the importance of loyalty to the state. A section on the proper usage of parks and public spaces includes an imaginary dialogue between students, which suggests that Ghulam intended his work to be accessible for a young audience. The book likely would have been a useful instructional tool for the teaching of civics to citizens of different ages and backgrounds in a rapidly modernizing Afghanistan. The book was posthumously published in year 1307 of the Jalali (solar) calendar (i.e., 1928-29). This coincides with the abdication from the throne of the Afghan ruler Amanullah Khan (reigned 1919-29). In a section of the book on the importance of patriotism, Amanullah Khan's name has been blotted out, suggesting that the work remained in use even after his abdication. World Digital Library. On proper governance with special reference to Afghan government in early 20th century.
Deccani portrait album beginning with the Mughal emperors, proceeding to the Deccani kings, then closing with the Safavid shahs; the images are labeled in Persian in the lower corner with Latin script titles added near the shoulder of each person. Possibly produced during the reign of Abul Hasan Qutb Shah (r. 1672-1687) the last ruler of the Golconda sultanate. The album is bound to be viewed left to right; probably for export to Europe.
A work on subtleties of Persian vocabulary. Discusses nuances of and differences in meaning between homographs or near-homographs and words derived from similar stems. Pronunciations, etymologies, differences in usage discussed. Poems used as examples.Title from f. 2r.Table of contents on inner front cover and f. 1r.Written in naskh script, in one column, 15 lines per page, in black rubricated in red. Notes in margins. Catchwords.8.4 x 6.1 cm (5.4 x 3.6 cm).Polished light-cream laid paper, boards covered with pale yellowish paper. Brown leather on edges and spine, envelope flap.MS Turk 4. Houghton Library, Harvard University.In Ottoman Turkish.Electronic reproduction. Cambridge, Mass. : Harvard College Library Digital Imaging Group, 2008. (Open Collections Program at Harvard University. Islamic Heritage Project).
Devotional book containing selections from the Qurʼān, beginning with Sūrat Yūsuf and ending with a prayer. The entire text is written inside gilt pear-shapes with illuminated margins.
Complete poems of Ghulām Muḥammad Ṭarzī. Divan-i Ṭarzī (Poetic collection of Tarzi) contains verses by Ghulām Muḥammad Ṭarzī (1830-1900), mostly concerning piety, ethics, politics, and society in 19th century Afghanistan. Tarzi came from a distinguished background; he belonged to the Mohammadzai sub-lineage of the Durranis, one of two main Afghan Pashtun lineages, the other being Ghilzai. Because of their connections to Muḥammad Yaʻqūb Khān, Tarzi and his family were exiled from Afghanistan in 1882-83 by Abd al-Raḥmān Khān, a kinsman of Yaʻqūb Khān and a rival to the Afghan throne. The feeling of desolation occasioned by Tarzi's exile pervades many of the poems. Each poem is specific in theme, meaning, and place. One poem, for example, extols the verse of Mirza ʻAbd al-Qādir Bīdil, the famous Persian poet and Sufi who was instrumental in the development of "Indian-style" Persian poetry in the late 17th and early 18th centuries. In another poem, Tarzi praises the wedding of Muḥammad Yaʻqūb Khān, who in 1879 was briefly amir of Afghanistan, after he signed the Treaty of Gandamak recognizing British control of Afghanistan's foreign affairs. Each poem has a rubricated title that indicates where it was written and its purpose. On page 336, for example, it is stated that "this ghazal is written in Kandahar in response to Neamat Khan." A few poems are not titled, but each is distinguished by its conclusion with the author's pen name tarzi (stylist). The volume itself is not titled. The names and personal library stamps of several owners and readers, including that of Abdul Rauf Khan Tarzi, a descendant of the author, appear on the cover and last pages. The book is in two sections: the main one is of ghazal (lyric) verses, while the last 50 pages are in rubai (quatrain) form. The script includes several versions of Persian nastaliq, such as clear nastaliq, broken nastaliq, and uneasy nastaliq. The paper is of different qualities and colors; most text appears on plain cream paper laid down on a marbled backing. Pages have penciled Persian-Arabic numerals inserted by a reader. The marginal notes may be the author's own or by anonymous readers. The final text is a prose piece, in which Tarzi emphasizes his virtue, sorrow, and loyalty. World Digital Library.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 679Origin: As appears in colophon on fol.281b, copied by Nāʻil Ṣuḥufī [?]. Date transcription finished appears as a chronogram "غزلق" or 1137 [غ1000 + ز7 + ل30 + ق100 =1137, i.e. 1724 or 1725].Accompanying materials: a. Inventory cataloguing slip in hand of Winifred Smeaton Thomas. -- b. Acquisitions slip from Yahuda.Former shelfmark: From spine label and inscription on fol.1a (p.1), "IL 132 a1" (likely supplied by Yahuda, see acquisitions slip).Binding: Pasteboards covered in light brown leather ; Type II binding (with flap) ; board linings and interior of envelope flap in pink tinted laid paper ; interior of foreedge flap in light brown leather ; upper and lower covers carry central blind-stamped scalloped mandorla (elongated) and pendants with vegetal pattern (compare Déroche class. OSd 8) accented with gold and red paint, bordered by fillet with strokes and dots at apices and sprandels of scallops in gold paint ; frame of striated s-shaped stamps painted gold and bordered by two gold fillets also in gold paint ; at corners and midpoints of frame, dots and strokes in gold paint ; foreedge flap decorated with fillets and heavy vegetal pattern (vine) in gold paint ; in fair condition with significant wear and pest damage but intact and still well-attached to text block.Support: European laid paper, mainly with laid lines running vertically spaced roughly 11-12 laid lines per cm., single chain lines running horizontally spaced roughly 25-26 mm. apart, and watermark of three hats (tre cappeli) or caps (see p.38, 58, 230, 232, etc.), well-burnished, thin though quite sturdy; very few if any inclusions ; countermark of "V d" under trefoil appears in p.136.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) on fol.1b consists of a scalloped semi-circular piece (dome) flanked by scalloped accents filled by a vegetal pattern in gold, blue, red, and black on fields of gold and blue ; dome and flanking pieces are outlined in a blue fillet and surmounted by vertical stalks (ṭīgh) in blue positioned at alternating spandrels ; entire piece is bordered by an elaborate frame consisting of a band of blue with minute cross or diamond shapes flanked by narrow gold bands outlined by fillets ; elaborate frames appear throughout, consisting of gold band (of at least three thicknesses) bordered by black fillets surround both the entire written area for each folio as well as the columns of text within ; text rubricated with titles, headings, etc. in red.Script: Nastaʻlīq (talik) ; elegant Ottoman hand ; characteristically serifless with gentle effect of words descending to baseline, point of final and free-standing nūn set at mouth of tall, wide, angled bowl, occasionally nearly assimilated with it, hāʻ mudghamah looking like two inverted commas, pointing (for two and three dots) often in conjoined dots or strokes.Layout: Written in 23 lines per page; written area consists of a broad single column most often divided into two columns and framed thusly, though this layout varies ; in certain sections a centered column of two hemistiches of verse alternates with verse laid in two columns, divided at each hemistich ; headings usually appear centered on the single column or across its width; frame-ruled.Collation: i,12 V (120), IV (128), I (130), 6 V (190), IV+1 (199), 3 V (229), V+1 (240), 2 I (244), i ; chiefly quinions; leaves falling between the various sections of poetry left partially blank (though without missing text) and leaves following close of text intially left blank but now carry additional matter including lines of poetry, lines on Ebussuud Efendi, etc. ; catchwords present; pagination in pencil, Western numerals (supplied during cataloguing).Colophon: "Scribal," rectangular, reads: "تمام شد ديوان نابى رحمه الله تعالى في تاريخ غزلق دست حقير نائل صحفى [؟] تم"Explicit: "طاغيلرسه كور رآنى نكران جمع اولور ايه اولور آب روان"Incipit: [rubric]" قصيده در توحيد باري جل شانه براى باعث ترتيب ديوان ابراهيم پاشا رح [text] تعالى الله زهى ديوانطراز صورت معنا كه جسم لفظله روح مآ لي ايلمش الما ..."Title from inscription below headpiece on fol.1b.Ms. codex.Collected poems (ghazalīyāt, qaṣāyid, rubāʻiyāt, etc.) of Nabi, followed by a few additional excerpts at close of codex.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 363Origin: Lacks dated colophon ; decoration, hand, etc. suggest 16th century.Accompanying materials: Slip of wove paper with note in hand of G. Meredith-Owens "363 | Dīvān of Bāḳī | undated, probably 16th cent. | contemporary binding."Former shelfmark: "93 T. De M. [i.e. Tammaro De Marinis]" in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap) ; two-piece binding (seam of overlapping flanges visible at spine) ; doublures in dark red-brown leather with large mandorla, pendants and cornerpieces in gold and black painted leather filigree appliqué over blue paper (design continues on interior of envelope flap) ; flyleaves (made endpapers) in slate blue paper, gold-flecked ; upper and lower covers block-stamped, black- and and gold-painted (large panel stamp repeated twice with central seam visible) with design of mandorla, pendants, cornerpieces, upper and lower rectangular piece and wide border overlaid with vegetal composition filling panel ; design continues on envelope flap ; sewn in light blue (approaching silver) thread, two stations ; worked chevron endbands in pink and yellow, fairly good condition ; overall in good condition with some abrasion, etc. ; likely repairs (edging, fore edge flap, etc.) in dark red / maroon leather.Support: non-European (likely Persian) laid paper with roughly 9 laid lines per cm. (vertical, indistinct) and no chain lines plainly visible, cloudy formation, some bits of fibre and inclusions visible, thin and crisp though sturdy, well-burnished, dark cream to beige in color ; opening section heavily moisture damaged with stains, traces of mold, etc. ; elsewhere breakthrough at frames.Decoration: Splendid illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of rectangular piece (bordered in bands of gold flanking orange-red band with black crosses) with empty gold cartouche surrounded by swirling vegetal decoration in gold with floral accents in red, yellow, green, light blue, and white on grounds of dark blue (approaching lapis) and gold, surmounted by band of gold with floral motifs (flanked by narrow bands of turquoise and gold) and scalloped dome with similar swirling vegetal motifs with floral accents (in light blue, red, white, orange, green, lavender, etc.) on grounds of gold and dark blue, itself surmounted by vertical stalks (tīgh) and delicate floral vegetal decoration ; similar elegant headpiece at opening of ghazals on p.62 (rectangular piece with empty cartouche srmounted by wide scalloped dome almost filling the well, chiefly in gold and dark blue approaching lapis with swirling floral vegetal decoration in gold, white, red, lavender, light blue, green, etc.) ; written area throughout surrounded by frame consisting of gold band outlined in black with inner orange fillet and outer blue fillet, divisions within defined by narrow gold bands outlined in black ; from p.257, rubricated section headings provided.Script: Nastaʻlīq (talik) ; elegant Ottoman hand in a medium line ; characteristically serifless with gentle effect of words descending to baseline, elongation of horizontal strokes, pointing in distinct dots, point of final nūn set at mouth (occasionally just above) wide, deep bowl ; text from p.257 to close possibly in a different hand.Layout: Written in 12 lines per page with written area divided to two columns ; frame-ruled (impression of ruling board visible).Collation: i, IV+1 (9), III+1 (16), 15 IV(136), II-1 (139), i ; almost exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Explicit: "صی دآن شاهد مطبوع شمایل باشی تمت م م م"Incipit: "خط مشك فامكله اى غنچه تر شكر در اولبلر ممسك مكرر ..." ; [ghazals] "ازلدن شاه عشقك بنده فرمانيوز جانا محبت ملكنك سلطان عاليشانيوز جانا ..."Title supplied by cataloguer.Ms. codex.Elegant copy of the collected poems of the celebrated Turkish poet, Baki Efendi (d.1600), opening with kaside in praise of Sultan Süleyman (opening on p.12 in Bâḳî dîvânı : tenkitli basım, Sabahattin Küçük, ed. Ankara: Türk Dil Kurumu, 1994) and closing with Persian verses (compare p.462 in Küçük edition). Contributions to the cataloguing from Elizabeth Kunze.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 864Origin: Lacks dated colophon ; paper, etc. would suggest late 18th or 19th century [as proposed by G. Meredith-Owens].Accompanying materials: a. Slip of paper with notes in handwriting of G. Meredith-Owens "MO 3. Persian | Dīvān of S̲anāʼī in two different hands (perhaps from two incomplete copies of the same work). Undated. XIXth century." -- b. Slip of paper with note "counted for 1968/69 Annual Report" -- c. Recycled card with note "binding by Menzies, London, 1914" -- d. Slip of paper: "Persian MSS (Heyworth-Dunne?) with Meredith-Owens notes."Former shelfmark: Mich. Isl. Ms. temp. no. 13Binding: Boards covered in mauve paper (blotched design evoking marbling) with red-brown leather over spine and board corners (half binding) ; Western style binding ; pastedowns and flyleaves in untinted wove paper ; head edge of text block gilt ; spine gold-stamped with "PERSIAN MSS." and accents on raised bands ; sewn in white thread over five recessed cords ; stuck-on endbands in green, red and white stripes ; overall in good condition with minor abrasion, etc.Support: non-European (likely Indian or Persian) laid paper of two types ; opening excerpt on a type with roughly 7 laid lines per cm. (vertical or horizontal, somewhat indistinct, some curving) and no chain lines plainly visible, cloudy formation, thin and transluscent though sturdy, dark cream with a grayish tint ; latter excerpt on a type with roughly 8 laid lines per cm. (vertical, somewhat indistinct) and chain lines visible (see p.198, etc.), cloudy formation, sturdy though transluscent, grayish tint ; replacement leaves in European wove paper.Decoration: Diagram accompanying excerpt on p.227.Script: Nastaʻlīq and shikastah (shikastah-nastaʻlīq / شكسته نستعليق) ; two main hands ; opening section (pp.25-180) in a large, elegant nastaʻlīq in a heavy line, serifless with elongation of horizontal strokes, descent of words to baseline, pointing in distinct or conjoined dots ; latter section (pp.197-208) mainly in a brisk shikastah-nastaʻlīq, serifless and more compact with sweeping descenders and elongated horizontal strokes (p.197 in a different nastaʻlīq) ; glosses and excerpts at close (pp.225-227) in still different hands.Layout: Written in up to 15 lines per page, divided to two columns.Collation: ii, III (6), II (10), IV-2 (16), 10 IV(88), 2 II(96), IV-2 (102), 2 II(110), 2 (112), II (116), ii ; original gatherings exclusively quaternions (some anomalous) ; blank replacement leaves inserted where text lacks ; middle of the quire marks in the form of black oblique strokes, upper outer corner of the right-hand leaf, lower outer corner of the left-hand leaf ; catchwords present ; foliation in now grey ink, Western numerals ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Explicit: "... امر است تمام شد دیوان ثنائی"Title from close on p.208.Ms. composite codex.Composite copy of the Dīvān of S̲anāʼī (Ḥusayn ibn Ghiyās̲ al-Dīn ʻAlī al-Mashhadī, d.1587?), acephalous and incomplete, possibly compiled from two incomplete copies with blank replacement leaves inserted where text was lacking.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 891Origin: As appears in colophon on p.258, transcription completed 16 Dhū al-Qaʻdah 1240 [ca. 2 July 1825].Accompanying materials: a. Scrap with inscription in ink "Durr i Maknūn | A.H. 1264 [?] | Not in B.M. or India Office" (paginated pp.1-2) -- b. Slip of ruled paper with inscription in ink "Durr | e | maknūn | – | MS. | 1204 | DURR | E | MAKNŪN | – | MS. | 1204 | Title on label. | Mended & furbished | Label removed & thrown away." (paginated pp.3-4) -- c. Slip with description in hand of G. Meredith-Owens "MO 16 Durr-i maknūn | A ṣūfī poem, being an abridgement of of the Mas̲navī of Rūmī made by ʻAbd al-Fattāḥ Gujaratī. Copied in 1204 (?)" (paginated pp.5-6) -- d. Slip with description (in hand of E. Husselman ?) "Muḥammad ibn Muḥammad, Jalāl al-Dīn, Rūmī | Durr i maknūn. An abridgment of the Masnavi Abd al-Fattah, Gujurātī. Written A.H. 1240 [in red pencil, '? 1204 ?'] = A.D. 1824. | n. f. anywhere | 118 ff. 236 pp." (paginated pp.7-8) -- e. Slip with note "Persian MSS (Heyworth-Dunne?) with Husselman and Meredith-Owen notes" (paginated pp.9-10) -- f. Slip with note "counted for 1968/69 Annual Report" (paginated pp.11-12).Former shelfmark: Mich. Isl. Ms. temp. no. 40Binding: Pasteboards (thin) covered in dark red leather ; Type III binding (without flap) ; doublures and hinges (trimmed in zig-zag pattern) also in dark red leather ; spine gold-stamped "PERSIAN | M. S." ; sewn in cream thread, two stations ; worked chevron endbands in dark blue and cream (headband) and dark blue and red (tailband), in fairly good condition ; overall in fair condition with minor abrasion, shrinkage, etc. ; pieced repairs in red leather at head and tail of spine, damaged at tail exposing primaries.Support: non-European (likely Indian or Persian) laid paper with roughly 11 laid lines per cm. (vertical, faint and fairly indistinct) and no chain lines plainly visible, quite cloudy formation, dark cream in color, quite well-burnished (burnisher's marks visible) ; flyleaves in European laid paper with watermark of dagger [?] in circle visible in front flyleaves.Decoration: Simple headpiece (ʻunwān / sarlawḥ) at opening on p.24, consisting of rectangular piece carrying the basmalah surmounted by scalloped dome (flanked by two other scalloped domes to evoke w-shaped piece) outlined in red and blue rules ; keywords and headings rubricated ; written area surrounded by triple rule-border in red and blue, divisions within defined by double rule-borders in red.Script: Nastaʻlīq ; elegant, compact hand in a medium line ; serifless with marked descent of words to baseline, elongation of horizontal strokes, pointing mainly in conjoined dots.Layout: Written in 12 lines per page, with written area mainly divided to two columns ; frame-ruled.Collation: vi, 11 V(110), V-1 (119), iv (plus letter tipped in) ; exclusively quinions ; middle of the quire marks in the form of black oblique strokes in upper outer corner of right-hand leaf and lower-outer corner of left-hand leaf ; catchwords present ; lacuna on p.154 marked "صحيح البياض" ; pagination in pencil, Western numerals, supplied during digitization (includes inserts and flyleaves).Colophon: "Scribal," triangular, reads "تمت وبالخير قد عمت ١۶ ديقعده ۱۲۴ هجرى والحمد لله على ذلك والصلوه على حبيبه واله واصحابه تم"Incipit: "ابتدا کرد مولوی علیه الرحمه مثنوی را در بیان معنیت [؟] حق با خلق که خمرت طینت آدم بیدی اربعین صباحا ..."Title from inscription on 'title page' (p.23).Ms. codex.Fine copy of a selection of excerpts from Rūmī's (d.1273) celebrated Mas̲navī compiled and elucidated by ʻAbd al-Fattāḥ al-Gujarātī.
Shiite prayer book; consists of prayers to be said on the visitation of Caliph ʻAlī ibn Abī Ṭālib's tomb. This manuscript of Durrat al-tāj (The crown jewel) is a Shiite prayer book, consisting of prayers to be said when making a visitation to the tomb of Caliph ʻAlī ibn Abī Ṭālib (circa 601-61). 'Alī ibn Abī Ṭālib is one of the most revered religious and holy figures of Islam. In Iran, he is referred to by the honorary name Amir al-Muʼminin, which translates from Arabic as “Commander of the Faithful” and is used to refer to him in Persian. Written works by 'Alī ibn Abī Ṭālib and sayings attributed to him are sacred to the Shiite faithful, particularly among Persian speakers. The manuscript was probably written in Iran, possibly in the 17th century. The paper is of a thick, cream-colored polished Middle Eastern style, without distinctive chain or laid lines, and no watermark. The text is written in black ink in naskhī script, nine lines on each page, with gold decorations between lines. The borders of the written area are lined with black ink, with profuse decoration outside of the written area. The text is rubricated. The title was added by a later hand. There is no colophon. The binding is referred to as chahargusheh, meaning a frame binding made around a Kashmiri shawl dating from the first half of the 1700s (circa 1740s). World Digital Library.
This work is a compendium of the compositions (primarily in verse) of Ghulām Muḥammad Khān (1830-1900), a prominent Pashto Afghan intellectual of the 19th century. Known by his pen name Ṭarzī (the Stylist), Ghulām Muḥammad Khān was a member of the important Bārakzay tribe of Kandahār. The dībācha (introduction) of this work includes an account of Ghulām Muḥammad Khān and his family's exile from Afghanistan in 1882, which was ordered by Amir ʻAbd-al-Raḥmān (reigned 1880-1901). The important and detailed account of the family's life outside Afghanistan, dated June 15, 1892, was written by Ghulām Muḥammad Khān's son, Maḥmud Ṭarzī (1868-1935), a famous intellectual and author in his own right who is generally referred to as the father of journalism in Afghanistan. It describes his family's stay in Karachi and subsequent immigration to Syria, where Ghulām Muḥammad Khān received the protection and sponsorship of the Ottoman ruler Abdülhamid II (reigned 1876-1909). The bulk of Ṭarzī's dīwān (divan or collection) consists of his ghazals (lyric poems), which are grouped alphabetically according to the last letter of the radīf (rhyme). In Persian literature the ghazal generally denotes a metered and rhymed poem expressing the beauty and pain of love. The ghazal was derived from the qaṣīda (ode); and it matches the rhyme scheme of the qasida, although it is shorter, generally consisting of 12 verses or less. Many of Ṭarzī's ghazals are response poems, referring to earlier poets in the Persian and Indo-Persian tradition. In this regard, the poems of ʻAbd al-Qādir Bīdil (1644 or 1645-1720 or 1721) and of Ṣā'ib Tabrīzī (1601 or 1602-77) figure prominently. In addition to poems in the ghazal form, Ṭarzī's divan includes his rubāʻīyāt (quatrains) and other poetic forms, such as the tarjīʻ band and the tarkīb band (strophic forms, with a series of isolated verses marking the end of each strophe). This edition is dated August 10, 1893. The work was published by Sardār Muḥammad Anwar Khān and printed at the press of Fayḍ Muḥammadī in Karachi. The calligrapher is Muḥammad Zamān. The cover of this copy contains a handwritten note indicating Asmā' Ṭarzī, wife of Maḥmūd Ṭarzī, as the owner, and containing the date 11 Sha'ban, 1336 AH (May 22, 1918). Upon his accession to the throne, the Afghan ruler Amir Ḥabībullāh (reigned 1901-18) gave amnesty to Ghulām Muḥammad Khān's family, allowing its members to return to Afghanistan. A measure of the family's improving fortune is that Asmā' and Maḥmūd Ṭarzī's daughter, Soraya, married Amir Ḥabīballāh's son and was queen of Afghanistan from 1913 to 1929. World Digital Library.
This copy of the Shahnameh (Book of kings) was published by subscription in Bombay in 1906 by the Indian Parsi community. The Shahnameh is a Persian epic poem of more than 50,000 couplets that recounts the pre-Islamic and Sassanid history of Persia and the story of the Islamic conquest. Abu al-Qasim Firdawsi, the author, worked for some 30 years on the Shahnameh, which he presented to his patron, the Turkic-Persianate ruler of Ghaznavid dynasty, Sultan Mahmud, in 1010. This lithographic edition has a table of contents, a prose foreward, the Hajw-nama (a verse lampoon of Sultan Mahmud), the Shahnameh narrative, and a section with additional information (paginated differently). The foreward discusses the modern Persian language, the role of Firdawsi in its development, the greatness of the Shahnameh, the politics of writing the Shahnameh under the patronage of Sultan Mahmud, and the use and consultation of previous manuscripts for the compilation and publication of this edition. The Hajw-nama is a satirical poem that describes the dispute between Firdawsi and Sultan Mahmud; historians and literary scholars disagree about whether or not Firdawsi himself wrote it. The main narrative begins with verse notes praising God, the conception of wisdom, the creation of the world and human beings, the Prophet Muhammad and his companions, and the composition of the Shahnameh. The narrative that follows tells the stories of the mythical pre-Islamic Persian heroes and kings, starting with the mythical accounts of the creation of the world and the first man, Keyumars, the heroic wars between Iranian and Turanian heroes (particularly of the greatest Iranian hero, Rustam). This is followed by the history of the late Sassanian kings and the story of the conquest of Persia by Muslim armies. The book includes a glossary of rare and non-Persian words that appear in the Shahnameh. The final section contains notes on the publication of this edition, the names and professional titles of many notable individuals of the Parsi community in India, and the list of subscribers. Pagination is done differently throughout the text, both in Arabic and modern Persian numerals. Lithographic images depict individuals who play roles in or are described in the poem, beginning with the pre-Islamic Persian prophet Zoroaster. The image on page 15 shows Firdawsi standing in line with other great Persian poets, offering his completed Shahnameh to Sultan Mahmud. World Digital Library.
Title from f. 1r.According to colophon (f. 60v), copy completed in Tabrīz in Rajab 551 AH [August 1156 AD] in the hand of Muḥammad ibn Yaḥyá ibn Aḥmad al-Ardabīlī.Written in two columns, from 16 to 18 lines per page, in black ink. Each column framed within double golden or grey now faded lines.There is numerous aniconic headpieces in colors and gold and 16 miniatures.On inside back cover: "Purchased for Philip Hofer in Tehran as an example of 12th century illumination and presented as such to the Harvard College Library. Subsequently doubts arose as to its authenticity and it was submitted to experts for examination."Persian poems.MS Typ 1016. Houghton Library, Harvard University.In Persian.Electronic reproduction. Cambridge, Mass. : Harvard College Library Digital Imaging Group, 2008. (Open Collections Program at Harvard University. Islamic Heritage Project).
Abstract: Collection of three texts related to Niʻmat Allāh Valī.Binding note: Orange-brown leather over cardboard. Blind-tooled frames with small motif in the corners. Blue paper pastedowns.Contents: 1. fol. 1a-338a: Dīvān / Niʻmat Allāh Valī.Contents: 2. fol. 338a-340a: Short text on the Mahdī.Contents: 3. fol. 340b-400b: Biography of Niʻmat Allāh Valī, in five chapters.Ms. codex.Title provided by cataloger.Physical description: 17 lines per page. Written in nastaʻlīq in black ink with use of red and occasionally gold (see fol. 343b). The text is framed in gold, black and blue. Dark cream glazed paper with laid lines visible. Some leaves mended (see fol. 1-8 and fol. 400).Decoration: Illuminated title page (fol. 1a). Illuminated headpieces at the beginning of texts 1 and 3 (fol. 1b and 340b).Origin: Text 1 copied on 1 Dhū al-Ḥijjah 924 Dec. 4, 1518 (colophon, fol. 338a). Text 3 copied in 925? 1519 (colophon, fol. 400b, hardly legible).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 313Origin: As appears in colophon on p.862, copied and illuminated (gilded) by Murshid al-Dīn ibn Ṣadr al-Dīn al-Mudhahhib [al-Muẕahhib] with transcription completed 23 Muḥarram 894 [ca. 27 December 1488].Former shelfmark: "164 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf (p.1).Binding: Pasteboards covered in brown leather ; Type II binding (with flap) ; doublures in deep red leather with large central mandorla in leather filigree appliqué over blue paper and green silk as well as gold-painted accents and tooled border ; upper and lower covers carry exquisite stamped scalloped mandorla (filled with symmetrical vegetal composition somewhat similar to Déroche class. OSd 2 on a gold ground) and cornerpieces, along with tooled border featuring rows of s-shaped stamps ; design continues on flap ; sewn in light pink and blue thread, two stations, failing, gatherings loose ; worked chevron endbands in light green-blue and light pink, damaged, tailband gone ; overall in fairly good condition with minor staining, abrasion, etc.Support: non-European (likely Persian or Indian) laid paper with 8 laid lines per cm. (vertical) and chains only faintly visible (possibly in pairs), sturdy and fairly thick, deep cream in color, well-sized and burnished to glossy.Decoration: Superb illuminated frontispiece on 'title page' (p.3) consisting of a scalloped almond (mandorla) or diamond shaped medallion with gold cartouche (carrying "لصاحبه السعادة والسلامة" mainly effaced) surrounded by floral vegetal pattern in green, gold, red, yellow, white, and pink on a lapis lazuli ground, bordered in gold with blue tīgh accents ; exquisite illuminated headpiece (ʻunwān / sarlawḥ ) at opening on p.4 consisting of large rectangular piece with central almond-shaped cartouche carrying title ( "ديوان امير خسرو دهلوى" ) in white over light blue arabesque and surrounded by swirling floral vegetal design (in gold, pink, white, yellow, turquoise, etc. on fields of lapis lazuli and gold) and lozenge border reminiscent of book cover design, surmounted by a row of arabesque and floral motifs in gold, red, turquoise, pink, white, yellow, etc. on fields of gold and lapis lazuli, all surmounted by vertical stalks (tīgh) in blue ; written area surrounded by frame consisting of gold band defined by black fillets and outermost blue rule ; section headings and keywords chrysographed or in blue.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 with written area often divided to two columns ; frame-ruled.Collation: i, IV-1 (7), 52 IV(423), IV-1 (430) ; exclusively quaternions (first and last anomalous) ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes front flyleaf)Colophon: "Scribal," triangular, in Arabic, reads "تمت الكتاب من كلام افصح المتكلمين وقدوة الشاعرين امير خسرو دهلوى قدس الله روحه العزيز ورحمة الله عليه والحمد لله على اتمامه والصلوة والسلام على خير خلقه محمد واله واصحابه وازواجه ذرياته في يوم السبت ثالث عشرين محرم الحرام سنه اربع وتسعين وثمانمائة كتبه وذهبه العبد الراجي الى رحمة الله الملك الواهب مرشد الدين بن صدر الدين المذهب اللهم اغفر لصاحبه ولكاتبه ولقاريه ولجميع المؤمنين والمؤمنات"Explicit: "هر که علیکم نبگوید تمام به که سلامش نکنم و السلام"Incipit: "حمد رانم برزبان لله رب العالمین آنکه جان بخشید در قرآن هدی للمتقین ..."Title from illuminated headpiece at opening on p.4.Ms. codex.Elegant copy of the Dīvān of Amīr Khusraw Dihlavī (d.1325).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 282Origin: As appears in colophon on p.373, copied by Ibn marḥūm Abū al-Khayr [?] Āshtiyānī al-Qummī Yaʻqūb with transcription completed in Āshtiyān in 22 Muḥarram 1252 [ca. 9 May 1836].Former shelfmark: "17/4" in ink on 'title page' (p.1) ; "103 T. De M. [i.e. Tammaro De Marinis]" in pencil on final leaf (p.376).Binding: Heavy pasteboards covered in painted lacquerwork, spine in quite dark brown leather ; Type III binding (without flap) ; two-piece binding (overlapping flanges visible) ; doublures in fine painted lacquerwork with paintings of a tall narcissus-like plant with leaves in shades of green and flowers and buds in yellow with pink accents at the head of a central stalk, flanked by smaller pink flowers, all on a red ground with border in black with gold accents (composition of upper doublure mirrors that of lower doublure) ; upper and lower covers bear paintings of nearly identical floral composition in mirror image to one another on a deep golden-orange or bronze-colored background, namely a central cluster of peonies, poppies, tulips, etc. with additional buds and floral forms filling the main panel all in shades of pink, light blue, lavender, and white with leaves in various shades of green, and surrounded by decorative band of floral vegetal motifs on a deep golden-orange or bronze-colored ground framed in black borders with gold accents ; sewn in light red (opening nine and final six quires) and spring green thread, two stations ; worked chevron endbands in light red and spring green, fair condition ; overall in somewhat poor condition with some abrasion and losses to lacquerwork and pasteboard, cracking and crazing of lacquer, minor delamination at board corners, breakage and losses at joints where spine leather meets boards, spine almost fully detached except where primaries are sewn through spine lining, etc. ; not flush with text block, slightly tall and wide ; housed in box for protection.Support: European machine laid paper mainly with chain lines 21 mm. apart and "laid lines" in a cross-hatch pattern, watermarks include "BENto PICARDO" (see p.4, 12, 358, etc.), scrollwork with motif resembling diamond flanked by C's and 1833 below (see p.364, etc. compare motif as appears in Heawood nos. 3728 and 3747), and six-pointed star with eFIGLI below (see p.352, 370) ; crisp, transluscent though sturdy, light cream with tinge of gray, well-burnished.Decoration: Fine illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of rectangular piece with gold cartouche carrying the title in black ("ديوان امير معزى") flanked by arabesque motifs in gold, red and blue, surmounted by a scalloped dome filled with swirling arabesque in gold with red and blue accents, all set in a well of gold and black bands framing red vegetal accents ; written area surrounded by a frame of gold bands defined by black fillets with outermost blue rule, columns within also defined by gold bands.Script: Nastaʻlīq (with elements of shikastah-nastaʻlīq) ; compact, elegant hand ; serifless, with slight effect of words descending to baseline, closed counters, and elongated horizontal strokes, freely ligatured.Layout: Written in 23 lines per page, written area mainly divided to two columns; frame-ruled.Collation: 6 IV(48), III+2 (56), 15 IV(176), 2 III(188) ; almost exclusively quaternions ; final leaf left blank ; catchwords present ; quire numbering in the form of Hindu-Arabic numerals in black ink in the upper outer margin of the verso of the final leaf of each quire ; pagination in pencil, Western numerals, supplied during digitization (includes back flyleaf).Colophon: "Scribal," reads "بتاريخ يوم دوشنبه بيست و دويم شهر محرم الحرام هزار و دويست و پنجاه و دو هجرى در قريه اشتيان صورت اتمام پديرفت حرره العبد اقل ابن مرحوم ابو الخير [؟] آشتيانى القمى يعقوب ..."Explicit: "بهر جشنى كه بنشينى سعادت همنشين بادت بهر راهى كه بخرامى سلامت راهبر بادت"Incipit: "ستاره سجده برد طلعت منير ترا زمانه بوسه دهد پايه سرير ترا ..."Title from illuminated headpiece at opening on p.2.Ms. codex.Elegant copy of the Dīvān of Muʻizzī (Amīr Muʻizzī), Muḥammad ibn ʻAbd al-Malik (d. between 1125-7).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 283Origin: As appears in colophon on fol.227a (p.453), copied (حرره) by Muḥammad Taqī in the village of Ashtān [?] (در قصبه اشتان). Transcription finished 7th Ramaḍān 1265 [ca. 27 July 1849].Accompanying materials: Slip of laid paper with writing ; on one side in black ink, what appears to be a list of books, works ; on the other side in red and black ink, notes on grammar.Binding: Pasteboards faced in red leather with spine, edges / turn-ins, doublures and doublure hinges in rich, green-blue (teal) leather (leather faced and edged framed binding) ; Type III binding (without flap) though not flush with this text block ; two-piece binding (seam of overlapping flanges visible at spine) ; upper and lower covers bear central scalloped mandorla and pendants, blind-stamped with recessed onlays in green (reminiscent of oxidized "gold" paint) and traces of gold paint on floral design within ; border composed of a series of s-shaped stamps, gold painted and flanked by gold fillets ; sewn in green thread, two stations ; fine chevron endbands in purple and green ; in good condition with some minor abrasion, wear at corners, staining, etc.Support: Machine wove paper of a few different types, all fairly thick, well-burnished ; watermarks / countermarks include Cyrillic "Г г С" (large letters in script, see p.8, 16, 24, 122, etc.), possible Cyrillic "К Я" (in p.158 etc.), Cyrillic "A Б" (p.202, 402, 404, 432, 442, etc. and cf. example in Klepikov p.38 dated 1851), and possible numerals 1 8 (p.424 etc.) 4 6 (p.400, 420 etc.) suggesting year 1846 ; embossed mark in p.233, 247, 322, 447, etc. (oval with only trace of border inscription, etc.) ; some staining, moisture damage, ink smudges ; tacky ink has resulted in blocking in some places.Decoration: Illuminated headpiece (ʻunwān) on fol.1b (p.2) consisting of narrow rectangular panel with cartouche bearing the basmalah surmounted by scalloped w-shaped piece with swirling floral vegetal design in light blue, pink, orange, red, pistachio and white, on a field of gold with lapis lazuli accents ; above the piece stand vertical stalks (tigh) in blue ; the piece is framed in a well consisting of a heavy red band with scalloped decoration in white, flanked by bands of pistachio and gold ; text throughout is ruled in a simple frame consisting of a narrow gold band outlined in black fillets with an outermost blue fillet and at some distance in the margin a second blue fillet ; text rubricated with section headings, overlinings, etc. in red.Script: Nastaʻlīq ; small, elegant Persianate hand in medium line ; sans serif with characteristic descent of words to baseline, superscripting of final letters and words, elongation of horizontal strokes, pointing in distinct dots.Layout: Written in 25 lines per page ; single column divided to two columns to set off poetry ; frame-ruled.Collation: ii, 26 IV (216), III+1 (223), II (227), ii ; chiefly quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular, in Arabic and Persian, reads: "تمت الکتاب بعون الله الملک الوهاب بتاریخ یوم هفتم شهر رمضان المبارک سنه ۱۲۶٥ هزار و دویست و شصت و پنج هجری در قصبه اشتان حرره محمد تقی" followed by scribal verses.Explicit: "منم از قاضیان مشار الیه وان دگر کیر ماست عز علیه"Incipit: "مقدری نه بالت بقدرت مطلق کند ز شکل بخاری چو کنبد ازرق ..."Title from fore-edge.Ms. codex.Fine copy of collected poems (mainly his qaṣāyid and muqaṭṭaʻāt without systematic arrangement) of Awḥad al-Dīn Anvarī (d.1189 or 90).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 847Origin: As appears at close on p.143, transcription possibly completed in 1205 [1790 or 91] ; decoration, paper, etc. also suggest late 18th century.Former shelfmark: "۲۰۸" in black ink on front flyleaf (p.1).Binding: Boards covered in dark green leather ; Type III binding (without flap) ; board linings in golden yellow paper ; upper and lower covers carry gold-painted floral cornerpieces and gold-tooled border in a series of striated s-shaped stamps ; sewn in yellow thread, two stations ; worked chevron endbands in dark blue and yellow, good condition ; overall in fairly good condition with only minor abrasion.Support: non-European (likely Persian or Indian) laid paper with 10 laid lines per cm. (vertical, fairly distinct) and occasional single chain lines visible, gray / off-white in tone, thin and transluscent though sturdy, quite glossy.Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.4 consisting of rectangular piece with empty gold cartouche flanked by floral designs in gold, red, orange, yellow, and light blue on a blue ground, surmounted by vertically elongated scalloped w-shaped piece filled with swirling floral vegetal design in gold, pink, light blue, green, orange, etc. on fields of gold and blue, all set in an elaborate well of heavy gold interlace and red bands with white scroll accents, defined by white and gold bands ; incipit and facing page (pp.4-5) carry splendid illuminated marginal decoration consisting of swirling floral vegetal designs with blossoms and saz leaves in gold with black outline and accents in shades of pink, orange, blue, and white ; written area of incipit and facing page accented by gold cloud-bands and vegetal decoration setting off the two columns within ; written area (as well as divisions within and margins) throughout surrounded by gold frame defined by black fillets.Script: Nastaʻlīq ; elegant hand ; serifless with effect of words descending to baseline, elongation of horizontal strokes, mainly closed counters, somewhat casually pointed, occasionally more freely ligatured as in shikastah.Layout: Written in 12 lines per page, with written area divided to two columns ; frame-ruled.Collation: IV+1 (9), 4 IV(41), V (51), IV (59), IV+1 (68), IV (76) ; chiefly quaternions ; final four leaves left blank ; catchwords present ; pagination in pencil, Western numerals (includes flyleaves).Incipit: "ز نور قبه زرين آينه تمثال زمين تفته فرو پوشد آتشين سربال ..."Title supplied by cataloguer.Ms. codex.Exquisite copy of a portion of the Dīvān of Ḥakīm Azraqī Haravī, Zayn al-Dīn Abū Bakr (d. before 1073).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 344Origin: As appears in colophon on p.172, copied by Ḥusayn ibn Shams al-Ḥusaynī al-Jurjānī with transcription completed in haste ("ʻalá sabīl al-istiʻjāl...") Rabīʻ II 868 [November-December 1463].Former shelfmark: "447 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on 'title page' (p.1).Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap) ; doublures in brown leather with gold-painted central ornament (four-petalled flower), rule-border and accents, as well as border in blind rules ; upper and lower covers carry central blind-tooled scalloped mandorla having fleurons in the manner of a three-sepaled calyx at the upper and lower extremities and filled with interlace pattern (compare Weisweiler W 89-95) all defined in a simple gold-painted rule, as well as tooled border in a series of rules and s-shaped stamps ; sewn in light blue thread, two stations ; overall in fair condition with some abrasion and staining, lifting of leather, etc.Support: non-European (likely Persian) laid paper with 9 laid lines per cm. (horizontal, faint, somewhat indistinct) and grouped chain lines faintly visible (likely in pairs), sturdy and well-burnished, dark cream in color.Decoration: Headings chrysographed.Script: Nastaʻlīq ; exquisite hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 11-12 lines per page, mainly divided to two columns ; frame-ruled.Collation: III (6), III+1 (13), III (19), II (23), IV (31), I (33), III (39), 3 IV(63), III (69), VIII+1 (86), I (88) ; miscellany of ternions, quaternions, etc. ; catchwords occasionally present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," triangular, in Arabic, reads "وقد وقع الفراغ من هذه الديوان على سبيل الاستعجال بيد اضعف عباد الله الغنى حسين بن شمس الحسينى الجرجانى تجاوز الله عن سيائه وذلك فى شهر ربيع الثانى لسنه ثمان وستين وثمانمائة هجرية"Explicit: "چون تو بر اسرار دیماهی [؟] علیم ختم شد استغفر الله العظیم"Incipit: [Dīvān-i Fattāḥī] "شراب عشق صافی گشت در خمخانه دلها الا یا ایها الساقی ادر کاسا و ناولها ..." ; [Muntakhab-i Shabistān-i khayāl] "بعد از لوازم توبه واستغفار ..."Title from inscription on 'title page' (p.1).Ms. codex.6. p.156-p.176 : [further verses opening "بنام آهنگ از خمهای افلاک شراب فیض فطرت ریخت بر خاک " and likely comprising Dīvān-i Khumārī mentioned on the title page].5. p.153-p.155 : [blank].4. p.65-p.152 : [further poems, likely comprising the Dīvān-i asrār mentioned on the title page].3. p.58-p.65 : [Muntakhab-i Shabistān-i khayāl] / Ḥakīm al-Dīn al-Asrārī.2. p.54-p.57 : [blank].1. p.2-p.53 : [Dīvān-i Fattāḥī] / Muḥammad Yaḥyá ibn Sībak.Elegant copy of the Dīvān of Muḥammad Yaḥyá ibn Sībak (d. 1448 or 9), known mainly as Fattāḥī, as well as Tuffāḥī, Asrārī or Khumārī, accompanied by other excerpts.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 339Origin: Lacks dated colophon ; paper, decoration, etc. would suggest 18th or early 19th century. Flyleaves likely early 19th century.Accompanying materials: Blank scrap of paper paginated pp.287-288.Former shelfmark: "115 T. De M. [i.e. Tammaro De Marinis]" on upper board lining.Binding: Pasteboards covered in dark red leather ; Type III binding (without flap) ; board linings in yellow-tinted laid paper, flyleaves in lavender surface-dyed, gold-flecked laid paper ; upper and lower covers carry stamped (with recessed onlays, now gone to green and white) four-lobed central ornament evoking two intersecting lozenges or lozenge with two domes radiating from it (filled with vegetal composition having large floral motifs) and pendants, as well as tooled border in blind rules and a series of s-shaped stamps ; sewn in blue-green thread, two stations ; worked chevron endbands in yellow and pink, good condition ; overall in fairly good condition with some abrasion and staining, lifting of leather, minor delamination of boards, etc. ; repair to spine (rebacked) in similar red leather.Support: non-European (likely Persian or Indian) laid paper with 8 laid lines per cm. (vertical, fairly distinct) and occasional pairs of chain lines visible, sturdy, well-burnished, dark cream to beige in color ; endpapers in European laid paper ; minor staining and tide lines ; added flyleaves in European laid paper with 11 laid lines per cm. (horizontal), chain lines spaced 25-26 mm. apart (vertical), and watermarks of "ALMASSO" and scrollwork with eagle above horse "GAM" below.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.8, consisting of narrow rectangular piece carrying the basmalah flanked by floral accents, surmounted by a larger rectangular piece with gold cartouche carrying the title in red ink ("ديوان كليم عليه الرحمة") flanked by floral motifs mainly in white and gold with red and blue accents on fields of gold, blue and red, itself surmounted by a scalloped w-shaped piece (central dome flanked by two partially visible domes) filled with swirling floral vegetal composition in green, white, pink, yellow, orange, blue and red on fields of gold and blue, all surmounted by vertical stalks (tīgh) in blue and set in a well of blue and red bands with white accents ; another fine doublue-page illumination (headpiece along with cloudbands in written areas) at opening on pp.158-159 ; written area (central panel, columns within, and ruled margins) of incipit and facing page surrounded by gold frame and red rule-border with text set off by gold cloud-bands, elsewhere only gold frame appears ; keywords and section headings rubricated.Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in roughly 43 'lines' per page, 17 in the central written area and as many as 26 on the diagonal in the margins ; central written area mainly divided to two columns ; frame-ruled.Collation: iii, 22 IV(176), II-1 (179), iii ; almost exclusively quaternions ; middle of the quire marks in the form of ٢ at a slight angle in the outer margin of the lefthand leaf ; catchwords present ; page between sections (p.157) left blank ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves and blank insert).Incipit: "شوق هر کس را که در راه طلب سر میدهد گر در آرد اول از پا آخرش پر میدهد .."Title from illuminated headpiece at opening on p.8.Ms. codex.Elegant copy of the Dīvān of Kalīm Abū Ṭālib (d. 1651).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 340Origin: According to colophon on p.503, supposedly copied by Muḥammad Masīḥ Shīrāzī with transcription completed 17 Muḥarram "٨٠۴" [ca. 27 August 1401], which seems impossible given Kalīm's dates ; 17 Muḥarram 1084 [i.e. ca. 4 May 1673] may have been intended. Ownership statement on 'title page' (p.1) provides a terminus ante quem of 1684.Former shelfmark: "121 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf.Binding: Pasteboards covered in black leather seemingly covered with lacquer ; Type II binding (with flap) ; two-piece binding (overlapping flanges visible at spine) ; doublures in dark red leather gold-tooled with oval central ornament, crosses above and below, corner accents and border (all built up of small annular stamp) defined by gold rules ; upper and lower covers carry stamped central lozenge, pendants and cornerpieces (central lozenge and cornerpieces filled with composition of vegetal designs surrounding bird) painted red and bronze-gold and layered with lacquer, as well as border in gold-painted vegetal designs defined by gold fillets ; sewn in golden yellow and blue thread, two stations ; worked chevron endbands in golden yellow and blue thread ; overall in somewhat poor condition with envelope flap almost fully detached from fore edge flap (losses at joint), some lifting and losses of lacquer and leather, abrasion, losses and delamination of boards at edges, etc.Support: non-European (likely Persian) laid paper with roughly 9 laid lines per cm. (vertical, somewhat indistinct) and irregular chain lines visible, dense and sturdy though thin, well-burnished, dark cream in color ; flyleaves in European laid paper ; extensive pest damage in final seven leaves ; flyleaves in European laid paper.Decoration: Superb illuminated double-page opening on p.2-3 with headpiece (ʻunwān / sarlawḥ) consisting of rectangular piece with empty gold cartouche flanked by gold pendants surrounded by delicate floral vegetal decoration in orange, yellow, lavender, white, and red on a lapis and gold ground, surmounted by elongated scalloped dome filled with chi cloud and floral motifs in gold, orange, light blue, white, lavender, etc. surrounding pink pendants, all set in a well of now dark brownish blue with white accents flanked by narrow blue and gold bands ; marginal decoration of gold-painted plants and animals (lion, fox, rabbit, phoenix, antelope, etc.) completes the double-page illumination ; another exquisite illuminated headpiece at opening of ghazals on p.250 ; written area throughout surrounded by gold frame with blue outermost rule, divisions within defined by narrow gold bands ; text of written area of double page opening set off by gold cloud-bands, elsewhere flecked with gold ; gold-painted vegetal and animal decoration at close of some sections (see pp.249 and 491).Script: Nastaʻlīq ; elegant hand in a medium line, compactly filling the line ; characteristically serifless, with effect of words descending to baseline, elongation of horizontal strokes, pointing in conjoined dots, point of final nūn set down in wide, slightly angled bowl.Layout: Written in 17 lines per page with written area often divided to two columns ; frame-ruled.Collation: i, 9 IV(72), III (78), 9 IV(150), III (156), 6 IV(204), III+1 (211), 2 IV(227), IV+1 (236), 2 IV(252), i ; chiefly quaternions ; oblique catchwords on the verso of each leaf ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular, reads "بتاریخ هفدهم شهر محرم الحرام سنه ٨٠۴ سمت تحریر یافت علی ید الاحقر بل اللاشی محمد مسیح شیرازی م م م"Explicit: " آرایش روزگار امروز ازوست بر روی زمانه زلف پر پیچ و خمیست"Incipit: "شوق هر کس را که در راه طلب سر میدهد گر در آرد اول از پا آخرش پرمیهد ..."Title supplied by cataloguer.Ms. codex.Elegant copy of the collected poems of Kalīm Abū Ṭālib (d. 1651). Descriptive contributions from Nick Krabbenhoeft.
Abū Ṭālib Kalīm Hamadānī (or Kāshānī, died 1651; 1061 A.H.) was one of the foremost Persian poets of the 17th century. He was born in Hamadan (present-day Iran) but appears to have lived in Kashan (also in Iran) for a sizeable portion of his life--hence the appellation Kāshānī. He received his education in Kashan and in Shiraz before moving to India to serve the Mughal ruler Jahangir (reigned 1605-27). Abū Ṭālib was thus among a large number of Persian poets and literati who left Persia in search of patronage in the Indian subcontinent beginning in the 16th century. Under Jahangir's successor, Shah Jahan (reigned 1628-58), Abū Ṭālib achieved the rank of poet laureate. Later in life he is said to have accompanied Shah Jahan to Kashmir, which became his home until his death. Abū Ṭālib's fame rests principally on his ghazalīyāt (a metrical form expressing the pain of loss and the beauty of love). Of the 10,000 verses that appear in his divan (or collected poems), about half were written in the ghazal form. He is especially renowned for the novelty of his themes, for which he came to be known as khallāq al-maʻānī (creator of meaning). Other characteristics of his poems are the originality of his khayāl bandī (rhetorical conceits) and the aptness of his mithālīya (illustrations). Abū Ṭālib was also the author of Shāh Jahān Nāma (The book of Shah Jahan), a work which, following the style of the epic Shāhnāma (The book of kings), praises Timur and the Timurid rulers up to Shah Jahan. In the present illuminated copy of Abū Ṭālib's divan, the maqtaʻ (final verse) of many of the poems, which generally includes the takhalluṣ (pen name of the poet), is set off in its own frame. The year 1103 A.H. (1691-92) is written in the colophon. World Digital Library. Collected poems of Abū Ṭālib Kalīm.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 343Origin: As appears in colophon on p.307, copied in Qazvīn in 905 [1499 or 1500].Former shelfmark: "486 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf ; "١٣٥" on recto of front flyleaf.Binding: Pasteboards now fully covered in spring-green silk faced / backed with paper (covered boards faced and lined, i.e. silk fully wraps apparently already leather-faced boards as with an overcover / slipcover, compare Isl. Ms. 341) ; Type II binding (with flap) ; flyleaves in yellow surface-dyed and gold-flecked European laid paper (scrollwork with tower at center and "CENEDA" below in back flyleaf [?]) ; upper and lower covers bear traces of stamped mandorlas beneath the textile ; sewn in red thread, two stations ; worked chevron endbands in red and yellow, fairly good condition ; overall in fairly good condition with some staining, abrasion, lifting and losses of cloth and paper, etc.Support: non-European laid paper with 9 laid lines per cm. (vertical, indistinct) and no chain lines clearly visible, quite thin and transluscent though sturdy, well-burnished, dark cream in color ; endleaves in European laid paper ; some staining and tide lines.Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of rectangular piece with gold cartouche and flanking pieces overlaid and surrounded with swirling arabesques and floral motifs in shades of gold, red, orange, and pink on fields of lapis lazuli, surrounded by border of turquoise interlace and surmounted by another rectangular piece carrying a row of intertwining arabesque and chī clouds with floral motifs (all in green, lavender, orange, and pink) on a gold ground, itself surmounted by vertical stalks (tīgh) in blue ; written area surrounded by gold frame with defining black fillets and outermost blue rule, columns within also defined by gold rules ; written area gold-flecked ; interlinear glosses rubricated.Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in roughly 15 lines per page, with written area mainly divided to two columns ; frame-ruled.Collation: ii, IV-1 (7), 18 IV(151), I+1 (154), ii ; almost exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," mainly in Arabic, reads "تم الكتاب بدار الموحدين قزوين سنه خمس وتسعمايه م"Incipit: "اقتتاح سخن آن به که کندن اهل کمال بثنای ملک الملک خدای متعال ..."Title supplied by cataloguer.Ms. codex.Elegant copy of a selection of the collected poems of Kamāl Khujandī (d.1400 or 1).
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.
Selections from two poets including qaṣāʼid, ghazalīyāt, rubāʼiyāt and muqaṭṭiʻāt; two leaves are replacement leaves and are quite brittle and damaged (f. 45-46); some leaves missing from the end; dampstaining throughout.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 319Origin: Lacks dated colophon ; decoration, etc. suggest late 16th or early 17th century.Former shelfmark: "82 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on upper board lining.Binding: Pasteboards covered in black leather (pebbled quality of shagreen) ; Type III binding (without flap), possibly two-piece; board linings (pastedowns) in light pink-tinted laid paper, flyleaves in gold-flecked pink-tinted laid paper ; upper and lower covers carry stamped and gold-painted scalloped mandorla (filled with vegetal composition surrounding two seated gazelles, recessed inlay) with pendants and gold-painted accents and borders ; sewn in light yellow thread, two stations ; worked chevron endbands in pale yellow and pale pink [?], tailband almost gone, headband damaged ; overall in somewhat poor condition with abrasion, staining, delamination of boards, lifting and losses of leather (inlay of upper mandorla), etc. ; edging (repair) in quite dark brown to black leather.Support: non-European (likely Persian or Indian) laid paper with 9 laid lines per cm. (horizontal) and no chain lines visible, sturdy though thin and transluscent, well-burnished ; repair to opening leaf / 'title page' in European laid paper with coat of arms watermark (consisting of cross flanked by lions above two circles).Decoration: Splendidly executed illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with gold cartouche carrying the title in white ( "ديوان خواجه حافظ شيرازى" ) surrounded by swirling arabesque with floral accents in red, yellow, white, pink, light blue, red-orange, etc. on fields of blue (lapis lazuli) and gold (approaching lapis lazuli) with red border, surmounted by tall (vertically elongated) scalloped w-shaped piece filled with same manner of swirling arabesque with floral accents (carnation, etc.) in green, yellow, white, light pink, light blue, and red-orange on fields of blue (lapis lazuli) and gold, itself set into a well of red ; incipit and facing page carry finely executed illuminated marginal decoration in the form of swirling vegetal composition with large serrated sāz leaves and floral motifs in gold with blue and red accents ; written area throughout surrounded by a frame of gold bands defined by black fillets and outer blue and red rules ; text of incipit and facing page set off with gold cloud-bands ; occasional floral accents in green, red, white, light pink, gold etc. appear occasionally between sections of text.Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, elongated horizontal strokes, somewhat exaggerated contrast in thickness of horizontal and vertical strokes.Layout: Written in 16 lines per page ; written area often divided to two columns to set-off poetry ; frame-ruled.Collation: i, III+3 (9), 10 IV(89), 2 III(101), 4 IV(133), III (139), IV (147), III (153), III-2 (157), I (159), i ; chiefly quaternions ; catchwords present (though often cut off) ; pagination in pencil, Western numerals, supplied during digitization (skips two pages between pp.5-6).Explicit: "گفتی که تو را شوم مدار اندیشه دل خوش کن و بر صبر گمار اندیشه کو صبر و چه دل انچه دلش میخوانی یك قطره خونست و هزار اندیشه تمت الکتاب"Incipit: "الا یا ایها الساقی ادر کاسا و ناولها که عشق آسان نمود اول ولی افتاد مشکلها ..."Title from illuminated headpiece at opening on p.2.Ms. codex.Elegant copy of the Dīvān of the masterful poet Ḥāfiẓ (Khvājah Shams al-Dīn Muḥammad Shīrāzī, d.1390?).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 407Origin: As appears in colophon on p.584, transcription of Dīvān-i Khvājah-i Salmān completed 3 Ramaḍān 823 [ca. 11 September 1420], apparently by one Furṣat Gharīb. All other texts seemingly transcribed by the same copyist. As appears in colophon in margin on p.221, transcription of Dīvān-i Ḥāfiẓ completed 20 Ramaḍān 823 [ca. 28 September 1420].Former shelfmark: "97 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf ; "٢٢٧" on tail edge of text block.Binding: Pasteboards faced in fine silk textile (in red with green stripes defining rectangular panels containing floral motifs) with dark red leather over spine, fore edge, and edges / turn-ins (silk faced and leather edged framed binding) ; accompanied by slipcase faced in black coated and textured paper (embosed with scroll / interlace pattern) and edged in dark maroon leather, lined in printed marbled paper and fitted with yellow woven pull cord ; Type II binding (with flap) ; pastedowns and flyleaves in bright red coated and textured paper (embossed with a scroll / interlace pattern virtually identical to that on the slipcase) ; decorative border on leather of upper and lower covers consisting of tooled and gold-painted band in chain pattern and gold and white-painted dome and stroke accents ; fore edge and envelope flaps are similarly decorated ; flap of slipcase carries contents ("اسامى ديوانچها كه در اين مجموعه ديوان سلمان حاشو ديوان حافظ ديوان كمال ديوان عصمت") with the four titles set among vegetal decoration (painted in gold, slate blue and white) ; gold-painted vegetal pattern on edges of text block ; sewn in red thread, two stations ; worked chevron endbands in yellow and pink, in fair condition though tail band is detaching due to damage to primaries ; overall in fairly good condition with pest damage at spine, minor abrasion to fore edge flap, etc.Support: non-European laid paper with 8-9 laid lines per cm. (vertical or horizontal, fairly indistinct) and no chain lines visible, cloudy formation, quite crisp, thin and trasluscent though sturdy, well-burnished ; staining and tidelines.Decoration: Superb double-page illuminated at opening (pp.2-3) consisting of four rectangular pieces carrying verses in gold tawqīʻ and ornamented with delicate floral motifs and a border of lozenges mainly in blue, gold and white above and below the central written area (also bordered in lozenges with delicate vegetal designs in gold) ; further illuminated cartouches carrying headings (in particular at openings of dīvāns of Ḥāfiẓ, Kamāl, and ʻIsmat on pp.2, 222, and 474) appear in the margin ; additional illuminated headpiece (ʻunwān / sarlawḥ) at opening of ghazals on p.380, consisting of rectangular piece with cartouche carrying heading in gold "غزليات مولانا جمال الدين سلمان" surrounded by delicate floral vegetal motifs in shades of blue, pink, white, gold, red, etc. on grounds of blue, black, etc. ; written area, margins and divisions within defined by narrow gold bands outlined by black fillets ; keywords and headings chrysographed ; textual dividers in the form of illuminated rosettes ; illuminated arabesques accent margins.Script: Naskh with elements of nastaʻlīq ; compact hand in a medium line ; virtually serifless and fairly vertical with elongation of horizontal strokes, some sweeping descenders, rāʼ somewhat elongated and slightly reversed, many closed counters, pointing mainly in strokes rather than distinct dots, occasionally kāf is written as vertical stroke with miniature kāf seated above (effect of the whole being resemblance to hamzah seated on alif), interesting form of dāl-rāʼ (در) in which rāʼ is nested in dāl and 'horizontal' stroke of dāl is angled and parallel to stroke of rāʼ ; most headings in an elegant, highly ligatured tawqīʻ.Layout: Varies ; at opening of codex written with mainly 21 lines per page (divided into two columns) in the central written area and as many as 40 lines on the diagonal ; at close of codex written mainly in 14 lines per page ; frame-ruled.Collation: i, IV-1 (7), 6 IV(55), III (61), 29 IV(293), ii ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes back flyleaf and skips two pages between pp.545-546).Colophon: [Dīvān-i Ḥāfiẓ] "Scribal," reads "تم ديوان ملك الشعرا املح الكلام واوضح اللسان شمس الملة والدين محمد الحافظ الشيرازى طيب الله مضجعه ورحم الله له ولكاتبه ولناظره ولمن قال امين برحمتك يا ارحم الراحمين في عشرين من شهر رمضان المبارك لسنة ثلاث وعشرين وثمانمائة الهجرية م" ; [Dīvān-i Khvājah-i Salmān] "Scribal," triangular, reads "تم الديوان على يد الفقير الحقير اقل عباد الله المجيب فرصت غريب فى الثالث من رمضان المبارك لسنه ثلاث وعشرين وثمانمائه الهجرية ٨٢٣"Incipit: [Dīvān-i Khvājah-i Salmān] "هر دل که در هوای جمالش مجال یافت عنقای همتش دو جهان زیر بال یافت ..."Title supplied by cataloguer from collation statement at close on p.584.Ms. codex.4. p.474-p.549 : Dīvān-i Khvājah ʻIsmat / Khvājah ʻNaṣīr al-Dīn ʻIṣmat Samarqandī.3. p.222-p.473 : Dīvān-i Shaykh Kamāl al-Khujandī / Kamāl Khujandī.2. p.2-p.221 : Dīvān-i Ḥāfiẓ / Ḥāfiẓ.1. p.2- p.584 : Dīvān-i Khvājah-i Salmān / Jamāl al-Dīn Salmān Sāvājī.Elegant majmūʻah containing an early copy of the Dīvān or collected poems of Jamāl al-Dīn Salmān Sāvājī (d.1376), the renowned panegyrist of the Jalāyirids, along with excerpts from the dīvāns of Ḥāfiẓ, Kamāl, and ʻIsmat on the ruled margins.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 323Origin: As appears in colophon on p.69, copied by Ibn ʻAli Quṭb al-Dīn al-Yazdī with transcription completed in the first part of Rajab 916 [October 1510].Former shelfmark: "406 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark red leather ; Type II binding (with flap) ; board linings in pink-tinted laid paper ; fore edge flap lined in green silk ; upper and lower covers carry stamped and gold-painted (on orange recessed inlays) rosette / mandorla (filled with vegetal composition vaguely reminiscent of Déroche class. OAi2 1) and cornerpieces along with tooled rosettes and gold-painted accents and border in a series of s-shaped stamps ; sewn in pink thread, two stations ; worked chevron endbands in pink and yellow, dirty, tailband damaged ; overall in fair condition with some abrasion, staining, lifting and losses of leather at spine and fore edge flap, minor pest damage, etc.Support: non-European (likely Persian or Indian) laid paper with 8 laid lines per cm. (vertical, faint and indistinct) and no chain lines clearly visible, well-burnished, beige in color ; staining and tidelines ; many bifolia guarded with recycled manuscript "waste" ; flyleaves in European laid paper.Decoration: Elegant (though damaged) illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with gold cartouche carrying the title in white ("ديوان مولانا شاهي") surrounded by swirling vegetal decoration in black, cartouche surrounded by swirling floral vegetal designs in gold, yellow, red, white and pink on a field of blue with gold accents, surmounted by triangular piece or hasp with upper most pendant and vertical stalks (tīgh) continuing floral vegetal design on gold and lapis lazuli ; written area (and columns within) surrounded by a gold frame defined by black fillets and outermost blue rule ; centered panels of written area left blank.Script: Nastaʻlīq ; compact, elegant Persianate hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 12 lines per page with written area mainly divided to two columns ; frame-ruled.Collation: i, 2 III(12), II (16), III (22), V (32), II (36), i ; ternions, binions, and a quinion ; catchwords present ; pagination in black ink, Hindu-Arabic numerals through "٢٩" ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," rectangular, mainly in Arabic, reads "تم هذه الابيات العبد الفير الى الطاف الصمدى ابن على قطب الدين اليزدى غفر ذنوبه وستر عيوبه في اوائل رجب المرجب من شهور سنه ست عشر وتسعمائة الهجره النبويه المصطفويه عليه افضل الصلوات واكمل التسليمات"Explicit: "سخن تا چند گویم پیچ هر [در] پیچ ترا من دوست میدارم دگر هیچ "Incipit: "ای نقش بسته نام خطت با سرشت ما این حرف شد ز روز ازل سر نوشت ما ..."Title from illuminated headpiece at opening on p.2.Ms. codex.Elegant copy of the Dīvān of Amīr Shāhī, Aq Malik ibn Amīr Jamāl al-Dīn Sabzavārī (d.1453).
Collected works of a classical Afghan poet, first published during the reign of Ḥabīb Allah Khān, Amir of Afghanistan, during late 19th century. Divan-i Mullah Rahmat Badakhshani (The collected works of Mullah Rahmat Badakhshani) is a divan of Khwaja Rahmat Ullah Badakhshani, a late-19th-century poet from Badakhshan, Afghanistan. The book's main section includes several forms of ghazal (lyric) poetry. They include ghazal-e char dar char (ghazals in four by four), ghazal-e ka tama-e huruf ash hech nuqta nadara (ghazal poems where the words have no diacritical marks), and ghazal-e laf-o nashr-e muratab (a form in which the subject of the poem appears in the first lines and is then described in detail in the rest of the poem). Some other forms appear in the supplementary section, pages 103-11, such as musalas ghazals (with three-line rhythms), mutazad ghazal (where the verses can take opposite meanings), and rubai (quatrain) poems. The author's pen name, Rahmat, often appears at the end of each stanza. The section also includes some prose, in which the author talks about an imaginary garden, gardening, and different flowers that "look like paradise." Rahmat explains that this special garden does not exist in known places. The last few pages contain information about the poet and his family. His father Mirza Ismail appears to have been a state official and the family was khwaja'zada (descended from Muhammad). Rahmat seems to have been a literary servant or courtier of the local rulers in Qaţaghan, the political center of northeast Afghanistan, but the biographical section is incomplete; the last two pages are missing from this copy. These pages would have clarified for readers that Emir Abdur Rahman Khan, the ruler of Afghanistan, had ordered Crown Prince Sardar Habibullah Khan to collect and publish the works of Rahmat. Matba-e dar al-Sultanah-e Kabul, the Royal Printing Press of Kabul, published the book by lithography in 1894. The pages are numbered, and on page 112 a red-colored hand-written verse by an anonymous author reads: "I provide/write this book for three reasons; do not politicize, misuse, or hide it." World Digital Library.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 869Origin: Lacks dated colophon ; paper, decoration, etc. would suggest 17th century. Chronogram at close of dīvān on p.375 "اتمام يافت" may suggest date of composition of 973 [1565-6].Accompanying materials: a. Slip with note "Persian MSS (Heyworth-Dunne?) Husselman notes" -- b. Slip with description (in hand of E. Husselman ?) "Mushfiqī, Bukhārī | Dīvān | BMC. Cat. Pers. MS. Suppl. has a Mushfiqī, Bagdadī in a Tazkirah of ancient & modern Persian poets. No Bukhārī found. Apparently we do not have | 190 ff. 379 pp." -- c. Slip with note "counted for 1968/69 Annual Report" -- d. Tag with "#10"Former shelfmark: Mich. Isl. Ms. temp. no. 18Binding: Boards faced in blue-green cloth with dark green leather over spine (straight grain) and board corners (approaching half-binding) ; Western style-binding ; pastedowns and flyleaves in shell 'marbled' paper (mainly in brown, blue and pink) ; leather extending on upper and lower covers gold-stamped with toothed borders ; spine gold-stamped with decorative bands and title and author "DIWAN | I | MUSHFIKI | I | BUKHARI" ; sewn in white thread over three recessed cords (visible at spine) ; overall in somewhat poor condition with severe spine slant (cocked), spine leather detaching, abrasion, staining, etc.Support: non-European (likely Indian or Persian) laid paper with roughly 6-7 laid lines per cm. (horizontal or vertical, indistinct, some curving) and no chain lines plainly visible, cloudy formation, thin and transluscent though sturdy, dark cream in color, well-burnished ; some pest damage, staining and tide lines ; extensive repairs.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.4 consisting of rectangular piece with empty gold cartouche flanked by floral motifs in red, yellow, green, etc. on grounds of blue and gold, surmounted by a set of scalloped domes (nearly evoking w-shaped piece) filled with swirling floral vegetal decoration in shades of pink, red, blue, orange, yellow, white, etc. on grounds of gold and blue, all set in a well of yellow, gold and orange bands with red accents and surmounted by vertical stalks (tīgh) in blue ; written area (and divisions within) surrounded by gold frame defined by black fillets with outermost blue rule ; occasional section headings rubricated (mainly toward the close of the codex).Script: Nastaʻlīq ; elegant hand ; serifless with gentle effect of tilt to the right and of words descending to baseline, marked elongation and exaggerated thickness of horizontal strokes (contrasting with thin vertical strokes), pointing in distinct dots.Layout: Written in 15 lines per page ; frame-ruled.Collation: Heavily repaired with original gatherings difficult to discern though middle of the quire marks appear for some gatherings (black stroke in the lower outer corner of the right-hand leaf) ; chiefly quaternions ; catchwords only rarely visible (typically cut off) ; foliation in black ink, Hindu-Arabic numerals (center of upper margin of the recto of each leaf) ; pagination in heavy pencil, Western numerals (upper outer corner of the verso of every other leaf) ; pagination in pencil, Western numerals, supplied during digitization (includes inner flyleaves and skips two pages between pp.5-6).Explicit: "که با شد بآ کاهی انجام من"Incipit: "این نامه که روی در سیاهی دارد بیهوده خلل نامتناهی دارد ... نموده می شود که راقم این سواد مشفقی المروی ..."Title from inscription on 'title page' (p.3).Ms. codex.Elegant copy of the Dīvān of the Tajik poet Mushfiqī (ʻAbd al-Raḥmān, d.1588) with qaṣāʼid, ghazalīyāt, muqaṭṭaʻāt, rubaʻīyāt, etc. as well as his brief mas̲navī Sāqī-nāmah (pp.375-381).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 337Origin: As appears in closing matter (colophon including patronage statement) on pp.676-7, executed for Fatḥ ʻAlī Shāh Qājār (1769-1834, r.1797-1834) ("ḥasaba al-amr amīr bī-naẓīr... Fatḥ ʻAlī Khān, al-shahīr bi-Bābā Khān, Qājār Quvānlū ... sawwadahu wa-nammaqahu..."), apparently before his ascension to the throne, by Ibn Muḥammad Taqī al-Sāravī Muḥammad (author of Tārīkh-i Muḥammadī, still living in 1802) with transcription completed 23 Jumādá I 1203 [ca. 19 February 1789]. Statement dated Rabīʻ I 1232 [January-February 1817] on 'title page' (p.3) names the copyist and indicates that the manuscript was presented to the Imperial Library.Former shelfmark: "432 T. De M. [i.e. Tammaro De Marinis]" and "١۷" inscribed in pencil on opening leaf (p.1, serves as flyleaf) ; possible inventory inscription on fore edge of text block.Binding: Heavy pasteboards covered in painted lacquerwork with spine in dark gray leather ; Type III binding (without flap), two-piece binding (overlapping flanges visible at spine) ; upper and lower doublures in fine painted lacquerwork of a central medallion evoking a four-petalled flower and pendants of vegetal design in gold on a red ground, framed in gold ; upper and lower covers bear paintings of nearly identical composition with entire panel virtually filled with swirling vines in yellow / gold, leaves of green and grapes of dark red on a pale orange ground, surrounded by vegetal borders in gold on dark red and green grounds ; sewn in red thread, two stations ; worked chevron endbands in red, cream and [?] (now gray), good condition ; overall in fair condition with some abrasion and losses to lacquerwork and pasteboard, etc. ; housed in box for protection.Support: European laid paper of several types ; opening type with 13 laid lines per cm. (horizontal), chain lines spaced 19-22 mm. apart (vertical) and watermarks of "FC" under scalloped crown (see p.8, etc.) and shield with lion rampant, "F" below and scalloped crown above (see p.10, 14, 16, etc.) ; next type with 11-13 laid lines per cm. (horizontal), chain lines spaced 22 mm. apart (vertical), and watermarks of smiling lion passant guardant with "F" below (see p.12, 20, 22, etc.) and "FC" only (see p.26, 28, etc.) ; next (and majority) type with 11 laid lines per cm. (horizontal), chain lines spaced 19-21 mm. apart (vertical), and watermarks of "FL" under scalloped crown (see p.98, 120, 360, 680, etc.) and three hats (see p.100, 154, 184, 340, 488, etc.) ; all highly sized and burnished, thin and crisp though quite sturdy.Decoration: Splendid illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.4 consisting of rectangular panel with empty gold cartouche flanked by floral motifs and swirling vegetal design in gold, red, blue, and white on fields of blue and red, surmounted by scalloped w-shaped piece filled with swirling vegetal design and floral motifs in green, lavender, orange, red, pink, and yellow on a blue and gold ground with outline and accents in white and black, all set in a well of blue with white accents ; rich illuminated marginal decoration (including inner margin) on incipit and facing page (pp.4-5) consisting of elaborate swirling floral vegetal design in green, orange, yellow, pink, lavender, and light blue on a gold ground, on incipit page (p.4) surrounding a domed medallion in gold carrying the name of Fatḥ ʻAlī Shāh Qājār ("السلطان فتحعلي شاه قاجار"), possibly added later upon his ascent to throne ; additional exquisite double illuminations at openings on pp.342-343 and 344-345, including headpieces and marginal decoration (on pp.344-345, marginal decoration includes birds in pink, blue and orange) ; written area of incipit and facing page surrounded by frame of red with gold accents, gold cloud-bands setting off the text, and vertical bands of blue and red arabesque framing the columns ; written area elsewhere surrounded by frame of gold bands defined by black fillets (columns and divisions within written area also defined by gold bands and black fillets) ; keywords and section heading rubricated ; occasional textual dividers in the form of three or four red discs.Script: Shikastah (shikastah-nastaʻlīq / شكسته نستعليق ) ; elegant Persian hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in roughly 19 lines per page, with written area mainly divided to two columns ; frame-ruled.Collation: IV (8), 34 IV(280), V+3 (293), 2 III(305), III+1 (312), 3 IV(336), II (340) ; Chiefly quaternions ; pagination in pencil, Western numerals, supplied during digitization (includes front flyleaf).Colophon: "Scribal," including patronage statement, in Persian and Arabic, reads "حسب الامر امیر بی نظیر زیبنده تاج و سریر ... فتحعلی خان الشهیر ببابا خان قاجار قوانلو خلد الله سلطانته باتمام این کلیات واختتام این ابیات معجز آیات پرداخت ... سوده ونمقه العبد المحتاج الى الله الصمد ابن محمد تقى الساروى محمد في يوم الاربعا ثالث عشرون شهر جميدى الاول من شهور سنه ۱۲۰۳"Explicit: "اگر که گاه بودی محتشم را نکته آموزی"Incipit: "نفیر مرغ سحر خوان چو شد بلند صدا پرید زاغ شب از روی بیضه بیضا ..."Title from statement on 'title page' (p.3).Ms. codex.Splendid copy of the Dīvān of Muḥtasham-i Kāshānī (d.1587 or 9) executed by Muḥammad ibn Muḥammad Taqī Sāravī for Fatḥ ʻAlī Shāh Qājār (1769-1834, r.1797-1834) before his accession to the throne.
Divan-i Mir Zahi Afghani Muhashi (Collection of poetics of Mir Zahid) is a collection of Pushto poems of Mir Zahid Afghani Muhashi. There is no information about this person other than his name, which appears in this collection. It is not known whether Mir Zahid is the author or the compiler. The collection is a lithographic publication, printed in Lahore in 1915. The contents and genre suggest that it is most likely a copy of an older work of Pushto language and literature. The work is in five sections. Section one (pages 1-19) is organized by the Arabic alphabet and includes one or more poems starting with each of the 28 Arabic letters. Section two (pages 19-45) follows no order. However, the poems contain similar themes, such as the importance and value of unity in a society, the power and immortality of God, and other ethical and doctrinal themes. Section three, the longest section (pages 46-168), is organized according to an old Pushto alphabetic order, made up of 39 letters rather the current 45. One, or several, poems in this section starts or ends metrically with each of the Pushto alphabetic letters. Section four, which is only two pages, has few a Pushto rubayat (quatrains). Section five, also about two pages, has random verses from the poet, which seem to have been added by the publisher. All five sections contain various discourses about ethics, philosophy, knowledge, education, and related themes, major concerns of the Muslim literati classes, including Pushto poets, at the turn of 20th century, as well as earlier in the modern era. The collection has a number of distinctive, and even unique, characteristics. The poet or a later compiler has provided extensive commentaries and interpretations in the footnotes and margins. While the verses are in Pushto, the commentaries are almost entirely in Persian. In addition to its literary value, the book is an important source for intellectual history and for Pushto literary materials, which have remained unknown among scholars of Pushtun societies. The work has the official Afghan governmental emblem on its cover, but it also lists private sponsors. The first two patrons are introduced as "booksellers of Qandahar." The third person, the designer of the cover page, is identified as Abdul Rashid Mahboob; his name appears on the bottom right-side of the cover page. This lithographic edition is 172 pages in all. The pages have clear Arabic numbering. A Persian handwritten verse note on the second blank page of this copy invokes a religious discourse from the medieval Persian poet Abu Said Abu al-Khair and states that the writer of the note, either the compiler or a later owner, wishes to live until the year 2015 or 2017. World Digital Library.
Collected poems of Amīr Shāhī Sabzavarī. Dīvān-i Shāhī (Collection of poems by Shāhī) is a divan (collection) of verse by Amīr Shāhī Sabzavārī (died 1453; 857 A.H.), a prominent Persian poet of the Timurid era who composed in many of the classical forms of Persian poetry. Amīr Shāhī's poetry belongs to the tradition of Persian mystical love poetry. The collection includes poems composed in the ghazal (a metrical form expressing the pain of loss and the beauty of love), qaṣīda (lyric poem), and rubā'ī (quatrain) forms. Amīr Shāhī was born in Sabzevar (present-day Iran), but received his education in Herat (present-day Afghanistan), where he joined the court of Timur's son Shāhrukh (1377-1447) and that of Shāhrukh's son Baysunqur Mīrzā (1397-1433). Biographers refer to Amīr Shāhī as a superb poet, but also as a painter, musician, and calligrapher. His poetry was greatly admired by his celebrated contemporary ʻAbd al-Raḥmān Jāmī (1414-92), as well as by later authors, such as Alīshīr Nawā'ī (1441-1501). In Tadhkirat al-Shuʻarā (Memorial of poets), Dawlatshāh Samarqandī (died circa 1494) describes the premature death of Baysunqur Mīrzā after a bout of drunken revelry, and singles out the elegy for him composed by Amīr Shāhī as having surpassed those of all his peers in its pathos. It is said that Amīr Shāhī wrote more than 12,000 verses, but his surviving anthology contains less than a tenth of that number. He himself is believed to have destroyed that portion of his verse he considered inferior. Amīr Shāhī died in Gorgan and is buried in Sabzevar in a khānaqāh (Sufi dervish lodge) founded by his ancestors. The present manuscript of Dīvān-i Shāhī is an illuminated, undated copy written in a flowing nastaʻlīq hand. An unusual feature of the work is the manner in which each poem is set off by the Arabic wa lahu ayḍan or ayḍan lahu (furthermore, he wrote). World Digital Library.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 366Origin: As appears in colophon at close, copied by ("nammaqahu [?]...") one ʻAbd al-Rashīd ...[?] with transcription completed in Ramaḍān 1240 [?] [April-May 1825, or April-May 1140, 1725 ?].Accompanying materials: Folded slip of paper with notes in blue ink in hand of G. Meredith-Owens "366 A Dīvān, probably that of Amīr Khusraw of Delhi (but I should need rapid copies of some folios to verify this). 19th century - the paper suggests India."Former shelfmark: "426 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover.Binding: Red-brown (see turn-ins) coarse-grained leather lined in untinted laid paper (limp binding) ; Type III binding (without flap), two piece binding (seam of overlapping flanges visible at spine) ; upper and lower covers carry blind-tooled border in a series of s-shaped stamps ; sewn in lime green thread, two stations ; endbands virtually gone, though core of headband remains ; overall in somewhat poor condition with abrasion, moisture damage, staining, spine curved and fore edge protruding, etc.Support: non-European laid (likely Indian or Persian) paper with 9 laid lines per cm. (vertical, quite distinct) and no chain lines clearly visible, well-burnished, sturdy, and fairly transluscent though stained a dark brown.Decoration: Keywords (mainly in margins at end of each line) and section headings rubricated ; races of once "gold" (now gone to green) cloud-bands on opening leaf (facing now lost incipit page) ; written area surrounded by frame consisting of "gold" band defined by black fillets with outermost light blue fillet, columns within and margin defined by narrow "gold" bands outlined by black fillets.Script: Shikastah (shikastah-nastaʻlīq / شكسته نستعليق ) ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated 'horizontal' strokes.Layout: Written in 14 lines per page, mainly divided to two columns; frame-ruled.Collation: VI-1 (7), 7 IV(63), III (69), 4 IV(101), III (107) ; almost exclusively quaternions with two ternions ; final leaf left blank ; catchwords present.Colophon: "Scribal," reads "نمقه الاقل [؟] العبد عبد الرشيد ... في شهر رمضان المبارك سنه ۱۲۴۰ [?] ..."Incipit: "بسوی مصر نیامد نسیمی از کنعان که دامنی نزند آتش زلیخا را ..."Title supplied by cataloguer.Ms. codex.Worn, acephalous copy of a selection of poetry, possibly from the Dīvān of Zakī Hamadānī (see Āghā Buzurg al-Ṭihrānī, no.2352). Contribution to the cataloguing from Hossein Mottaghi.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 1037Origin: As appears in colophon at close of ghazalīyāt on p.241, transcription completed Rajab 1244 [January 1829]. Close of muqaṭṭaʻāt on p.257 also dated 1244 [1828 or 9].Former shelfmark: Mich. Isl. Ms. temp. no. 186Binding: Dark brown (to black) leather (limp binding, without boards) ; Type III binding (without flap) ; now stab sewn in white thread, five stations ; worked chevron endbands in yellow and pink, good condition ; overall in fair condition with minor abrasion, losses of leather, minor pest damage, etc. ; repair to spine (rebacked) in brown leather.Support: European laid paper, mainly a type (perhaps machine laid) with chain lines spaced 26 mm. apart (horizontal), "laid lines" in a mesh / cross-hatch pattern, and watermark of "NICCOLO BRUZZO" under scrollwork with tower and star (see p.6, 8, 12, 14, 251, etc.) ; another type with 10-11 laid lines per cm. (vertical), chain lines spaced 27-28 mm. apart (horizontal), and watermark of "F. PAPINI" under arms or scrollwork (see p.2, 232, etc.) ; all transluscent, sturdy, quite well-sized and burnished.Decoration: Headings and keywords rubricated.Script: Shikastah (shikastah-nastaʻlīq / شكسته نستعليق ) ; elegant hand in a medium line ; serifless with effect of words descending to baseline, sweeping descenders and elongation of horizontal strokes, pointing in distinct or conjoined dots, final nūn occasionally recurved (reversed), yāʼ often uncurved, etc.Layout: Written in 15 lines per page, with written area divided to two columns ; frame-ruled.Collation: Composition difficult to examine, originally bifolia may now be split ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (skips two pages between pp.29-30).Colophon: [ghazalīyāt] "تمت الغزليات بتاريخ شهر رجب المرجب من شهور سنه ١٢۴۴ م م م " ; [muqaṭṭaʻāt] "فى سنه ١٢۴۴ م م م"Title from rubricated heading at opening on p.4.Ms. codex.Fine copy of the collected poems (mainly ghazalīyāt and muqaṭṭaʻāt) of one Harātī [?].
Dīvān-i Silsilah va al-Zahab (literally, The collection book of the chain of gold) is a work of Persian literature in verse. It forms volume one of a seven-volume literary collection of Mowlana Nur al-Din Abd al-Rahman Jami (1414-92), the famous Persian scholar, poet, and Sufi. The entire collection is known as Haft awrang (The seven thrones) and was one of Jami's first major works. Volume one is the longest volume, composed sometime between 1468 and 1486. This manuscript copy seems incomplete, as the final narrative of verses on scholars and perfectionists finishes suddenly and awkwardly. This copy has more than 100 pages paginated in Indo-Arabic numerals. Each verse narrative has subheadings rubricated in blue, gray, and red. This copy lacks preface and epilogue notes, making it difficult to establish the place, date, and contributor of the publication. A black ink hand-written line on the first blank page reads "Silsilah-i zahab, 28 Rabi Al-Awwal, 1246," being the title and the Islamic date (September 16, 1830), possibly the publication date. However, one of three seals on the same page gives the Islamic year as 1210 (1795-96); thus the correct date for this manuscript is uncertain. The author's name, Mowlana Abd al-Rahman Jami, appears on the second page. The complete Dīvān-i Silsilah has three sections; the first deals with ethical and didactic themes and includes short anecdotes and criticisms of contemporary society. Section two is of similar structure and deals with carnal and spiritual love. The third section is the conclusion. This copy is structured around religious and ethical themes and various heroic, historical, and sententious stories. Several narratives, such as the first verses, are in praise of God, his divinity, and supremacy. Page six praises the Prophet Muhammad. The verses on page 11 are on righteousness and justice. Ethical stories include one on pages 28-31 of a king and his son or perhaps a question-and-answer session of a king and a slave; on page 39 a story of a teacher and his student; and on pages 90-91 the tale of a village boy who reverses his decision to sell his old donkey after he hears that the broker wants to sell it as a young donkey in the market. Jami had direct connections with the Timurid court and its rulers in Herat and in Khorasan, particularly at the court of Sultan Husayn Baiqara. Jami's many works in poetry and prose include interpretive and religious commentaries, Persian poetry of different genres, mystical treatises, works on Arabic grammar, and elegies. He was influenced by Sufi mystical discourses, particularly of the Naqshbandi order, and by earlier Persian classic literary authors, including Sadi, Sanai, and Nizami. Scholars consider Jami's work as representative of a shift from the classical to the neoclassical Persian literary era, and regard Jami as one of the last great traditional Persian poets. World Digital Library.
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. 845Origin: Lacks dated colophon ; paper, decoration, etc. would suggest late 16th or early 17th century.Binding: Boards covered in light brown leather ; Western style binding ; pastedowns and flyleaves in untinted laid paper ; upper and lower covers carry border in blind rules ; five raised bands on spine ; sewn in cream thread, four stations, over cords ; green silk bookmark (register) attached to spine at head ; overall in fair condition with some abrasion, staining, lifting and losses of spine leather (split), etc.Support: non-European laid paper with 6-7 laid lines per cm. (vertical) and chain lines (horizontal) seemingly grouped in threes with 14-15 mm. between chains and 53 mm. between groups, most leaves tinted salmon (ornage-pink), sturdy and well-burnished ; flyleaves in European laid paper with fleur de lis in shield / arms with crown above ; staining and minor pest damage.Decoration: Splendid illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.8 consisting of rectangular piece with gold cartouche carrying the title "ديوان عشقى" in white flanked by floral accents in gold, turquoise, white, etc. on a lapis lazuli ground, surmounted by scalloped w-shaped piece filled with swirling arabesques and floral motifs in gold, turquoise, white, etc. on grounds of black and lapis lazuli, entire piece set in a well of gold, turquoise and lapis bands and surmounted by vertical stalks (tīgh) in blue ; margins of incipit and facing page filled with floral designs in gold ; similar though somewhat smaller illuminated headpiece with heading "غزليات" in white and marginal designs at opening of ghazalīyāt on p.104 ; written area throughout surrounded by a frame consisting of a gold band defined by black fillets with outermost blue rule, divisions within defined by narrow gold bands outlined in black fillets ; keywords and headings chrysographed.Script: Nastaʻlīq (talik) ; elegant hand in a medium line ; serifless, with dramatic effect of words descending to baseline, mainly closed counters, and elongated horizontal strokes.Layout: Written in 12 lines per page with written area divided to two columns ; frame-ruled.Collation: iv (i is pastedown), 2 III(12), 4 IV(44), 2 III(56), IV (64), 2 II(72), 7 IV(128), III (134), III-2 (138), iv (iv is pastedown) ; chiefly quaternions ; middle of the quire marks in the form of oblique strokes in black ink in opposite outer corners ; p.103 between qaṣāʼid (close on p.102) and ghazalīyāt (opening p.104) left blank ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Incipit: "ای دل هرزه گرد هرجایی زین تکاپو چه شد که باز ایی ..."Title from illuminated headpiece at opening (p.8).Ms. codex.Exquisite copy of a Persian Dīvān with qaṣāʼid and ghazalīyāt of uncertain authorship, possibly of Aşkî (fl.1571) translator of ʻAyn al-Quḍāh al-Hamadānī's "Kanz al-ḥaqʼāq" (per the translator's preface) and Farīd al-Dīn ʻAttār's Mukhtārnāmah (see p.205 in Türk dili ve edebiyatı ansiklopedisi (1977), v.1 ; p.18 in Osmanlı müellifleri (1972), v.2 and p.248 in Fihris al-makhṭūṭāt al-Turkīyah al-ʻUthmānīyah allatī iqtanatʹhā Dār al-Kutub al-Qawmīyah mundhu ʻām 1870 ḥattá nihāyat 1980, v.1).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 338Origin: As appears in inscription on 'title page' (p.1) and in colophons on p.201 and 331, copied by one ʻAbd al-Ghanī Bakrī [?]. As appears in colophon on p.201, transcription of qaṣāyid completed in Dhū Qaʻdah 1028 [October-November 1619]. As appears in colophon on p.331, transcription of later section completed Ṣafar 1029 [February 1620]. Transcription of other sections likely completed around the same time.Binding: Pasteboards covered in dark red leather with tan leather over spine and edges / turn-ins (possibly inverted recylcled cover with doublures now out) ; Type III binding (without flap) ; board linings in pink-tinted paper ; upper and lower covers carry central mandorla and pendants in gold-painted leather filigree appliqué over blue and green paper ; now sewn in white thread, two stations ; worked chevron endbands in pink and spring green, fairly good condition ; overall in somewhat poor condition with significant abrasion, lifting and losses of leather, staining, minor pest damage, etc.Support: non-European laid paper with 9-10 laid lines per cm. (vertical, fairly distinct) and occasional pairs of chain lines faintly visible, somewhat cloudy formation, thin though sturdy, beige in color, well-sized and burnished ; some leaves tinted dull yellow or pale peach ; many leaves split and repaired (e.g. written area with headpiece and catchword of incipit page have been trimmed and mounted onto another leaf, etc.).Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening of dībāchah on p.2 consisting of rectangular piece with gold cartouche carrying the title for the opening section (preface) in white ("ديباچه ديوان عرفي") flanked by elegant floral vegetal motifs in red, white, yellow, pink, lavender, and turquoise on fields of lapis lazuli and black, surmounted by a large (vertically elongated) w-shaped piece filled with superbly executed swirling floral vegetal decoration in gold, red, pink, lavender, yellow, turquoise, white, and light blue on fields of lapis lazuli and gold, entire piece set into an elaborate well of red, blue, gold, white, and turquoise bands ; another exquisite illuminated headpiece at the opening of the dīvān proper (begins with the qaṣīdahs) on p.22 similar in composition to the first but with vertically elongated scalloped semi-circular piece (dome) surmounting rectangular piece, more generous use of white and turquoise, well of heavy gold interlace with turquoise and lavender accents, and vertical stalks (tīgh) in tact ; written area of dībāchah incipit and facing page surrounded by a frame consisting of a series of red, gold, black and blue fillets, with text set off by gold cloud-bands ; written area elsewhere gold-flecked and surrounded by frame in gold with outermost blue rule ; additional illuminated headpieces appear at openings of sections on p.202, 230, 334, 368.Script: Nastaʻlīq ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 15 lines per page, mainly divided to two columns ; frame-ruled.Collation: IV (8), I (10), 4 IV(42), III (48), 2 IV(64), III (70), 4 IV(102), 2 III(114), IV (122), III (128), IV (136), III (142), IV (122), III (128), IV (136), III (142), 3 IV(166), III (172), IV (180), I+1 (183), 4 IV(215), III (221), IV (229), II (233), III (239), 6 IV(287), III (293), 3 IV(317), V+1 (328) ; leaves between dībāchah and opening of dīvān left blank (pp.20-21) as well as between later sections (see pp.228-229, 332-333, 366-367) ; pp.295, 209, 351 left partially blank (perhaps for illustration never realized) ;catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "تمت القصايد العرفيه تحريرا بتاريخ شهر ذى قعده سنه ١٠٢٨ كتبه الداعى عبد الغنى بكرى [؟] اللهم اغفر [له] ولوالديه" ; "تمت فى تاريخ شهر صفر سنه ١٠٢٩ كتبه الداعى عبد الغنى"Incipit: [dībāchah] " حمدی که از نهایت شایستگی منزه از شایبه معین و تخصیص آمده اجمال آن ..." ; [dīvān, opening in the qaṣīdahs] "ای متاع درد در بازار جان انداخته ای متاع ..."Title from inscription on 'title page' (p.1).Ms. codex.Exquisite (though damaged) copy of the Dīvān of ʻUrfī Shīrāzī (d.1590 or 91).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 285Origin: As appears in colophon on p.543, copied by Aḥmad Jaʻfar [?] with transcription completed Rabīʻ I 1232 [January-February 1817] in Iṣfahān.Former shelfmark: "199 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf (p.1) ; "25 /10 " inscribed in ink on 'title page' (p.3).Binding: Heavy pasteboards covered in painted lacquerwork, spine in dark brown leather ; Type III binding (without flap) ; two-piece binding with overlapping flanges plainly visible at spine (spine leather detaching with second layer of leather visible looking on spine from lower cover) ; doublures in fine painted lacquerwork of swirling floral vegetal composition in gold on a dark green ground surrounded by vegetal border in green and gold on a dark red ground with flanking gold fillets (composition of upper doublure mirrors that of lower doublure) ; upper and lower covers bear paintings of nearly identical floral composition in mirror image to one another on a dark red background, namely a central cluster of peonies, poppies, tulips, etc. with iris, roses, poppies, and other floral forms all in shades of pink, light blue, lavender, and white with leaves in various shades of green, and surrounded by decorative band of floral vegetal motifs on a dark green ground framed in gold-painted borders ; sewn in lime green thread, two stations, sewing failing, many gatherings loose ; worked chevron endbands in lime green and pink, fairly good condition ; overall in fair condition with some abrasion and losses to lacquerwork and pasteboard, etc. ; housed in box for protection.Support: non-European (Persian) laid paper with 9-10 laid lines per cm. (horizontal) and chain lines only faintly visible roughly 20 mm. apart (vertical), gray in color, crisp and transluscent though sturdy, quite well-burnished ; many bifolia split ; minor pest and moisture damage.Decoration: Elaborate illuminated headpiece (ʻunwān / sarlawḥ ) at opening on p.4 consisting of rectangular piece with gold cartouche carrying the basmalah in blue flanked by floral vegetal designs (in gold, red-orange, blue, white, etc.) on fields of blue (approaching lapis lazuli), red and gold, surmounted by large w-shaped piece filled with swirling arabesque and floral motifs in gold, red-orange, pink, white, blue, etc. on grounds of gold, red, and blue (approaching lapis lazuli), w-shaped piece bordered in a row of lozenges with similar floral vegetal design, entire piece set into a heavy well of gold interlace bordered in red bands with white accents ; illuminated marginal decoration of incipit and facing page consisting of swirling vegetal composition with large sāz leaves and floral forms in gold with black outline ; written area throughout set off with gold cloud-bands ; vegetal composition in gold fills band dividing two columns of written area or flanking centered text ; written area (and margin) framed by gold bands outlined in black fillets.Script: Shikastah (shikastah-nastaʻlīq / شكسته نستعليق ) ; elegant hand ; serifless with sweeping elongated horizontal strokes, free assimilation of letters, misplaced (or distant, or unexpectedly combined) pointing, uncurved final yāʼ, etc.Layout: Written in 16 lines per page with written area mainly divided to two columns ; frame-ruled.Collation: 34 IV(272) ; exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaves).Colophon: "Scribal," rectangular, reads "... شهر ربيع الاول ١٢٣٢ در دار [؟] السلطنه اصفهان ... اين كتاب مستطاب ... بخط احمد [؟] جعفر ..."Explicit: "طاقش بی رواق چشم خوبان آمد این روی که ر نشین عالم آمد ..."Incipit: "زهی مثالی که چون جمالت نبسته نقشی زمانه زیبا بخنده شیرین ببذله شکر بغمزه لیلی بعشوه سلمی ...."Title supplied by cataloguer.Ms. codex.Elegant copy of the Dīvān of Āqā Muḥammad ʻĀshiq Iṣfahānī (d.1768 or 9) opening with the ghazals.
Collected works of a noted Afghan poetess during the reign of ʻAbdurraḥmān K̲h̲ān, Amīr of Afghanistan, d. 1901. This work is a lithographic print, published in Kabul, of the collected poems of 'Āyisha Durrānī, an Afghan poetess from the Durrani family, who was active in the second half of the 19th century. The poems include qasidas (a lyric form) and ghazals (a metrical form expressing the pain of loss and the beauty of love), and are arranged alphabetically according to qāfiya (the effect of rhyme). The collection was compiled during the reign of 'Abd al-Raḥmān Khān, emīr of Afghanistan from 1880 to 1901. The Durrani family led a Pashtun tribal empire in Afghanistan from 1747 to 1842. 'Āyisha Durrānī was the daughter of Yaʻqūb Ali Khān Barakzai and the wife of Tīmūr Shāh Durrānī (1742 or 1743-93), the second ruler of the dynasty. She was well educated in Arabic and Persian literature and in the Islamic canon. She is also credited with opening the first school for girls in Afghanistan. The manuscript that was the source of the lithograph print is in one hand, by an unidentified scribe writing in Nastaʻlīq script. The date of completion given in the manuscript is 1299 AH (1881-82). Lithographic printing was invented in Europe in the late 18th century and spread widely on the Indian subcontinent from the early 19th century onward, its popularity stemming from the relative ease with which it could be used to reproduce different scripts not based on the Latin alphabet. By the 1860s, lithographic printing had spread to Afghanistan, including Kabul, Kandahar, and Herat. World Digital Library.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 872Origin: Lacks dated colophon ; depending on what it represents of involvement with the production of the manuscript, seal impression at close provides only a very rough terminus ante quem of 1837 (as seal could have been made years before use here). Paper, etc. consistent with early to mid 19th century dating.Accompanying materials: a. Slip with description (in hand of E. Husselman ?) "Muḥammad Ḥāfiz̤, Shīrāzī | Dīvān. | U. of M. has 6 MSS. of the Dīvān of Hafiz" -- b. Recycled card with notes in hand of Emilie Savage-Smith [according to R. Dougherty] "speckled paper | fine binding | some borders near front complete, others not – shows something about how books made" -- c. Slip with note "counted for 1968/69 Annual Report" -- d. Slip with note "Persian MSS (Heyworth-Dunne?) Husselman notes" -- e. Slip with description in pencil "Ḥāfeẓ (MS) | Divān | Date : | Place: Lucknow"Former shelfmark: Mich. Isl. Ms. temp. no. 21Binding: Boards covered in brown leather ; Western style binding ; pastedowns and flyleaves in dark red-brown paper ; upper and lower covers carry blind-stamped central rectangular panel with triangles of vegetal composition accenting an inner diamond design and elaborate border in a scrolling vegetal pattern with gold-tooled accents ; spine gold-stamped with title "DIVAN | E | HAFIZ | - | MS" (likely has been rebacked) ; edges of text block gilt ; sewn in white thread over five recessed cords ; stuck-on endbands in green, white, and red stripes ; overall in fair condition with some abrasion, staining, etc.Support: non-European laid paper with roughly 8 laid lines per cm. (vertical, somewhat indistinct, some curving) and occasional chain lines faintly visible, cloudy formation, sturdy, cream in color, well-burnished ; 'written area' into margins silver-flecked, margins flecked in blue with small rectangle left for catchwords ; flyleaves and added leaves in European wove paper ; some staining and tide lines ; gilt edges.Decoration: Written area of opening leaves of text surrounded by gold frame defined by black fillets with outermost red rule, divisions within defined by red rules ; 'written area' into margins silver-flecked, margins flecked in blue ; gilt edges.Script: Nastaʻlīq ; elegant Indian [?] hand in a medium line ; serifless with effect of words descending to baseline, superscripting of final words and letters (end of each line), pointing in distinct or conjoined dots, some elongation of horizontal strokes.Layout: Written in 13 lines per page, with written area mainly divided to two columns ; frame-ruled.Collation: ii, 3 (3), 18 IV(147), III (153), IV (161), III (167), 3 IV(191), III (197), ii ; chiefly quaternions ; several leaves preceding and following the text flecked but left blank ; catchwords present.Explicit: "فحبک راحت فی کل حین وذکرک مونسی فی کل حال"Incipit: "الا یا ایها الساقی ادر کاسا و ناولها که عشق آسان نمود اول ولی افتاد مشکلها ..."Title supplied by cataloguer.Ms. codex.Fine copy of the Dīvān of the masterful poet Ḥāfiẓ (Khvājah Shams al-Dīn Muḥammad Shīrāzī, d.1390?).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 316Origin: As appears in a different hand following colophon on p.341, transcription possibly completed 920 [?] [1514 or 15 ?] ; decoration, paper, etc. appear to confirm dating of early 16th century or even late 15th century.Former shelfmark: "193 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap) ; doublures (and flyleaves) in magenta-tinted laid paper with gold-painted and gold-flecked central rectangular panel and gold-painted border ; upper and lower covers carry recessed, stamped and gold-painted mandorla (filled with symmetrical vegetal composition with chī clouds, compare Déroche class. NSd) with pendants and cornerpieces as well as tooled border ; edges of text block gilt ; sewn in yellow thread, two stations ; worked chevron endbands in purple and golden yellow, in poor condition with headband damaged and tailband gone ; overall in somewhat poor condition with abrasion, staining, pest damage, lifting of leather, boards detaching, spine leather and lining detached, etc. ; housed in box for protection.Support: non-European laid paper with 8 laid lines per cm. (horizontal, quite indistinct) and no chain lines apparent, sturdy and well-burnished ; some staining and pest damage.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening of preface on p.2 consisting of rectangular piece with now empty gold cartouche flanked by four-lobed pendants and all surrounded by floral vegetal motifs in gold, blue, white, red, yellow, red and lavender on a field of blue (approaching lapis lazuli) with white, green, gold and blue borders, surmounted by scalloped w-shaped piece filled with swirling floral vegetal design in gold, blue, white, red, yellow, red and lavender on fields of blue (approaching lapis lazuli) and gold, itself surmounted by vertical stalks (tīgh) in blue with gold chī cloud accents ; illuminated marginal decoration in the form of swirling vegetal composition with large floral motifs all in gold with red accents, varying double page after double page ; additional exquisite illuminated headpieces at opening of dīvān on p.10 and at section opening on p.26 ; written area throughout surrounded by a frame in gold and turquoise bands defined by black fillets and outer blue and red rules ; text of incipit and facing page set off with gold cloud-bands ; keywords chrysographed ; occasional floral accents in gold, red and blue appear between divided columns of text or to the side ; illuminated tailpiece following colophon on p.341 consisting of an inverted triangular shaped piece heavy gold vegetal composition on a dark red ground with flanking swirling floral accents in gold and red.Script: Nastaʻlīq ; compact, elegant hand ; serifless, with characteristic effect of words descending to baseline, closed counters, and elongated horizontal strokes, pointing in distinct dots.Layout: Written in 14 lines per page ; written area often divided to two columns to set-off poetry ; frame-ruled.Collation: ii, II (4), I (6), 9 IV(78), 2 III(90), V (100), II (104), 8 IV(168), I+1 (171), ii ; chiefly quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," triangular, mainly in Arabic, reads "قد وقع الفراغ من تحرير هذه الديوان الموسوم بلسان الغيب من كلام افصح الفصحاء واملح البلغاء حافظ شمس الدين محمد الشيرازى غفر الله له سنه ٩٢٠ [?]"Explicit: "فروغ نور ازآن فرخنده مرقد"Incipit: "حمد بیحد و ثناى بیعد و سپاس بیقیاس حضرت خداوند یرا که جمیع دیوان حافظان ارزاق ..."Title from inscription on 'title page' (p.1).Ms. codex.Elegant copy of the Dīvān of the masterful poet Ḥāfiẓ (Khvājah Shams al-Dīn Muḥammad Shīrāzī, d.1390?).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 318Origin: As appears in colophon on p.358, copied by Niẓām ibn Mīr ʻAlī with transcription completed in Rabīʻ I 1035 [December 1625].Former shelfmark: "126 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on 'title page' (p.1).Binding: Pasteboards covered in dark red leather ; Type III binding (without flap) ; two-piece binding (seam of overlapping flanges visible at spine) ; pastedowns and flyleaves in glossy, surfaced-dyed blue wove paper ; upper and lower covers carry stamped and gold-painted guillioché roll (series of s-shaped stamps) and flanking rules ; sewn in dark brown or gray thread, two stations, tightly bound ; worked chevron endbands in pink and yellow, good condition ; housed in sturdy slipcase covered in dark purple / blue leather with tooled and gold-painted borders and rosette accents, lined with yellow paper and fitted with peach / orange woven pull cord ; overall in fairly good condition ; one narrow side of slipcase detaching.Support: non-European (likely Persian) laid paper with roughly 8 laid lines per cm. (vertical, fairly distinct) and occasional single chain lines visible, dense and sturdy though transluscent, medium cream in color, well-burnished ; some creasing, tears and cockling due to tight binding ; repairs in European laid paper and wove paper.Decoration: Elegant illuminated headpieces at opening of preface on p.2 and at opening of dīvān proper (with ghazals) on p.9, each consisting of large rectangular piece with empty gold cartouche surmounted by rectangular piece filled with scalloped domes in gold and lapis all overlaid with swirling floral vegetal decoration in red, yellow, green, light blue, etc., set in a rich well of heavy gold interlace and turquoise, dark red / brown, and gold bands, and surmounted by vertical stalks (tīgh) ; text of incipit and facing page at opening of preface and opening of dīvān set off by gold cloud-bands ; written area surrounded by gold frame of medium gold band and outermost gold and blue fillets, divisions within defined by narrow gold bands outlined in black ; keywords and headings chrysographed ; some overlining in gold.Script: Nastaʻlīq (talik) ; spacious, elegant hand in a medium line ; characteristically serifless with gentle descent of words to baseline, elongation and contrasting thickness of horizontal strokes, pointing in distinct dots, point of final nūn set down in somewhat narrow, slightly angled bowl.Layout: Written in 15 lines per page with written area divided to two columns ; frame-ruled.Collation: i, 22 IV (176), II-1 (179), i ; almost exclusively quaternions ; cathwords present ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular, reads "تمت بعون الله الملک الغنی فی ید العبد المذنب نظام ابن میر علی غفر ذنوبه فی تاریخ شهر ربیع الاول سنه خمس وثلثین والف من الهجرت النبویهExplicit: "گفتم سخن تو گفت حافظ گفتا شادی همه لطیفه گویان صلوات"Incipit: "حمد بیحد و ثناى بیعد خداوندی را که جمیع دیوان حافظان ارزاق بپروانه ..."Title from inscriptions on 'title page' (p.1).Ms. codex.Elegant copy of the Dīvān of the masterful poet Ḥāfiẓ (Khvājah Shams al-Dīn Muḥammad Shīrāzī, d.1390?). Contributions to the cataloguing from Elizabeth Kunze.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 342Origin: As appears in colophon on p.421, copied by Maqṣūd ʻAlī Shīrāzī with transcription completed in Dhū al-Ḥijjah 1106 [July-August 1695].Former shelfmark: "123 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark brown leather (pebbled, in style of shagreen) with red-brown leather over edges / spine (possibly repairs or at least added later) ; Type III binding (without flap) ; doublures in dark red brown leather with central mandorla in gold-painted filigree appliqué (composition with two birds) over blue paper as well as pendants and gold-painted border ; outermost flyleaves in marbled paper (mainly blue and green) ; upper and lower covers carry stamped (with recessed onlays) and gold-painted mandorla (filled with vegetal composition having crane-like bird at center) and pendants, as well as tooled and gold-painted borders ; now sewn in white thread, two stations ; worked chevron endbands in pink and yellow, quite good condition ; overall in somewhat poor condition with upper cover fully detached at joint, lower cover almost fully detached at joint, much abrasion, some lifting and losses of leather (filigree, etc.) ; housed in box for protection.Support: non-European (likely Persian) laid paper with 8 laid lines per cm. (horizontal) and no chain lines clearly visible, cloudy formation, well-burnished, thin and transluscent, crisp though sturdy ; in latter quires, another type with roughly 8 laid lines per cm. (vertical, more distinct, curved) and irregular chain lines in pairs (see p.222, etc.).Decoration: Splendid illuminated headpiece (ʻunwān / sarlawḥ) at opening of qaṣāyid on p.2 consisting of large rectangular piece with gold cartouche carrying title in white ("قصاید صایب سلمه الله تعالى") surrounded by elegant vegetal composition in gold, orange-red, yellow, lavender, white, etc. on fields of lapis lazuli, red, and turquoise with white and black accents, surmounted by w-shaped piece filled with swirling vegetal composition in gold, orange-red, yellow, white, lavender, turquoise, etc. on fields of lapis lazuli and gold, all set in a well of blue, red and white ; incipit and facing page carry fine illuminated marginal decoration consisting of swirling vegetal compositionwith sāz leaves and floral motifs mainly in gold with lapis lazuli, red and turquoise accents ; text of incipit and facing page set off by gold cloud-bands ; written area (including columns within) throughout surrounded by gold frame defined by black and outermost blue fillets ; another splendid illuminated headpiece at opening of ghazalīyāt on p.16 (with written area, mounted in replacement leaf).Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 14 lines per page, with written area mainly divided to two columns ; frame-ruled.Collation: ii, IV-1 (7, opening leaf pasted down), 16 IV(135), III (141), 8 IV(205), IV-1 (212), ii ; chiefly quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (skips two pages between p.215-216).Colophon: "Scribal," mainly in Arabic, reads "تمت الغزليات قدوة المتأخرين حضرت صايب الملقب به مستعد خان سلمه الله تعالى بتاريخ شهر ذي حجه الحرام سنه ۱۰۶ كتبه الفقير مقصود على شيرازى تم"Incipit: "تا نگردیدست خورشید قیامت آشکار مشت آبی زن بروی خود ز چشم اشکبار..."Title supplied by cataloguer.Ms. codex.Elegant copy of the collected poems (mainly qaṣīdahs and ghazals) of Mīrzā Muḥammad ʻAlī Ṣāʼib (d.1676?).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 341Origin: Lacks dated colophon ; paper, decoration, etc. would suggest 18th century. Dated ownership statements on 'title page' (p.1) supply terminus ante quem of 1758.Former shelfmark: "443 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf ; "٨٥" inscribed on tail of text block.Binding: Pasteboards now fully covered in spring-green silk faced / backed with lavender paper (covered boards faced and lined, i.e. silk fully wraps apparently already leather-faced boards as with an overcover / slipcover, compare Isl. Ms. 343) ; Type II binding (with flap) ; flyleaves in dark lavender surface-dyed and gold-flecked laid paper (10 laid lines per cm. / horizontal, chain lines spaced 26-27 mm. apart / vertical, and watermark of three crescents / 95 mm. long, perpendicular to chains) ; upper and lower covers bear traces of stamped mandorlas beneath the textile and paper (likely in leather facing, which is also visible under the textile and paper) ; sewn in red thread, two stations ; worked chevron endbands in red and yellow, good condition ; overall in fairly good condition with some staining, abrasion, lifting and losses of cloth and paper, etc. ; somewhat ill-fitting (small), particularly fore edge flap and upper cover.Support: European laid paper of several types ; one type with 10 laid lines per cm. (horizontal), chain lines spaced 22-26 mm. apart (vertical), and watermark of grapes (raisin) with crown above (see p.67, etc.) ; another type with 12 laid lines per cm. (horizontal), chain lines spaced 22-24 mm. apart (vertical), and watermark of grapes (raisin) under crown and "PF" (see p.28, 35, 72) ; all well-sized and burnished, sturdy, thin and transluscent ; some leaves tinted bright yellow, pale green, pale pink, lavender, etc.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of scalloped semi-circular piece (dome) filled with swirling vegetal design and floral motifs in pink, red, white, blue, and turquoise on fields of gold and blue, set in a well of dark turquoise and gold and surmounted by vertical stalks (tīgh) in pink, blue and red ; vegetal motifs in gold accent written area of incipit and facing page (pp.2-3) ; written area surrounded by heavy gold frame, columns within and occasionally margins also outlined in gold rules ; margins in opening quire gold-flecked ; some abbreviation symbols rubricated.Script: Nastaʻlīq (talik) ; fine though initially somewhat careless Ottoman hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes ; highly ligatured ; possibly a different hand supplying the latter portion of the codex.Layout: Written in 23 lines per page with written area mainly divided to two columns ; frame-ruled (occasionally margins also ruled).Collation: i, 6 V(60), I (62), V-1 (69), 16 V(229), VI (241), 20 V(441), IV (449), 5 V(499), IV+1 (508), i ; chiefly quinions ; several sections (pp.119-120, 128-138, 441-460, 572-582, 890-899, 918-919) and final leaves left blank ; catchwords present ; poems numbered in Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (skips two pages each between pp.10-11, 67-68).Incipit: "دل نگردید شب وصل تهی از گلها [گله ها] طی شد این وادی و هموار از نشد آبلها [آبله ها] ..."Title supplied by cataloguer.Ms. codex.Fine copy of the voluminous collected poems of Mīrzā Muḥammad ʻAlī Ṣāʼib (d. between 1080/1669-70 and 1088/1677-8).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 364Origin: Lacks dated colophon ; paper, decoration, etc. would suggest 18th century.Accompanying materials: a. Slip of paper with descriptive notes in pen in hand of G. Meredith-Owens "364 | Dīvān of Ṣāʼib | Probably late 18th century | Contemporary binding | Copied probably in Turkey" (not paginated) -- b. Numerous inserts carrying excerpts and glosses (paginated pp.5-6, 9-10, 15-16, 19-20, 25-26, 29-30, 33-34, 39-40, 45-46, 51-52, 55-56, 63-64, 77-78, 91-92, 97-98, 151-152, 163-164, 169-170, 173-174, 179-180, 183-184, 187-188, 189-190, 193-194, 205-206, 209-210, 213-214, 217-218, 221-222, 225-226, 235-236, 241-242, 247-248, 253-254, 257-258, 363-366, 493-494, etc.).Binding: Pasteboards covered in tan leather ; Type II binding (with flap, now detached) ; doublures in red-brown leather with central lozenge and pendants outlined in gold and flecked with silver, as well as gold-tooled border and rosette and stroke accents ; upper and lower covers carry exquisite stamped (with gold-painted red leather recessed onlays) central lozenge and pendants (filled with symmetrical vegetal design incorporating cloud bands, red-painted, compare Déroche class. NSd), along with gold-tooled accents and a heavy guilloché roll border in gold ; design continues on flap ; edges of text block gold-painted with vegetal designs ; sewn in pink thread, two stations, sewing failing ; worked chevron endbands in pink and yellow, damaged with core of headband exposed ; overall in somewhat poor condition with flap fully detached, lifting and losses of spine leather and lining, minor pest damage at spine, spine split through toward center of text block, minor abrasion, staining, etc. ; repair to upper joint in mauve textile ; housed in box for protection.Support: European laid paper of perhaps a few types ; mainly with 11-12 laid lines per cm. (vertical), chain lines spaced 20-22 mm. apart (horizontal), and watermark of grapes (raisin) below cartouche and crown (see p.84, 104, 122, 124, 198, 199, etc.) ; another type with 11 laid lines per cm. (vertical), chain lines spaced 22-24 mm. apart (horizontal), and watermark of lion statant guardant (see p.280-281, 384-385, etc.) ; another type with 12 laid lines per cm. (vertical), chain lines spaced 25 mm. apart (horizontal), and watermark of a lion [?] passant with curled tail ; all thin and crisp though sturdy, well-sized and burnished to glossy, mainly light cream in color with a few leaves tinted pink, yellow, etc.Decoration: Superbly executed illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of rectangular piece with empty gold cartouche (oriented vertically) set in a scalloped dome overlaid with exquisite swirling floral vegetal motifs in shades of pink, blue, red-orange, yellow, white and gold on grounds of black, gold and slate blue with turquoise accents, all set in a well of narrow gold bands flanking a heavy light blue band with dark blue crosses and surmounted by a row of vertical stalks (tīgh) in blue and red ; second illuminated headpiece at opening of final section on p.534 (opens "نه احتیاج که ساقی ویرا شراب سنکا ..."), consisting of rectangular piece with empty gold cartouche surmounted by scalloped dome overlaid with elegant floral vegetal motifs in gold with white, turquoise, and red accents on a gold ground, all set in a well of narrow gold bands flanking a heavy light blue band with dark blue crosses and surmounted by a row of vertical stalks (tīgh) in blue and red ; written area throughout surrounded by gold frame with narrow gold bands defining divisions within ; red rule border defines margin ; headings, keywords and some marginalia rubricated ; occasional textual dividers in the form of inverted commas in red.Script: Nastaʻlīq (talik) with some element of shikastah (شكسته نستعليق) ; elegant, compact Ottoman hand in a medium line ; serifless, with marked effect of words descending to baseline, closed counters, elongated horizontal strokes, final nūn often reversed or recurved.Layout: Written mainly in 23 lines per page with written area divided to two columns, headings centered in written area and a variable number of lines glossing the margins ; frame-ruled.Collation: i, V-1 (9), 5 V(59), V+2 (71), 14 V(211), IV+2 (221), IV (229), III-1 (234), i ; almost exclusively quinions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Incipit: "عمر من در سایه آن قامت دلجو گذشت از چنان حیرت فرا سروی چسان این جو گذشت ..."Title supplied by cataloguer.Ms. codex.Elegant copy of a selection from the collected poems of Mīrzā Muḥammad ʻAlī Ṣāʼib Tabrīzī (d. between 1080/1669-70 and 1088/1677-8).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 868Origin: Lacks dated colophon ; hand, paper, etc. may suggest 18th century.Accompanying materials: a. Slip with description (in hand of E. Husselman ?) "Z̤ahīr, Abū Naṣr, Fāryābī | Dīvān. | n. f. in Mich. MSS." (paginated pp.1-2) -- b. Slip with note "counted for 1968/69 Annual Report" (paginated pp.3-4) -- c. Slip with note "Persian MSS (Heyworth-Dunne?) Husselman notes" (paginated pp.5-6).Former shelfmark: Mich. Isl. Ms. temp. no. 17Binding: Boards covered in red cloth with dark red-orange leather over spine and board corners (half binding) ; Western style binding ; pastedowns and flyleaves in a sponge 'marbled' (mottled, cloudy appearance) laid paper in shades of red, pink and yellow ; head edge of text block gilt ; spine carries raised bands and gold-stamped "ZAHĪR AD-DĪN FĀRYĀBĪ | MS." ; sewn in white thread over five recessed cords ; stuck-on endbands in dark green ; overall in good condition.Support: non-European laid paper (much repaired) with roughly 7 laid lines per cm. (vertical, indistinct, some curving) and chain lines faintly visible, cloudy formation, sturdy, well-burnished, dark cream in color ; flyleaves and replacement leaves in European laid paper ; some pest damage.Decoration: Section headings rubricated.Script: Nastaʻlīq ; elegant hand ; serifless with effect of tilt to the right and of words descending to baseline, elongation and somewhat exaggerated thickness of horizontal strokes, pointing in distinct dots, quite rounded ; headings in a large, elegant naskh.Layout: Written mainly in 15 lines per page, with written area divided to two columns ; decorative layout toward the latter part of the work with fewer lines and every other line on the diagonal (see p.243, etc.).Collation: iii, IV+1-3+3 (9), 9 IV(81), II (85), IV+1 (94), 2 IV(110), IV-2+2 (118), 3 IV(142), i ; original fragment almost exclusively quaternions ; middle of the quire marks in the form of black strokes, lower outer corner of right-hand leaf, upper outer corner of left-hand leaf ; numerous blank replacement leaves have been inserted where original fragment was lacking ; catchwords present ; foliation in black ink, Hindu-Arabic numerals (upper outer corner of verso of each original leaf) ; foliation in black ink, Western numerals (in upper margin of verso of each original leaf) ; pagination in pencil, Western numerals, supplied during digitization (includes inserts, flyleaves and added leaves and mistakenly skips ahead four pages following p.15 with p.20).Incipit: "طغرل بن ارسلان ملک الشعرا ظهیر الدین فی مدح السلطان چو زهره وقت صبوح از افق بسازد جنگ زمانه راست [تیز] کند ناله مرا آهنگ ..."Title from inscriptions on 'title page' (p.13).Ms. codex.Fine though fragmentary copy of the Dīvān of the court poet Ẓahīr al-Dīn Abū al-Faz̤l Ṭāhir ibn Muḥammad al-Fāryābī (d.1201).
Collection of poetry by ʻUrfī Shīrāzī, begins abruptly; includes sections called Qaṣāʼid afṣaḥ al-mutaqaddimīn wa-al-mutaʼakhirīn, Muqaṭṭaʻāt, Rubāʻīyāt, Javāb-i Makhzan, Sāqīʹnāmah and Qaṣīdat Mawlanā ʻAmīdī, another section of praise poetry labeled by individual is also included; some of the titles were added by a later hand. A number of headpiece decorations and detailed marginal doodles were also added by a later hand.
Research based on transformation of the principles of natural philosophy. Understanding the nature of the system also mechanically fixed to reinforce the social system.