Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 431Origin: As appears in colophon on p.16, executed by Sulṭān ʻAlī [possibly Sulṭān ʻAlī Mashhadī?] ; date of transcription not specified ; decoration, hand, etc. suggest early 16th century.Former shelfmark: "450 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of both front flyleaves.Binding: Pasteboards covered in dark purple leather ; Type III binding (without flap) ; pastedowns and flyleaves in light-blue textured paper ; upper and lower covers bear gold-painted central floral motif with tooled borders in gold (two different shades) ; sewn in heavy yellow thread, four stations ; overall in fair condition with some abrasion, lifting and losses of leather and paper, etc.Support: Written area mounted in lovely silhouette paper (floral designs in pink) in leaves of non-European (likely Persian) laid paper with 8 laid lines per cm. (horizontal, fairly distinct) and no chain lines visible, thin and transluscent though sturdy, well-burnished ; some staining and tide lines.Decoration: Elegant illuminated headpiece (ʻunwān) at opening on p.2 consisting of rectangular piece with empty gold cartouche and surrounding floral vegetal accents in gold, red, lavender, orange, pink, light blue, white, etc. on a field of lapis lazuli bordered in bands of lapis, gold and orange-red, surmounted by a scalloped triangular piece or hasp set in a narrow rectangular piece continuing the floral vegetal design and itself surmounted by vertical stalks (tīgh) in lapis lazuli ; written area throughout surrounded by frame in bands of green and gold with outermost blue rule ; panels within written area (and entire written area of incipit page) gold-flecked ; ḥadīth text in light-blue and white ink.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes.Layout: Written in roughly 9 lines per page, three of ḥadīth text and six of the Persian verse paraphrase with the hemistiches of four lines of verse divided and arranged on the diagonal ; written area divided to set off the ḥadīth text and elucidation ; frame-ruled.Collation: ii, IV (8), ii ; single quaternion ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," reads "احقر العباد سلطان على"Explicit: "ومن كلامه صلى الله عليه و آله لا يشبع المؤمن من دون جاره هر که در خطه مسلمانی باشد از نقد دین گر انمایه ... تمت ترجمه هذه الاربعين بتوفيق من هو ناصر ومعين سنه ست و ثمانين و ثمانمائة متع الله بها كل فريق فيه و الحمد لله على الاتمام و الصلوه و السلام على محمد و آله البررة الكرام اربعینهاى سالکان جامی هست بهر وصول صدر قبول منست از فضل حق عجیب و غریب که بدین اربعین رسی بوصول"Incipit: "صحیح ترین حدیثى که راویان مجالس دین ... این چهل کلمه است ازان کلمات که سهولت فهم و حفظ را بنظم فارسی ترجمه گر ده مي آید امید ... لا يؤمن احدكم حتى يحب لاخيه ما يحب لنفسه هر کسی را لقب مکن مؤمن گرچه از سعی جان وتن کاهد ..."Title supplied by cataloguer.Ms. codex.Exquisite copy of Jāmī's verse paraphrase of forty ḥadīth, possibly executed by renowned Timurid calligrapher Sulṭān ʻAlī Mashhadī (d.1520).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 430Origin: Lacks dated scribal colophon ; decoration, paper, etc. suggest 16th century.Former shelfmark: "524 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "231" inscribed in pencil on 'title page’ (p.1).Binding: Pasteboards faced in marbled paper (in red and green) with red leather over spine, fore edge of upper board, and fore edge flap ; Type II binding (with flap) ; board linings in untinted European laid paper ; sewn in dark pink thread, four stations ; overall in fair condition with some abrasion, lifting and losses of leather and paper, etc.Support: non-European laid paper with roughly 8 laid lines per cm. (vertical, indistinct) and no chain lines plainly visible, cloudy formation, quite thin though sturdy, burnished ; staining and tide lines ; back flyleaf in European laid paper with "GFA" under eagle watermark.Decoration: Elegant illuminated headpiece (ʻunwān) at opening on p.2 consisting of rectangular piece with gold cartouche carrying the basmalah flanked by floral vegetal accents in gold, yellow, red and white on a field of blue (approaching lapis lazuli), surmounted by larger rectangular piece with empty gold cartouche and surrounding floral vegetal accents in gold, red, and light blue on a field of blue bordered in bands of red and heavy gold interlace, itself surmounted by a scalloped triangular piece or hasp continuing the floral vegetal design ; larger rectangular piece and triangular piece are set in an elaborate well of gold, red, green, and blue bands and surmounted by vertical stalks (tīgh) in blue ; written area throughout gold-flecked and surrounded by a gold frame with outer gold and blue rules.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes ; contrast in thickness of horizontal and vertical strokes.Layout: Written in roughly 9 lines per page, three of ḥadīth text and six of the Persian verse paraphrase with the hemistiches of four lines of verse divided and arranged on the diagonal ; written area divided to set off the ḥadīth text and elucidation ; frame-ruled.Collation: IV-1 (7), I (9), i ; quaternion (anomalous, "missing leaf" possibly pasted to leaf carrying incipit page) followed by single bifolium ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Explicit: "لا يشبع المؤمن من دون جاره صدق هر که در خطه مسلمانی باشد از نقد دین گر انمایه... اربعینهاى سالکان جامی هست بهر وصول صدر قبول منست از فضل حق عجیب و غریب که بدین اربعین رسی بوصول"Incipit: "صحیح ترین حدیثی که راویان مجالس دین ... این چهل کلمه است ازان کلمات که سهولت فهم و حفظ را بنظم فارسی ترجمه گر ده می آید امید ... لا ؤمن احدكم حتى يحب لاخيه ما يحب لنفسه هر کسی را لقب مکن مؤمن گرچه از سعی جان وتن کاهد ..."Title supplied by cataloguer.Ms. codex.Fine copy of Jāmī's verse paraphrase of forty ḥadīth.
Collection of astronomical works by Naṣīr al-Dīn al-Ṭūsī, which include material on sunset and sunrise, the size of the earth, the moon, the distance to the moon, the distance between the sun and the planets, movement of the spheres, and eclipses. Some marginal notes in another hand, affected by trimming.
Probably a commentary or glossary, with words in an unidentified language, probably Persian.Condition: torn, holes, badly rubbed, stainedLayout: 17 lines
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 291Origin: Date, copyist and place of transcription are not specified in colophon of fol.360a (p.720 ; paper and hand would suggest a dating of 16th to early-mid 17th century.Binding: Pasteboards covered in black leather (pebbled quality of shagreen) with edges/turn-ins and spine in tan leather (sheep) ; Type III binding (without flap) ; doublures in red leather (sheep) with filigree in gold leather over red and blue paper and green silk ; upper and lower covers bear central scalloped mandorla with floral vegetal pattern (compare Déroche class. OAi2 7), pendants and corner pieces (in complementary floral vegetal pattern) along with tooled border consisting of a series of s-shaped stamps framed by scored fillets ; doublures bear scalloped mandorla, pendants and corner pieces with vegetal pattern in elaborate gold leather filigree applique over red and blue paper and green silk along with gold painted accents and rule border ; fine chevron endbands in blue-green and purple ; sewing mainly in same blue-green or blue (middle quires) with two sewing stations ; a few early quires sewn in white with two stations ; primaries in same blue-green ; in quite fair condition with some abrasion and edge wear, staining, minor pest damage, some lifting and losses of leather and paper (covers and filigree of doublures), and loose quires.Support: non-European (Persian, 16th or early 17th century - prior to 1650 [?]) laid paper with fairly distinct laid lines running horizontally spaced roughly 8-9 laid lines per cm., some curving/sagging ; virtually no chain lines visible, though sporadically a single chain line is visible ; some undissolved fibers; thick ; crisp ; highly burnished with some burnisher's marks ; some pigment breakthrough along central frame of fol.1 ; some page repairs in same paper as flyleaves (apparently added later as evidenced by the traces of the doublure filigree design on fol.1a and fol.360b ; burn on fore edge of textblock ; some accretions, soiling, staining, etc.Decoration: Superbly executed illuminated headpiece (ʻunwān) appears at the opening of each main section (see fol.1b/p.2, fol.183b/p.366, fol.280b/p.560, and fol.325b/p.650), each includes a cartouch bearing the work or section title ; elaborate frame consisting of bands of green, red, light blue, gold, blue and red with black fillets appears throughout ; incipit and facing page (as well as opening and facing page for each of other main sections) bear additional blue band with white crosses around written area and dividing the columns of the written area a band in lapis lazuli with floral pattern in gold ; written area throughout is gold-flecked ; cloud bands with floral vegetal pattern in green, blue and red appear on incipit and facing page (as well as on opening and facing page for each of the other main sections) ; margins (even inner margin) of incipit and facing page bear elaborate design of flowers, vines and birds in gold (as does opening and facing page for third main section - see p.560-561) ; opening and facing pages for second main section (see p.366-367) bears essentially the same design but with what appears to be faces of lions rather than birds ; opening and facing pages for final main section bear similar design with large blossoms rather than animal motifs ; text rubricated with section headings, etc. in red.Script: Nastaliq ; fine Persian hand ; sans serif with characteristic sloping of words to baseline, final words or letters of each line superscript, closed counters, and characteristic letterforms.Layout: Written in 21 lines per page ; written area divided to two columns ; frame-ruled.Collation: i, IV+1 (9), 34 V (349), IV (357), I+1 (360), i ; chiefly quinions ; catchwords present, though occasionally lost to trimming ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," triangular, chiefly in Arabic, reads: "تمت الكتاب بعون الله الملك الوهاب تمام شد كليات افصح المتكلمين كمال الدين اسمعيل اصفهانى عليه الرحمه تم تم تم"Explicit: "جوياى كمالند بجان اهل هنر انگاه بجان كمال جوينده ست"Incipit: "اى صفات تو بيانهار ازبان انداخته عزت ذاتت يقين را در كمان انداخته"Title from cartouche in ʻunwān on fol.1b (p.2).Ms. codex.4. fol.325b-360a : رباعيات خلاق المعانى كمال الدين اصفهانى غفر الله ذنوبه3. fol.280b-325a : غزليات كمال الدين اسماعيل2. fol.183b-fol.280a : مقطعات خلاق المعانى كمال الدين اسماعيل1. fol.1b-fol.183a : القصايد والمراثى من كلام افصح الفصحا كمال الدين اسمعيل اصفهانىExquisite copy of the collected poems of the noted panegyrist, Kamāl al-Dīn Ismāʻīl known as Khallāq al-Maʻānī, including qaṣāʼid, marās̲ī, muqaṭṭaʻāt, ghazalīyāt and rubāʻīyāt.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 296Origin: Lacks dated colophon. Executed for (bi-rasm) one Ahmet Paşa ( احمد پاشا ), likely grand vizier (possibly Kara Ahmet Paşa, Hafız Ahmet Paşa, etc.). Decoration, etc. would suggest 16th or 17th century.Former shelfmark: "185 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; traces of numeral inscribed on tail edge.Binding: Pasteboards covered in quite dark brown (nearly black) leather (spine and fore edge flap now in dark red leather) ; Type II binding (with flap) ; pastedowns / flyleaves now in untinted European laid paper with name watermark partially visible (over yellow laid paper) ; upper and lower covers carry stamped scalloped mandorla (filled with vegetal composition, compare Déroche class. OSh 9), pendants and cornerpieces with gold-painted accents and tooled border ; sewn in pale yellow and dark blue thread, two stations ; worked chevron endbands in pink and yellow, damaged ; overall in fair condition with some abrasion, staining, lifting of leather, etc. ; has been rebacked (spine repair in dark red brown leather) and fore edge flap has been repaired as well.Support: non-European laid paper with 8 laid lines per cm. (vertical and horizontal, indistinct), cloudy formation, heavily sized and burnished, glossy and crisp, medium cream in color ; much foxing.Decoration: Illuminated frontispiece (roundel) on 'title page' (p.5) carrying patronage statement / ex libris of Ahmet Paşa ( احمد پاشا ) in white on a gold ground at center and bordered by delicate arabesque with floral motifs in gold, orange, pink, red, yellow and black on a field of lapis lazuli ; elegant illuminated headpiece at opening on p.6 consisting of rectangular piece with central cartouche (more mandorla shape) carrying title ("ديوان سلطان العارفين جلال الدين مولانا الرومى") in white on a gold ground surrounded by a rich arabesque in gold with floral accents in pink, orange, red, yellow, lavender and white on a lapis lazuli ground, surmounted by a narrower rectangle continuing the arabesque composition and itself surmounted by vertical stalks (tīgh) in blue ; written area (and columns within) surrounded by gold frame ; keywords and headings chrysographed.Script: Nastaʻlīq (talik) ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 17 lines per page with written area mainly divided to two columns ; frame-ruled.Collation: i, V-3 (7), 2 V(27), IV (35), 3 V(65), IV (73), 15 V(223), IV (271), IV-2 (277) ; quinions and quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization (includes flyleaf and skips two pages between pp.485-486).Incipit: "ای طایران قدس را عشقت فزوده بالها ..."Title from headpiece at opening on p.6.Ms. codex.Elegant copy of the Dīvān of Jalāl al-Dīn Rūmī, commonly called Dīvān-i Shams-i Tabrīz given the poet's taking the name of his spiritual guide and mystic lover Shams al-Dīn Muḥammad ibn ʻAlī Tabrīzī as his takhalluṣ.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 333Origin: Lacks dated colophon ; paper, decoration, etc. may suggest 17th or even late 16th century.Former shelfmark: "528 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark mahogany leather ; Western style binding (hollow back, not flush, rounded spine, etc.) ; pastedowns and flyleaves in textured and coated, foil-stamped paper (scalloped floral vegetal design in green and gold on white) ; upper and lower covers carry gold-stamped (over onlays, orange leather / shagreen and blue coated and embossed paper) oval central ornament with radiating vegetal design, cornerpieces and border pieces ; on spine, raised bands as well as further stamped ornaments over orange shagreen onlays and at center another oval ornament in green ; eges of text block gilt ; now sewn in white thread over two heavy recessed cords ; stuck-on endbands ; overall in fair condition with some abrasion, staining, lifting of leather, etc.Support: non-European (likely Persian) laid paper with 7-8 laid lines per cm. (mainly vertical, somewhat indistinct) and no chain lines plainly visible, cloudy formation, beige in color, sturdy, well-burnished ; some staining ; replacement leaves in wove paper ; some leaves guarded.Decoration: Illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with gold cartouche carrying effaced title in red, surrounded by swirling arabesque (in turquoise, red, gold, etc.) and geometric motifs defined by white bands on a field of blue (approaching lapis lazuli), bordered in heavy band of gold interlace and floral vegetal desgin in gold, red and blue on a black ground, surmounted by scalloped triangular piece or hasp (filled with floral vegetal design on a gold ground) set into a rectangular band filled with arabesque on a blue (approaching lapis lazuli) ground, all surmounted by vertical stalks (tīgh) in blue ; written area throughout surrounded by frame in gold bands with outermost blue rule, columns within written area also bounded by gold rules ; numerous lacunae left, possibly for headpieces and rubricated passages (only opening mas̲navī bears headpiece ; rubricated text has been provided for opening of Silsilat al-ẕahab, see pp.582-605).Script: Nastaʻlīq ; elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 15 lines per page, written area mainly divided into four columns ; frame-ruled.Collation: i, 3 IV(24), 2 IV-2+2 (40), IV (8), IV-2+2 (56), 3 IV(80), III+1 (87), 5 IV(127), III (133), II (137), 7 IV(179), 2 IV(195), 3 III(213), IV-2+2 (221), III (227), 7 IV(283), II (287), 2 IV(303), 2 III(315), IV (323), III-4+4 (329), II (333), III+2 (341), III-4+4 (347), III (353), i ; mainly quaternions and ternions (some anomalous) ; numerous missing leaves have been replaced but with lacunae left unfilled ; moisture damage or intential removal of text from p.487 ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Incipit: [Yūsuf va Zulaykhā] "الهی غنچه امید بگشای گلی از روضه جاوید بنمای ..."Title supplied by cataloguer.Ms. codex.11. p.582-p.705 : [Silsilat al-ẕahab, daftar-i avval, etc.] / Jāmī.10. p.581 : [blank].9. p.472-p.580 : [Silsilat al-ẕahab, daftar-i duvvum] / Jāmī.8. p.470-p.471 : [blank].7. p.360-p.469 : [Subḥat al-abrār] / Jāmī.6. p.358-p.359 : [blank].5. p.276-p.357 : [Khiradnāmah-i Iskandarī] / Jāmī.4. p.275 : [blank].3. p.146-p.274 : Majnūn va Laylá / Jāmī.2. p.144-p.145 : [blank].1. p.2-p.143 : [Yūsuf va Zulaykhā] / Jāmī.Fine though incomplete copy of the seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang, opening with Yūsuf va Zulaykhā and concluding with Silsilat al-ẕahab (arrangement differs from that outlined in Jāmī's preface). Appears to lack Salāmān va Absāl and Tuḥfat al-Aḥrār.
Lacunose 16th-century copy of a 12th-century romance about the life of Bahrām Gūr, a 5th-century king of Iran; its title (in English, Seven beauties or Seven images) refers to the seven princesses that Bahrām marries, each of whom tells the king a story as part of the narrative.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 438Origin: Dated pieces range from 914 [1508 or 9] to 1317 [1899 or 1900]. Binding late 19th or early 20th century, likely produced in Yıldız Palace workshop and certainly not earlier than 1882 when the arma was finalized by Sultan Abdülhamit II.Former shelfmark: "210" inscribed in pencil on opening panel.Binding: Heavy boards covered in red leather ; Western style binding ; interior of boards (and facing panels) lined with white, textured paper (satin-like pattern) ; upper and lower covers carry central panel with the Ottoman arms (upper cover) or crescent and star (lower cover) gold-stamped on bright green satin, outlined in gold-tooled stars and bordered in gold-stamped (with light green-gold onlays) decorative panels in vegetal designs with crescents gold-stamped on mint-green silk onlays at the four corners ; board edges heavily beveled and gold-tooled ; edges of panels gold-painted ; sewn in heavy pink cord ; overall in fairly good condition with minor abrasion, lifting and losses of silk onlays, etc.Support: Calligraphic pieces on assorted laid papers, well-burnished ; some decorative papers, tinted or marbled ; each mounted in heavy pasteboards (panels) covered in dark green coated and textured paper with edges gold-painted.Decoration: Varies by piece ; use of gold and colored pigments in frames, decorative borders, textual dividers and accents (mainly rosettes) ; two miniatures, one in Indian style, the other Persian, each featuring a pair of lovers.Script: Naskh (nesih), thuluth (sülüs) and nastaʻlīq (talik), varying by piece ; superb Ottoman and Persian calligraphic hands.Layout: Varies greatly by piece.Collation: Twenty-two heavy panels (pasteboards) attached via red cloth stubs (supported by further board).Title from upper cover.Ms. codex.44. fol.22b : [blank].43. fol.22a : unsigned piece in nastaʻlīq executed in filigree / cut-work, undated (compare Calligraphie islamique: Textes sacrés et profanes, no.140).42. fol.21b : piece in nastaʻlīq (talik) signed by the calligrapher Dedezade (مشقه الفقير الحقير دده زاده) and undated.41. fol.21a : piece in naskh with icazetname for a student of es-Seyyid Mustafa Efendi (من تلاميذ السيد مصطفى افندى) authorizing the student to sign his name to his work and to teach others, undated.40. fol.20b : piece in nastaʻlīq signed by the calligrapher Asad Allāh Shīrāzī (العبد المذنب اسد الله شيرازى) and dated 1254 [1838 or 9].39. fol.20a : piece in celi sülüs signed by the calligrapher Mahmut Celalettin (Mahmud Celaleddin Efendi, d.1829, حرره محمود جلال الدين) and undated.38. fol.19b : piece in thuluth and naskh signed by the calligrapher Mustafa b. Osman Keskin (fl.1758) (الفقير مصطفى بن عثمان المعروف بكسكين) and dated 1172 [1758 or 9].37. fol.19a : piece in nastaʻlīq signed by the calligrapher Mīr ʻImād al-Ḥasanī (d.1615) (مشقه عماد الحسنى) and undated (compare Calligraphy and the decorative arts of Islam, no.7).36. fol.18b : piece in nastaʻlīq signed by the calligrapher Faqīr ʻAlī (فقير على) and undated (compare Calligraphy and the decorative arts of Islam, no.8).35. fol.18a : piece in thuluth and naskh signed by the calligrapher Ahmet b. Ali Kütâhî (سوده احمد بن على المعروف بالكوتاهى) dated 1100 [1688 or 9].34. fol.17b : piece in naskh signed by the calligrapher Hocazade Ahmet (كتبه الفقير الى رحمة القدير السيد احمد المعروف بخواجه زاده) and dated 1161 [1748].33. fol.17a : piece in naskh signed by the calligrapher Derviş Ali [possibly İkinci Derviş Ali, d.1716] (الحقير درويش على) and undated.32. fol.16b : piece in nastaʻlīq signed by the calligrapher Muḥammad Muhtadī (الحقر المذنب محمد مهتدى) and undated.31. fol.16a : unsigned piece in thuluth and naskh, undated.30. fol.15b : piece in thuluth and naskh signed by the calligrapher al-Sayyid ʻAbd Allāh (likely Yedikuleli Seyyid Abdullah, d.1731, "كتبه السيد عبد الله") and undated.29. fol.15a : piece in thuluth and naskh signed by the calligrapher İsmail (اسمعيل, possibly Ağakapılı İsmail Efendi, d.1706) and undated.28. fol.14b : piece in thuluth and naskh signed by the calligrapher İsmail (اسمعيل, possibly Ağakapılı İsmail Efendi, d.1706) and undated.27. fol.14a : piece in nastaʻlīq signed by the calligrapher Muʻizz al-Dīn Muḥammad al-Ḥusaynī (كتبه معز الدين محمد الحسينى) and dated 986 [1578 or 9].26. fol.13b : piece in thluth and naskh signed by the calligrapher Hocazade Mehmet (d.1695) (كتبت له اذنا وانا الفقير محمد خواجه زاده) and dated 1162 [1749].25. fol.13a : piece in thuluth and naskh signed by the calligrapher Şekerzâde Mehmet Efendi (d.1753) (كتبه السيد محمد المعروف بشكر زاده) and dated 1144 [1731 or 2].24. fol.12b : unsigned piece in nastaʻlīq, undated.23. fol.12a : piece in nastaʻlīq signed by the calligrapher ʻAbd al-Bāqī (Abdülbâki / الفقير المذنب عبد الباقى) and undated.22. fol.11b : piece in thuluth and naskh signed by the calligrapher Yedikuleli Seyyid Abdullah (d.1731) (كتبه العبد الفقير السيد عبد الله المعروف بالامام) and dated 1114 [1702 or 3].21. fol.11a : piece in nastaʻlīq signed by the calligrapher Aḥmad Rashīd (الفقير احمد رشيد) and dated 1194 [1780].20. fol.10b : unsigned piece in naskh, undated.19. fol.10a : piece in nastaʻlīq signed by the calligrapher Muḥammad Amīn al-Ḥusaynī al-Tirmidhī (مشقه المذنب محمد امين الحسينى الترمذى) dated 1010 [1601 or 2].18. fol.9b: piece in thluth signed by the calligrapher Hulusi (پر تقصير خلوصى) and dated 1128 [1715 or 16].17. fol.9a : piece in thuluth signed by the calligrapher Hulusi (الفقير خلوصى) and dated 1128 [1715 or 16].16. fol.8b : piece in naskh appearing to be the opening of the piece on fol.8a.15. fol.8a : piece in naskh (appearing to be the continuation of the piece on fol.8b) signed by the calligrapher Yedikuleli Seyyid Abdullah (d.1731) (كتبه العبد الفقير السيد عبد الله المعروف بالامام) and dated 1120 [1708 or 9 ].14. fol.7b : piece in nastaʻlīq signed by the calligrapher Maḥmūd Isḥāq Shihābī (مشقه محمود اسحق شهابى) and undated.13. fol.7a : piece in nastaʻlīq signed by the calligrapher ʻAbd al-Jabbār (الفقير الحقير المذنب الراجي عبد الجبار غفر له) and undated.12. fol.6b : unsigned piece in nastaʻlīq, undated.11. fol.6a : piece in thuluth and naskh signed by the calligrapher Kazasker (Kadıasker) Mustafa İzzet Efendi (d.1876) (حرره السيد الحاج مصطفى عزت المعروف برئيس العلماء) and dated 1288 [1871 or 2].10. fol.5b : piece in thuluth and naskh signed by the calligrapher Hulusi (الفقير خلوصى) and undated.9. fol.5a : piece with text in nastaʻlīq (possibly signed ʻAbd al-Raḥmān) surrounding oval with unfinished drawing.8. fol.4b : piece in nastaʻlīq signed by the calligrapher Mīr ʻAlī ("مشقه المذنب مير على") and undated.7. fol.4a : painting of two lovers, likely Safavid.6. fol.3b : painting of two lovers, in Mughal style.5. fol.3a : piece in nastaʻlīq signed by the calligrapher Badīʻ al-Zamān Quṭbʹshāhī (بديع الزمان قطبشاهى) and undated.4. fol.2b : unsigned piece in nastaʻlīq.3. fol.2a : piece in nastaʻlīq signed by the calligrapher Sulṭān Muḥammad Khandān (سلطان محمد خندان) and dated 914 [1508 or 9].2. fol.1b : piece in thuluth and naskh signed by the calligrapher Mehmet Hilmi (محمد حلمى) and dated 1283 [1866 or 7] with illuminations signed by the illuminator Osman Yümni Efendi (d.1919) (عثمان يمنى) and dated 1317 [1899 or 1900].1. fol.1a : [blank].Exquisite album of assorted calligraphic specimens (42 kıt'alar / pieces), many signed, likely assembled and bound for Sultan Abdülhamit II (r.1876-1909). Contents briefly addressed by Muhittin Serin in "Amerika Birleşik Devletleri’ndeki Bazı Kütüphanelerde Bulunan İslam El Yazma Eserleri ve Michigan Üniversitesi II. Abdülhamid Koleksiyonu." Contributions to the cataloguing from Mamoun Sakkal.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 670Origin: As appears in colophon on p.753, copied by ʻImād ibn Muḥamad ʻImād. Date of transcription not specified. Paper, decoration, etc. suggests 16th or early 17th century. Ownership statement provides a terminus ante quem of 1629.Accompanying materials: a. Acquisitions slip from Yahuda -- b. Inventory cataloguing slip in hand of Winifred Smeaton Thomas.Former shelfmark: From upper board lining and spine label, "IL 9" (likely supplied by Yahuda, see acquisitions slip).Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap, now fully detached) ; currently two piece binding (overlapping flanges visible at spine, may represent repair / reback) ; board linings in peach laid paper, hinges in yellow paper ; upper and lower covers carry stamped (and once gold-painted) scalloped mandorla filled with vegetal composition (compare Déroche class. OAi 7) set off by gold-painted strokes, tooled rosettes and chain border ; design continues on flap ; sewn in golden yellow thread, two stations, sewing failing ; worked endbands in golden yellow and metallic threads, only primaries and core with a few threads of headband remain, primaries sewn through textile spine lining ; overall in somewhat poor condition with flap fully detached from lower cover, cover almost fully detached from text block at spine except for intact primaries at headband, extensive abrasion, some lifting and losses of leather, etc. ; extensive repairs (also damaged) in brown leather including edging (which has been tooled in a series of s-shaped stamps) on upper and lower covers as well as head and tail of fore edge flap and likely reback ; housed in box for protection.Support: non-European (likely Persian) laid paper with roughly 8 laid lines per cm. (vertical, somewhat indistinct, fairly straight) and chain lines (possibly grouped in pairs) occasionally visible, cloudy formation, thin and transluscent though sturdy, well-burnished, dark cream to beige in color ; back flyleaf in European laid paper with anchor in circle watermark.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.30 consisting of rectangular piece with almond-shaped gold cartouche carrying title and flanking pieces all evoking bookcover design, set in field of dark blue with delicate vegital motifs in gold, green, red, white, light blue and yellow, bordered in band of dark blue with white crosses and dots flanked by two narrow gold bands ; written area and ruled margins surrounded by gold frame with outermost blue rule, narrower gold band defines central written area and triangular accents on margins within (occasionally filled with floral motifs) ; keywords rubricated ; textual dividers in the form of three dots in redScript: Nastaʻlīq ; small compact Persianate hand in a medium line ; characteristically serifless with slight effect of inclination to the left and of words descending to baseline, elongation of horizontal strokes, pointing in distinct dotsLayout: Written in 51 lines per page, 17 lines in central written area and 34 lines of gloss on the diagonal in the ruled margins ; frame-ruled.Collation: IV-2 (6), 21 IV (174), IV+1 (183), III (189), III+1 (196), 2 III (202), 5 IV (248), III + 1 (255), 14 IV (372), III-1 (376), i ; leaves between opening contents listing and opening of text originally left blank (pp.21-29) ; middle of the quire marks in the form of ه (numeral khamsah or letter hāʼ) in black ink in the upper outer corner of the left-hand leaf ; catchwords present ; foliation in red ink, Hindu-Arabic numerals from pp.353-377 and in black ink from pp.379-753, beginning with Arabic numeral 38 ; pagination in pencil, Western numerals, supplied during cataloguing.Colophon: "Scribal," mainly Arabic, reads "تمت الكتاب بعون الله الملك الوهاب والحمد لله اولا واخرا وظاهرا وباطنا وصلى الله على محمد واله الطيبين وعترته الطاهرين اجمعين وسلم تسليما كثيرا كثيرا على يد الفقير الحقير تراب اقدام الفضلا عماد بن محمد عماد ... گر بهم برزده بینی خط من عیب مکن که مرا محنت ایام بهم برزده است"Incipit: [matn] "بسم الله الرحمن الرحیم رب سهل و تمم بالخیر الحمد لمن وفقنا امداد حمد بی عد و اعداد سپاس بی قیاس مبدعی را که آثار ابداع او بر هر ورقی از اوراق و شجری از اشجار سمت ..." ; [ḥashiyah] "و به نستعين حمد و سپاس عتاری را جل جلاله و عم نواله و عظم شانه ..."Title from rubricated inscription on 'title page' (p.29).Ms. codex.Fine copy of a work of materia medica (pharmacopoeia) by ʻAlī ibn al-Ḥusayn al-Anṣārī known as Ḥājjī Zayn al-ʻAṭṭār (d.1403 or 4) with extensive gloss on the margins. Opens with acephalous contents listing (p.1-21). Contributions to the cataloguing from Elizabeth Kunze.
Tables used in an astrological technique for determining auspicious times for carrying out various activities. Also includes geographical illustrations and diagrams and half of a horoscope diagram for a location in northern Afghanistan dated Friday, 27 Shawwāl 912 (12 March 1507).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 308Origin: As appears in colophon on p.249, copied by Muḥammad Amīn al-Ḥusaynī al-Tirmidhī (al-Tirmiẕī) [?] ( محمد امين الحسينى الترمذى ). Date of transcription not specified but decoration, hand, paper etc. suggest 16th century.Accompanying materials: a. Slip with verses (paginated pp.55-56) -- b. Slip with short note (paginated pp.75-76) -- c. Slip with calculations and date of 1219 [1804 or 5] (paginated pp.121-122).Former shelfmark: "113 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf.Binding: Pasteboards covered in deep red leather ; Type II binding (with flap), possibly two piece binding ; board linings in light pink-tinted paper ; upper and lower covers carry gold-tooled border and rosette corner accents ; sewn in dark pink / red thread, two stations, failing with many gatherings loose ; worked chevron endbands in dark pink and yellow, fair condition with some damage ; overall in somewhat poor condition with abrasion, staining, lifting and losses of leather to spine, upper cover detaching at spine, envelope flap detaching at fore edge flap, etc. ; pieced repairs in dark red-brown leather at board corners, spine, joints, etc.Support: non-European laid paper with roughly 6 laid lines per cm. (vertical, quite diffuse) and no chain lines visible, cloudy formation, dark cream in color, quite sturdy and well-burnished ; staining and tidelines.Decoration: Exquisite illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with empty gold cartouche and pendants surrounded by swirling arabesque with floral motifs (in gold, white, pink, yellow, orange, and red on a lapis lazuli ground) with accent and cornerpieces in gold, black and red and border in turquoise, surmounted by a scalloped semi-circular piece (dome) filled with same swirling arabesque design on fields of lapis lazuli and gold, itself surmounted by vertical stalks (tīgh) in blue ; keywords rubricated ; textual dividers in the form of red inverted commas and gold discs ; central written area surrounded by frame consisting of heavy gold band defined by black fillets, margins and divisions within written area also outlined in gold rules ; central (and in some places marginal) written area gold-flecked.Script: Nastaʻlīq (talik) ; elegant hand ; serifless with effect of words descending to baseline, elongation of horizontal strokes, mainly closed counters, pointing in distinct dots.Layout: Written in 15 lines per page, with up to 32 lines on the diagonal in the margin ; frame-ruled ; written area occasionally divided to two columns to set off verses.Collation: ii, 15 IV(120), I (122) ; almost exclusively quaternions ; catchwords present for marginal text (mainly Būstān) ; pagination in pencil, Western numerals (includes inserts).Colophon: "Scribal," in Arabic, reads "كتبه الفقير الحقير محمد امين الحسينى الترمدى [الترمذي ؟] غفر ذنوبه و ستر عيوبه"Explicit: "و الحمد لله وحده در خاتم كتاب كلستان و الله المستعان بتوفيق بارى تعالى درين جمله چنانكه عادت مولفانست ز شعر متقدمان بطريق استعارت تلفيقى نرفت ... واطلب لنفسك من خير تريد به من بعد ذلك غفرانا لصاحبه حكايت آورده اند كه حاتم اصم از شاكردان و ميردان شيخ بود ... چون تصانيف و رسايل نظم شيخ سعدى مشهور و معروف است شروع در ذكران نكرديم والسلام"Incipit: [Gulistān] "منت خدایرا عز و جل که طاعتش موجب قربتست..." ; [Būstān] "بنام خداوند جان آفرین حکیم سخن در زبان آفرین خداوند بخشنده ی دستگیر کریم خطا بخش پوزش پذیر عزیزی که هر کز درش سر بتافت ..."Title supplied by cataloguer.Ms. codex.Elegant copy of the Gulistān, celebrated collection of moralizing anecdotes in rhymed prose interspersed with verse (maqāmah form), composed in 1258 by the renowned Persian poet and prose writer, Saʻdī (d.1292). Accompanied by the text of his Būstān in the margins and followed by further ḥikāyat, Risālah-ʼyi dah qāʻidah of Sayyid ʻAlī Hamadānī (d.1385) and a manqabat for Shaykh Saʻdī (see pp.228-249).
Origin: As appears in colophon at close on p.344, copied by ʻĀrif Jadval-kash [?] ( كاتب العبد عارف جدول کش ) with date of transcription unspecified ; perhaps late 15th or 16th century.Binding: Leather bound codex with intricate tooling on upper and lower covers as well as envelope flap; some floral and designs around borders; central medalion features a male and female gazelle. Doublures contain leather filigree with remnants of green and gold paint.Decoration: Opening page is ornamented with gold and blue paint; following pages bordered with gold and blue paint; chapter titles written in blue and red ink.Script: Text written in nastaʻlīq.Title from illuminated headpiece (ʻunwān / sarlawḥ) at opening.Ms. codex.Masnavī (long poem in rhymed couplets) completed in 1177; narrates the allegorical tale of a mystical journey of thirty birds. Narrative frame of this mystical journey is broken into numerous anecdotes which the various birds recount along the way.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 324Origin: Lacks dated colophon ; paper, decoration, etc. may suggest early 16th century (binding much later).Former shelfmark: "130" inscribed in pencil on verso of front flyleaf and on 'title page' (p.1).Binding: Pasteboards covered in red leather ; Type II binding (with flap), two-piece binding, overlapping flanges visible at spine ; pastedowns and flyleaves in marbled paper (mainly in yellow, blue, lavender, orange, etc.) on European laid paper ; upper and lower covers carry central rectangular panel defined by gold fillets with tooled rosette accents and guilloché roll border (flanked by gold fillets) in gold ; sewn in dark pink thread, four stations ; worked chevron endbands in pink and yellow, fairly good condition ; overall in fairly good condition with minor abrasion, staining, lifting of spine leather, etc.Support: non-European (likely Persian or Indian) laid paper with 6-7 laid lines per cm. (vertical, curved and somewhat indistinct) and no chain lines plainly visible, dark cream in color, sturdy and quite well-burnished ; some breakthrough at frames (a few repaired).Decoration: Exquisite double-page illumination at opening on fol.1b-2a consists of large rectangular panels each divided to central rectangular panel carrying opening text set off by cloud-bands (in gold with floral accents) and upper and lower rectangular panels with gold cartouches carrying the title and author ("قصايد و غزليات افصح فضلا و افضل فصحى جامع فنون كلامي مولانا عبد الرحمن جامى") in white flanked by pendants and surrounded by elegant swirling arabesque with floral accents in gold, red, black, light blue, lavender, yellow, etc. on fields of gold and lapis lazuli evoking book cover design, entire rectangular panel surrounded by elaborate scalloped border (marginal decoration) evoking a series of scalloped domes and rosettes accented with perpendicular stalks [tīgh] at the spandrels and apices of the scallops and filled with continuation of the vegetal and chī cloud design on fields of gold and lapis lazuli ; further elegant illuminated headpieces at the openings of the قصايد (fol.70b) and غزليات (fol.73b) ; written area throughout gold-flecked and surrounded by frame consisting of a series of red, turquoise, gold, 'white' (blind outline in black fillets), and blue fillets ; keywords and headings in white ; bands of interlace or floral vegetal decoration on a filed of gold accent the written area of many pages.Script: Nastaʻlīq ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 14 lines per page, often divided to two columns ; frame-ruled (impression of ruling board evident).Collation: i, IV-1 (7), 2 IV(23), III (29), 34 IV(301), III (307), 8 IV(371), IV+1 (380), i ; Chiefly quaternions ; catchwords present (occasionally lacking) ; pagination in pencil, Western numerals, supplied during digitization.Explicit: "چه خوش باشد که در کاشانه غم دو همدم درد دل گویند با هم"Incipit: "بسم الله الرحمن الرحیم هست صلای سر خوان کریم ..."Title from inscription on 'title page' (fol.1a).Ms. codex.Splendid copy of the collected poetic works (prose works are not included despite use of term "kullīyāt" in 'title page' inscription) of Mawlānā Nūr al-Dīn ʻAbd al-Raḥmān Jāmī (d.1492). Opens with the opening of one of his seven mas̲navīs, Tuḥfat al-aḥrār (contribution to the cataloguing from H. Mottaghi and İ. E. Binbaş).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 355Origin: Date (likely of composition) at close of second work obscured, though according to inscription on 'title page' "برای سلطان روم بايزيد خان" and dedication in opening matter, composed (and this copy possibly executed) for Sultan Bayezit II (r.1481-1512). Decoration would suggest late 15th or early 16th century. Opening work likely contemporary or possibly slightly later.Accompanying materials: Slip of wove paper with note describing manuscript in black ink, possibly in hand of G. Meredith-Owens, reads "355 On tinted paper 1) Lavāʼiḥ A system of Ṣūfī doctrines by Jāmī. 2) Yūnus ve Muʼnis, a mas̲navī poem by Jāmī (of Rūm) for Bayezīd II followed by a qaṣīdeh in honor of the same. Copied probably in Turkey 16th century"Former shelfmark: "502 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf ; ٥٧٩ on spine label.Binding: Pasteboards covered in dark red leather ; Type II binding (with flap) ; pastedowns and flyleaves in faint-pink, coated and textured paper (embossed with scrolling vines) ; upper and lower covers carry tooled and gold-painted borders ; paper label on spine ; sewn in light pink thread, two stations ; worked chevron endbands in pink and yellow, fair condition ; overall in fairly good condition with only minor abrasion, etc.Support: non-European (likely Persian) laid paper, mainly with 8 laid lines per cm. (horizontal, curved) and no chain lines plainly visible, cloudy formation, thin and crisp, tinted mainly pale pink / salmon, quite well-burnished ; in opening section, written area mounted in frame of contrasting color (blue, pink, yellow, etc.) ; pastedowns, flyleaves, and later repairs in European laid paper.Decoration: Elegant (though somewhat damaged and repaired) illuminated headpiece (ʻunwān / sarlawḥ) at opening of first work (fol.1b) consisting of rectangular piece with empty gold cartouche flanked by gold pendants and surmounted by swirling vegetal motifs on a light blue ground bordered in bands of white (with black crosses) and heavy gold interlace, surmounted by a scalloped triangular hasp set in a rectangular band filled with swirling floral vegetal motifs in red, white, etc. on a gold ground with turquoise, black and light blue accents, itself surmounted by vertical stalks (tīgh) in light blue ; written area throughout surrounded by gold frame, divisions within defined by narrower gold bands ; in opening work, written area typically tinted light green, light yellow, light blue, etc. set into a frame of paper tinted a contrasting light pink, light blue, etc. with an outermost rule in light blue or white that contrasts with tint of margin ; marginal glosses in decorative shapes ; exquisite illuminated headpiece at opening of second work on fol.30b consisting of rectangular piece with gold cartouche (in fashion of mandorla with pendants) carrying the basmalah in white nastaʻlīq/talik amidst delicate floral vegetal decorations set on a dark blue ground overlaid with delicate arabesques, all bordered in bands of gold, turquoise and dark blue and surmounted by vertical stalks (tīgh) in dark blue ; similar illuminated headpiece at opening of closing panegyric with gold cartouche carrying heading in white ("وفى مدحه خلد ملكه") surrounded by delicate floral motifs in gold, bordered in bands of gold and dark blue with minimal vertical stalks ; headings in final works chrysographed.Script: Nastaʻlīq (talik) ; exquisite hand in a medium line ; serifless, with effect of words descending to baseline, closed counters, elongation and contrasting thickness of horizontal strokes, sweeping bar on kāf, pointing in distinct dots, point of final nūn set in a wide, deep bowl.Layout: Written in 11 and 9 lines per page with written area occasionally divided to two columns to set-off poetry ; frame-ruled.Collation: i, IV (8), 2 III(20), IV (28), I (30), IV-1 (37), 2 IV(53), III (59), III+1 (66), 1 (67), i ; mid-quire marks in the form of oblique strokes in black ink (upper outer margin of the right-hand leaf) ; catchwords present.Dedication: Second work composed for Sultan Bayezit II (r.1481-1512), see inscription on 'title page' (fol.30a) and opening matter (fol.33b).Incipit: [Lavāyiḥ-i Jāmī] "لا احصى ثناء عليك كيف و كل ثناء يعود اليك جل عن ثنائى جناب قدسك انت ... این رساله ایست مسمی بلوایح در بیان معارف و معانی که بر الواح ..." ; [Yūnis va Mūnis] "بنام کردگار انجام افروز بهم پیوسته کردان شب و روز ...آغاز حکایت یونس و مونس چنین دیدم ز تاریخ غزانی ..."Title supplied by cataloguer.Ms. composite codex.5. fol.59b-fol.63a : [panegyric for Bayezit II opening with heading "Va fī madḥih khalada mulkuh..."] / Jāmī [?].4. fol.59a : [blank].3. fol.30a-fol.58b : Kitāb-i Yūnis va Mūnis / az taʼlīfāt-i Mawlānā Jāmī.2. fol.29b : [blank].1. fol.1b-fol.29a : Lavāyiḥ dar bayān-i maʻārif va maʻānī / Jāmī.Superbly executed composite codex opening with Jāmī's Lavāʼiḥ, followed by Kitāb-i Yūnis va Mūnis also attributed to Jāmī and dedicated to Sultan Bayezit II (r.1481-1512), in fact closing with a panegyric for him.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 314Origin: Lacks dated colophon ; paper, decoration, etc. may suggest 16th century.Former shelfmark: "209 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in brown leather ; Type II binding (with flap) ; two-piece binding (overlapping flanges visible at spine) ; pastedowns and flyleaves in bright pink textured and coated paper ; upper and lower covers carry gold-painted (in two different shades) spray of flowers and leaves at the center of a rectangular panel with cornerpieces and surrounding border in heavy gold bands and rules ; edges of text block gilt ; now sewn in white thread, two stations ; worked chevron endbands in red and blue-green, excellent condition ; overall in good condition with only minor abrasion and staining.Support: non-European laid paper with 7 laid lines per cm. (vertical) and no chain lines clearly visible, sturdy, though fairly transluscent, well-burnished, beige in color ; written area gold-flecked.Decoration: Sublime illuminated headpiece ( ʻunwān / sarlawḥ ) at opening on p.2 consisting of large rectangular piece with empty gold cartouche surrounded by swirling arabesque with floral accents in gold, red, white, etc. on fields of lapis lazuli and gold (evoking book cover design) with border in white and lapis lazuli bands outlining heavy gold interlace, surmounted by band of black with arabesque and floral motifs in white, red, gold, etc. and scalloped triangular piece or hasp continuing the floral vegetal design on fields of gold and lapis lazuli, all surmounted by vertical stalks (tīgh) in blue ; written area gold-flecked and surrounded by frame consisting of gold band defined by black fillets and outermost blue rule ; keywords and headings in blue.Script: Nastaʻlīq ; compact, elegant hand ; serifless, with effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written mainly in 12 lines per page with written area divided to two columns ; frame-ruled.Collation: i, 10 IV(80), I+1 (83), i ; almost exclusively quaternions ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Explicit: "بو که ز نزهتگه [نزهتگاه] دار السلام بوی علیكی رسدم و السلام"Incipit: "بسم الله الرحمن الرحیم خطبۀ قدست بملك قدیم ..."Title from inscription on 'title page' (p.1).Ms. codex.Elegant copy of Maṭlaʻ al-anvār, a moral and religious poem opening the Khamsah of Amīr Khusraw Dihlavī (d.1325), written in imitation of the opening mas̲navī of Niẓāmī's Khamsah, Makhzan al-asrār.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 356Origin: Lacks dated colophon ; paper would suggest 16th or perhaps early 17th century ; dated calligraphic inscriptions (see p.9 and 11) provide terminus ante quem of 1640.Former shelfmark: "264" inscribed in pencil on added leaf (p.5) ; "394 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on added leaf (p.6).Binding: Pasteboards covered in dark brown leather ; Type III binding (without flap) ; board linings (doublures) in comb marbled paper (mainly in pink, blue, black, and yellow) ; upper and lower covers carry blind-stamped scalloped mandorla (filled with vegetal composition, compare Déroche class. OAi) with gold-painted accents and tooled border ; sewn in dark blue thread, two stations ; worked chevron endbands in blue and yellow, fair condition ; overall in somewhat poor condition with abrasion, staining, lifting and losses of leather, etc. ; housed in box for protection.Support: non-European (perhaps Persian) and European laid papers of several types ; added leaves in a type with 9 laid lines per cm. (vertical), chain lines spaced 26-27 mm. apart (horizontal) and crown-star-crescent watermark (see p.8, 10, 11, etc.), cream in color, sturdy and burnished ; main type with 10 laid lines per cm. (vertical), chain lines spaced 28-30 mm. apart (horizontal), and angel with wings (in circle) watermark (see p.170-171, etc.), thin but quite sturdy ; many leaves tinted (pink, etc.) and interspersed with silhouette or shadowed paper decorated in exquisite vegetal-floral (see pp.20, 33, 41, 51, 69, 165, etc.) and even textual (see p.31) compositions (some outlined or filled in ink or gold) ; to occasional leaves marbled or other decorative papers have been applied (see pp.72, 80, 91-92, 124, 125, etc.).Decoration: Elegant illuminated headpiece at opening on p.20 consisting of large rectangular piece with empty gold cartouche surrounded by swirling floral vegetal accents in gold, red, white, pink, blue, etc. on grounds of gold and blue (lapis or cobalt), bordered in blue band with diamonds or crosses and surmounted by a small scalloped dome in similar design, itself surmounted by tall vertical stalks (tīgh) ; written area in opening section surrounded by a gold frame with devisions within also defined by gold bands ; in some sections headings (mainly poets' names) rubricated (see p.150, etc.) or chyrsographed (see p.172) ; extensive use of decorative papers (silhouette, marbled, gold-flecked, tinted, etc.) including one case where the calligraphic inscription has been cut away from a marbled paper and applied over a tinted leaf underneath (see p.124).Script: Mainly nastaʻlīq (talik) and naskh ; elegant, even calligraphic Ottoman hands ; larger talik, thuluth and riqāʻ (see p.120, etc.), divani, etc. appear in some of the calligraphic inscriptions.Layout: Highly variable, though some consistency according to calligraphic style employed ; in opening section written area divided to two columns with 10 lines (single hemistich to a line) on the diagonal per column and poet's name above, then a similar arrangement of lines in three larger columns (see p.24), followed by the smaller arrangment in two columns (see p.31), etc. ; an arrangment of 12-14 lines in two large columns also appears (see p.37, etc.) with some lines on the diagonal and others not ; another arrangement features 8 large lines (see p.87) ; still another features 25 hemistiches in 15 lines (see p.93, etc.).Collation: I (2), III+1 (9), V-1 (18), V (28), III (34), IV (42), I+1 (45), IV (53), V-1 (62), 2 IV(78), 2 V(98), 2 III(110), I (112) ; pagination in pencil, Western numerals, supplied during digitization (includes added leaves at opening and close of codex and the separate pieces of a leaf torn in three, see pp.109-110, 111-112, 113-114).Incipit: "در جفا نیست احتیار ترا آزمودم هزار بار ترا ..."Title from inscription on added leaf (p.5).Ms. composite codex.Elegant collection (majmūʻah / mecmua) featuring poetry in Persian and Ottoman Turkish, as well samples of fine calligraphy. Contributions to the cataloguing from Yasin Şale.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 273Origin: Lacks dated colophon. According to note on 'title page' (fol.1a/p.1) executed by the renowned Timurid calligrapher Sulṭān ʻAlī Mashhadī (d.1520). Relatively consistent with his style and thus likely executed late 15th or early 16th century. Mounting and illumination possibly later in the 16th century.Former shelfmark: "٢١" and "216 T. De M. [i.e. Tammaro De Marinis]" in pencil on front flyleaf.Binding: Pasteboards covered in red leather ; Western style binding (without flap) ; board linings in shell marbled paper (mainly in lavender, pink, and yellow-green) ; upper and lower covers carry gold-painted rules and tooled border in a series of annular stamps ; now sewn in white thread, four stations ; overall in fairly good condition with some staining and minor abrasion though fully detached from text block ; while cover is not sized to be flush with text block, this appears to have been intentional as adhesive paper pattern on interior of spine matches that on spine of text block.Support: non-European (Persian) laid paper ; written area mounted in a frame of exquisite silhouette paper (laid with 6 laid lines per cm., chains occasionally visible, sturdy, well-burnished) in two floral compositions, one with floral vegetal motifs only, the other with bird motifs as well ; recto of each framing leaf in pastel blue and verso in pink (quite possibly composite with leaves of two distinct tints affixed to each other).Decoration: Superbly executed illuminated headpiece (ʻunwān / sarlawḥ) at opening on fol.1b (p.2) consisting of a rectangular piece with gold cartouche surrounded by intricate swirling arabesques with floral motifs in gold, white, red, yellow, green, and pink on a lapis lazuli ground with gold accents all bordered in bands of gold, white, blue, red and heavy gold interlace, surmounted by a band of floral vegetal decoration in gold, white, yellow, pink, and red over alternating eight-pointed stars in turquoise and gold on a black ground, itself surmounted by an triangular piece or hasp filled with further swirling arabesques with floral motifs in gold, white, red, pink, yellow, etc. on a gold ground with lapis lazuli accents, all surmounted by vertical stalks (tīgh) in lapis lazuli ; written area gold-flecked and surrounded by frame consisting of bands of gold, blue, red, and turquoise, divisions within defined by narrow gold bands outlined by black fillets ; rich floral vegetal accents appear occasionally flanking text ; compositions of silhouette paper in some leaves outlined in gold (in lower margin of fol.13a (p.25), bird motif in paper, elsewhere enhanced by the illuminator in the same bird theme, has been elaborated as a goat instead).Script: Nastaʻlīq ; compact, exquisite hand ; serifless, with slight effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 10 lines per page ; frame-ruled.Collation: i, 2 III(12), II (16), i ; two ternions and a binion ; pagination in pencil, Western numerals, supplied during cataloguing.Explicit: "الهى بحق آنكه ترا حاجت نست رحمت كن برآنكه او را حجت نست تمت الكتاب"Incipit: "این چند كلمه است از نصايح و اشعار نديم بارگاه حضرت جبارى خواجه عبد الله انصارى عليه الرحمه و المغفره ای ز دردت بيدلانرا بوی در مال آمده ..."Title supplied by cataloguer from opening matter on fol.1b.Ms. codex.Sublime copy of a selection of maxims and verses by Abū Ismāʻīl ʻAbd Allāh ibn Muḥammad al-Anṣārī al-Harawī (d.481/1089), attributed to the celebrated Timurid calligrapher Sulṭān ʻAlī Mashhadī (d.926/1520, see p.248 in Bayānī, Aḥvāl va āsār-i khūshʹnavīsān : nastaʻlīq navīsān, vol.1 and pp.30-32 in Soucek, "The Arts of Calligraphy").
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 260Origin: Lacks dated scribal colophon ; decoration, paper, etc. may suggest 16th century ; authorial colophon on p.418 indicates date of composition Ṣafar 890 [February-March 1485].Accompanying materials: a. Slip with notes (paginated pp.17-18) -- b. Blank slip (paginated pp.53-54) -- c. Slip with notes (paginated pp.99-100).Former shelfmark: "١٢٦" possible former inventory mark on recto of front flyleaf ; "331 T. D. M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark maroon leather with black leather over spine, fore edge flap, and edges/turn-ins (likely repairs) ; Type II binding (with flap) ; doublures in dark brown leather with central gold-painted four-lobed floral motif ; fore edge flap lined in green silk ; upper and lower covers carry stamped and gold-painted scalloped mandorla (filled with vegetal decoration, compare Déroche OAi 6), pendants, and corner pieces, along with gold-painted border ; sewn in dark green-blue thread, two stations ; worked chevron endbands in brown and cream (head) and dark green and cream (tail), fair condition ; overall in fair condition with some abrasion, lifting and losses of leather, etc. ; housed in box for protection.Support: non-European (Persian) laid paper mainly with 6 laid lines per cm. (vertical) and no chain lines clearly visible, well-burnished to glossy, sturdy, transluscent, medium to dark cream in color ; toward close another crisp type with many inclusions (see p.387 to close) ; flyleaves in European laid paper (surface-dyed lavender and gold-flecked) ; added leaves at opening on European laid paper with watermarks of eagle, "GFA" and lion rampant in arms (see pp.1-4) ; staining and tide lines.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) appears at opening on p.6, consisting of rectangular piece with gold cartouche carrying the basmalah in white, overlaid with arabesque in green, surrounded by further vegetal decoration in gold, pink, blue, yellow, green, etc. on a field of lapis lazuli, and surounded by decorative band with blue crosses on a field of white and band of interlace in gold ; surmounted by another narrow rectangular piece containing similar vegetal design evoking arabesque on a field of lapis lazuli and surmounted by vertical stalks (tīgh) in blue ; keywords, abbreviation symbols, and text being commented upon in rubricated (light and dark red) ; textual dividers in the form inverted commas, letter hāʼ, etc. in red ; written area throughout surrounded by frame consisting of gold band flanked by black fillets with outermost blue rule (frame on incipit and facing page includes additional gold band) ; occasional diagrams in red and black (see p.20, 57, 87).Script: Nastaʻlīq and naskh ; text of sharḥ in nastaʻlīq, excerpts of Arabic poetry being commented upon in naskh ; nastaʻlīq compact with slight effect of words descending to baseline, elongation of horizontal strokes, letterforms characteristic of nastaʻlīq ; Persianate naskh mainly serifless, quite vertical and somewhat stiff though descenders are mainly curvilinear, with pointing in distinct dots.Layout: Written mainly in 21 lines per page ; frame-ruled.Collation: i, I (2), *IV (9), 24 IV(201), IV+1 (210), i ; almost exclusively quaternions ; first two leaves of opening quaternion affixed to each other ; added leaves at opening of codex ruled for table of contents but left blank ; on pp.43-44 area within written area left blank (perhaps for diagrams or illustrations never realized) ; catchwords present ; foliation in red ink, Hindu-Arabic numerals ; pagination in pencil, Western numerals, supplied during digitization (includes inserts and added leaves and skips two pages each between pp.239-240, 237-238, and 267-268).Explicit: "مهما ترى صف عقد من مديحهم في نظمه ود زهر الحق تضمينا"Incipit: "سپاس وسعادة اساس وشكر عبادة لباس معبودى را كه اعلام نبوة وولاية در ميدان فتوة وهداية ..."Title from inscription on 'title page' (p.5).Ms. codex.Fine copy of the commentary by Qāḍī Mīr Ḥusayn ibn Muʻīn al-Dīn al-Maybūdī al-Yazdī (d.1504?) on the collection (dīwān) of Arabic poetry attributed to ʻAlī ibn Abī Ṭālib (ca. 600-661), opening with the Favātiḥ-i sabʻah.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 434Origin: Lacks dated colophon ; paper, etc. may suggest 16th century.Former shelfmark: "383 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on interior of upper cover ; "232" inscribed in pencil on 'title page'.Binding: Pasteboards covered in marbled paper (kumlu or kılçıklı ebru in blue, green, yellow and white) with red leather over spine ; Type III (without flap) ; board linings in European laid paper (three hats watermark) ; resewn in white thread ; overall in fair condition with some abrasion, staining, etc.Support: non-European laid paper with roughly 8 laid lines per cm. (vertical, somewhat indistinct) and no chain lines plainly visible, cloudy formation, fairly thick and sturdy, quite well-burnished.Decoration: Superb illuminated headpiece (ʻunwān/sarlawḥ) at opening consisting of rectangular piece with cartouche carrying the basmalah in white on a field of lapis lazuli overlaid with a swirling vegetal pattern in gold, surrounded by a delicate vegetal pattern in black with chi clouds in light blue on a field of gold, with entire piece bordered in green or turquoise band ; rectangular piece surmounted by scalloped three semi-circular pieces (domes) filled with a similar delicate vegetal pattern in gold on fields of lapis lazuli, with further gold accents and chi clouds in light blue, all surmounted by vertical stalks (tīgh) ; written area very delicately gold-flecked and surrounded by heavy gold band ; keywords and text of ḥadīth and Qurʼānic excerpts, etc. chrysographed.Script: Nastaʻlīq ; exquisite hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes ; exaggerated contrast between thickness of horizontal and vertical strokes; text of keywords, text of Qurʼānic excerpts, quoted ḥadīth, etc. in tawqīʻ with tilt to the left and right-sloping head-serif.Layout: Written in 11 lines per page ; frame-ruled.Collation: i, III+2 (8), i ; catchwords present.Explicit: "و او از معنی این رباعی حالت رجوع بآن جناب فهم کند البته اورا سروری بیدا شود زیرا که خاصیت محبت آنست که محب را هیج لذتی بهتر از ملاقات محبوب نباشد تمت الرسالة"Incipit: "الحمد لله فیاض الحکم والمواهب وموصل الطالبین الی المطالب ... اما بعد بدانکه این فقیر را بسی شغف مى بود بدانستن رباعی قطب الاولیا سلطان ابی سعید ابی الخیر قدس الله روحه ورباعی اینست حورا بناظره نگارم صف زد رضوان ز تعجب کف خود بر کف زد..."Title from inscription on front flyleaf.Ms. codex.Elegant copy of a commentary by the Naqshbandī shaykh Aḥrār (d.1490) on the quatrain (rubāʻī) known as the Ḥawrāʼīyah attributed to the famous mystic Abū Saʻīd ibn Abī al-Khayr (d.1049).
A richly illuminated and almost complete copy of the Shahnamah with less than a page missing of its prose introduction, probably copied in the 16th/17th Century C.E. The drop-shaped Golkonda seal on the first page appears to be that of Muhammad Quli Qutb Shah, Sultan of Golkunda, 1565-1612 Muhammad Quli Qutb Shah, Sultan of Golkunda, 1565-1612 with the date 1012 [1603/4 C.E.] and a later inscription dated 1091 [1610/11 C.E.]. There is no indication of when the manuscript was completed and no mention of its place of production. The ex libris on the first page is signed by Chas Wilkins, librarian of the East India Company with the date 15th August 1806, which indicates the manuscript's provenance. The double page frontispiece depicting Sulayman enthroned and Bilqis enthroned is followed by a luxuriously executed double page illumination in gold and polychrome [2v, 3r], which ornates the beginning of the introduction and also includes an ex libris of a royal library. The following eleven miniatures found in the text suggest an unusual choice of scenes and depict in order of their appearance: Kayumars enthroned, Guruy executing Siyavusha, Kay Khusrau appointing Tus to lead an expedition to Turan, Kamus fighting Giv and Tus, a full scale battle between the armies of Iran and Turan, Rustam rescuing Bizhan from the pit, Luhrasp enthroned, Isfandiyar's second labour: fighting the lions, Rustam killing Shaghad before dying and Bahram Gur killing a dragon in India. The manuscript is bound in multi-coloured leather with gilded medallions and ornations on the front and back cover and on the flap. This item was included in the Library’s 600th anniversary exhibition Lines of Thought: Discoveries that changed the world .Layout: The text of the poem is written in 4 columns, 25 linesBinding: A multicoloured leather binding with gilded medallions and ornations. The spine was a later addition during a restoration in the 19th Century. The binding was restored in 1999-2002, when the codex underwent a throrough restoration and conservation in Cambridge University Library's Conservation Department by Kristine Rose and Deborah Farndell.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 359Origin: As appears in colophon on p. 209, copied by Shāh Muḥammad al-Kātib ; date of transcription not specified though copyist, paper, decoration, etc. suggest 16th century.Accompanying materials: Slip of wove paper with note (describing manuscript) in ink in hand of G. Meredith-Owens [?], reads "359 Subḥat al-abrār An ethico-religious poem by Jāmī. Copied by Shāh Muḥammad Late XVth century (?)."Former shelfmark: "480 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Boards covered in maroon leather ; Western style binding ; pastedowns and flyleaves in comb marbled paper (in shades of red, pink, blue, yellow, etc.) ; upper and lower covers carry gold rule borders ; bord edges and turn-ins gold-stamped with foliate design ; spine gold-stamped with title ("CÉPA-TUL EBRARE"), bands and foliate design ; edges of text block gilt ; now sewn in white thread over recessed cords ; stuck-on endbands (traces of pink and yellow primaries from original endbands appear as well) ; register (bookmark) in royal blue ribbon, affixed at head of spine ; overall in fair condition with minor abrasion and staining.Support: non-European (likely Persian or Indian) laid paper with 6 laid lines per cm. (vertical and horizontal, curved though fairly distinct) and some chain lines visible (also not very straight and occasionally grouped, see p.176), cloudy formation, thin and crisp, and quite well-burnished.Decoration: Elegant illuminated headpiece (ʻunwān / sarlawḥ) at opening on p.2 consisting of large rectangular piece with empty gold cartouche flanked by pendants and surrounded by swirling arabesque with floral accents in red, lavender, white, light blue, yellow, and gold on a field of lapis lazuli with border in red and light blue bands, surmounted by a wide band of lapis lazuli filled with arabesque and floral motifs in light blue, pink, red, yellow, etc. with black and gold accents, all surmounted by vertical stalks (tīgh) in blue ; written area surrounded by gold frame with outermost blue rule, columns within defined by narrow gold bands outlined in black fillets ; section headings, some keywords and glosses rubricated ; textual dividers in the form of blue and red inverted commas.Script: Nastaʻlīq ; elegant hand ; serifless, with slight effect of words descending to baseline, closed counters, and elongated horizontal strokes.Layout: Written in 15 lines per page, often divided to two columns ; frame-ruled.Collation: ii, 17 III(102), II (106), ii ; almost exclusively ternions ; catchwords present (though often cut-off) ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Scribal," triangular, reads "كتبه العبد المذنب شاه محمد الكاتب تم تم تم"Explicit: "قطع کردیم برین نکته سخن ختم الله لنا بالحسنى و هو مولانا نعم المولى ... خاک قدم سکان کویت باشم نسبت بسک تو بیوفایی نکتم"Incipit: "المنة لله که بخون گر خفتم یکچند چو غنچه عاقبت بشگفتم"Title supplied by cataloguer.Ms. codex.Elegant copy of Subḥat al-abrār, the fourth of the seven seven mas̲navīs of Jāmī (d.1492) collected under the title Haft awrang.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 447Origin: Lacks dated colophon ; decoration, paper, etc. would suggest 16th century.Former shelfmark: "576 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf ; "123" inscribed in pencil on 'title page’ (p.1).Binding: Pasteboards faced in blue cut velvet with red leather over spine and edges / turn-ins (velvet faced, leather edged, framed binding) ; Type III binding (without flap) ; pastedowns and flyleaves in dark yellow surface-dyed gold-flecked laid paper ; sewn in pink thread, four stations ; overall in fair condition with some abrasion and lifting of leather, text block fully detached from cover.Support: non-European (likely Persianate) laid paper with 8-9 laid lines per cm. (vertical, somewhat distinct) and occasional pairs of chain lines (see p.6), sturdy, well-burnished (burnisher's marks visible), dark cream to beige in color ; flyleaves in European laid paper with watermarks "GHIGLIOTTI" (outer front flyleaf), shield with crown above and likely lion rampant within (front inner flyleaf), and eagle with wings spread (back inner flyleaf).Decoration: Elegant illuminated headpiece (ʻunwān) at opening (p.2) of rectangular piece with cartouche in gold carrying title in white ترجمۀ چهل حديث accented by swirling vegetal pattern reminiscent of arabesque in pink, light blue, gold, red, orange, and white on fields of blue and gold ; surmounting the rectangular piece, a scalloped semi-circular piece (dome) set against another rectangular piece (both filled with similar vegetal pattern to that seen in lower piece) is itself surmounted by vertical stalks (tīgh) in blue ; written area of incipit page surrounded by frame consisting of gold and green bands with outermost blue fillet ; elsewhere writen area surrounded by frame consisting of a narrow gold bank outlined in black with outermost blue fillet ; preface and text of elucidation/paraphrase chrysographed ; ḥadīth text in blue.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes.Layout: Written in roughly 9 lines per page, three of ḥadīth text and six of Chagatai elucidation with two of these divided to hemistiches and arranged on the diagonal ; frame-ruled.Collation: ii, IV+1 (9), ii ; a composed anomalous quaternion formed of two joined single leaves, two whole bifolia, and a single leaf joined to a whole bifolium.Explicit: "تمت ترجمه هذه الاربعين اى كه شخصينگى خالق فتاح ... كه بو نوع ايكى اربعين موجود بولسه شايد كه تاپقاسين مقصود يتسه مقصود مدعا بيرلا منى ياد ايتكاسين دعا بيرلا كه نواييغه اول دعا يتكاى بلبل روحىغه نواييتكاى"Incipit: "صحیح ترین حدیثی که راویان مجالس دین ... این چهل کلمه است ازان کلمات فهم و حفظ را بر نظم ترکی ترجمه گر ده می آید امید ... لا يؤمن احدكم حتى يحب لاخيه ما يحب لنفسه مؤمن اير ماستور وركه ايماندين روزگاريده يوز صفا كورگاى..."Title from headpiece at opening (fol.1b).Ms. codex.Fine copy of Mir Ali Şîr Nevâî's [Navāʼī] Chagatai Turkish verse paraphrase of Jāmī's rendering of forty ḥadīth, with Persian preface, Arabic ḥadīth text, and Chagatai elucidation.
Origin: Lacks dated colophon ; paper, hand, binding, etc. suggests late 15th or early 16th century.Former shelfmark: "352 T. De M. [i.e. Tammaro De Marinis]" in pencil on final leaf (p.244).Binding: Pasteboards covered in dark brown leather ; Type II binding (with flap) ; doublures in dark red leather with central scalloped mandorla of dark leather filigree over bronze shagreen onlays accented with gold outlines and rule border ; upper and lower covers stamped with scalloped, four-lobed central ornament and cornerpieces (all filled with vegetal compositions), outlined in gold and set off by gold-tooled border in a series of s-shaped stamps (forming a chain) ; design continues on envelope flap ; sewn in cream thread, two stations ; worked chevron endbands in light blue and cream, tailband gone, headband in tact ; overall in fair condition with some lifting and losses of leather, minor delamination, split joints, slight warping in boards, detaching at spine.Support: non-European (likely Persian) laid paper with 9 laid lines per cm. (vertical, curved slightly and only somewhat indistinct) and irregular chain lines only faintly visible, thin and crisp, quite well-sized and burnished ; some tears, staining, etc.Decoration: Red rubrics ; pages are bordered in blue and gold lines (contribution by D. Mancini-Lander).Script: Text written in black nastaʻlīq script (contribution by D. Mancini-Lander).Layout: Written in 17 lines per page with written area divided to two columns ; frame-ruled.Collation: IV-2 (6), 14 IV(118), II (122) ; catchwords present ; pagination in pencil, Western numerals (supplied during digitization).Explicit: "زبانرا گوشمال خامشی ده که هست از هر چه گوئی خامشی به"Incipit: "نه بینم پخته زین بزم و خامی که بر کف باشد ش زان با ده جامی ..."Title supplied by cataloguer.Ms. codex.Yūsuf va Zulaykhā is the fifth of seven masnavīs (long poem in rhymed couplets) that make up Jāmī's Haft Awrang (Seven Thrones), composed in 888/1483. This manuscript is missing the first folio of the dibācheh. The first complete section begins: "be-nām-i ānkeh nām-esh..."(contribution by D. Mancini-Lander).
Tinta negra y roja.Incipit: [بسملة]Copista: تهمل, que vivía en la calle کوچه کهاسی رام (Khasiram?)Colofón (Fol. 201v):تمت تمام شد کار من نظام شد این تاریخ ظفر نامه که تمر نامه// میکویند من تصنیف هاتفی بهر نقل از کتاب لاله کلدار سنکه جیو/ بر داشتم و بتاریخ بیست و نهم/ ماه صفر سنه ١٢٢٥ هجری مطابق سنه ۴/ جلوس اکبر شاه صاحبقران ثانی بنظامت (؟)/ سهن(؟) صاحب ... انکریران(؟)/ عالیشان بخط بنده درکاه/ تهمل(؟) ساکن کوچه کهاسی رام/ بروز پبجشنبه بوقت/ دوپهر تحریر یافتCaracterísticas especiales: Encabezamientos en tinta roja. Los siguientes folios en otro papel de color amarillo: 24r a 70v; 150r a 159v; 161r a 162v; 164r a 173v; 176r a 177v.Ilustración: No.Ilustraciones: No.Tipo de cuaderno: Cuadernos de 4 y 5 bifolios.Deterioros generales: Ocasionales manchas de humedad que no afectan al texto. Mancha en fol. 153r.H. en blanco: 204r. Numerosas lagunas en el texto, probablemente debidas a ser copia de un texto defectuoso.H. dañadas, mutiladas, sueltas: Sueltas: fols. 15 a 17 y 22 a 23.H. faltan o añadidas: NoFoliación: Sin foliación original. Se ha foliado a lápiz en el margen superior izquierdo del recto.Reclamos: En el verso de todos los folios.Sign. cuad.: No.Pautado: No se aprecia. Distancia interlineal: 1,2 cm.Filigrana: No se aprecia.Anotaciones: Anotaciones marginales en fols. 80r, 82r, 85v, 94v, 102r, 117r, 122r, 138r y 156v, a menudo cortadas por la encuadernación. Tachaduras en los fols. 132v, 133v y 203v. Guarda final con anotación “Ms. Persian Hatifi” y escudo del General Wyndham. Etiqueta pegada en hoja de guarda y en cubierta con número 55 tachado.Signatura antigua: RESC/1022Poema épico describiendo la vida y proezas militares de Timur, dedicado al sultán Husayn Bayqara (muerto en 1506). El poema imita el estilo del Iskandar Nāma de Nizāmī. Consejos para los gobernantes, tomando a Dios y al profeta como modelo. Libro de la Victoria.Encuadernado en piel marrón sobre cartón con medallón central.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 448Origin: Lacks dated colophon ; decoration, hand, paper, etc. would suggest 16th century.Accompanying materials: Slip of wove paper with notes in pencil "448 (Kasidat) al-Burdah Poem by al-Busiri 16th cent."Former shelfmark: "239 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on recto of front flyleaf ; "122" inscribed in pencil on 'title page.'Binding: Pasteboards covered in dark red leather ; Type II binding (with flap) ; board linings and narrow hinges in pale orange laid paper ; upper and lower covers carry central rectangular panel filled with gold-tooled and painted semé pattern as well as further accents in gold-tooled rosettes and border consisting of a series of s-shaped stamps with flanking gold-painted fillets ; now sewn in pink thread, two stations ; worked chevron endbands in pink and yellow, fairly good condition ; overall in good condition minor abrasion, etc.Support: non-European (likely Persianate) laid paper with 6-7 laid lines per cm. (vertical, somewhat distinct) and occasional single chain line visible, thick and sturdy, well-burnished, dark cream in color ; flyleaves and added leaves in European laid paper with 9 laid lines per cm. (vertical), chain lines spaced 26-27 mm. apart (horizontal), and watermark of bird with "G B" below ; much staining and tidelines.Decoration: Exquisite (though damaged) frontispiece consisting of a double-page illumination carries the opening verses and elucidation in Persian set-off by cloud-bands, with adjacent scalloped triangular piece (or hasp), elaborate borders (outermost accented with perpendicular stalks [tīgh]), and upper and lower panels all carrying swirling vegetal design in shades of red, blue, lavender, green, white, and gold on fields of black, gold, and lapis lazuli ; written area throughout surrounded by frame in gold and green bands with outermost blue rule ; text of the Burdah mainly chrysographed, with some lines in blue ; textual dividers in the form of illuminated rosettes set off each hemistich ; illuminated floral decoration flanks elucidation in Persian.Script: Naskh and nastaʻlīq (talik) ; elegant Persianate and Turkish hands ; text of Burdah in a fine Persianate naskh, serifless, with curvilinear descenders and pointing in distinct dots, vocalized ; text of Persian elucidation in a fine nastaʻlīq with characteristic descent of words to baseline and elongation of horizontal strokes ; marginal Turkish elucidation in an elegant nastaʻlīq (talik).Layout: Written in 12 lines per page with 6 additional lines of the Turkish elucidation on the diagonal in the outer margin ; three verses of the poem in 6 lines (filling the column width) with each saṭr and ʻajuz to a line) and elucidation in 6 lines (four on the diagonal, two horizontal but centered).Collation: ii, IV-1+1 (8), 2 IV(24), II+2 (30), ii ; almost exclusively quaternions ; catchwords present.Explicit: " ... واطرب العيس حادي العين بالنغم ... تا برانند اشترانرا بنده گان پر نغم ... اشترمتسه طرب ويردكجه تأثير نغم تم الترجمة بالخير م م"Incipit: "امن تذكر جيران بذي سلم مزجت دمعا جرى من مقلة بدم ای زیاد صحبت یارانت اندر ذی سلم اشک چشم امیختی با خون روان گرده بهم ..."Title supplied by cataloguer.Ms. codex.Fine copy of al-Būṣīrī's poem in praise of the Prophet accompanied by elucidation in Persian and Turkish.
Fihrist: Union Catalogue of Manuscripts from the Islamicate WorldDecoration: 9 full-page miniatures. Decorative borders.Dimensions: 12½ × 7¾ in.Hand: Written in splendid Nastaʻlīq.Record origin: Manuscript description based on: Beeston, A. F. L. (Alfred Felix Landon); Ethé, Hermann, 1844-1917.; Sachau, Eduard, 1845-1930; Catalogue of the Persian, Turkish, Hindûstânî, and Pushtû manuscripts in the Bodleian Library, Oxford; at the Clarendon Press 1889-1953.
The volume comprises three distinct manuscripts (ff. 1v-63r, 63v-67r and 68r-135r).Contents:(1) Naṣīr al-Dīn al-Ṭūsī (نصير الدين الطوسي),
Taḥrīr al-Majisṭī(تحرير المجسطي ; ff. 1v-63r);(2) Menelaus of Alexandria (مانالاوس),
Fī ashkāl al-kurīyah(في أشكال الكرية; ff. 63v-67r);(3) Ulugh Beg (ألغ بيك),
Zīj-i Ulugh Beg(زيج ألغبيك; ff. 68r-135r).Codex; ff. v+135+4Material: PaperDimensions: 235 x 160 mm leaf [180 x 115 mm written ff. 1v-63r; entire writing surface used ff. 63v-67v; 180 x 132 mm written ff. 68v-135v]Foliation: British Library foliation in pencil; previous foliation in Arabic-Indic numerals, black ink, visible on some foliosRuling:
Misṭarah; 32 lines per page ff. 1v-63r, approximately 60 lines per page ff. 63v-67v, 33 lines per page ff. 68v-135v; vertical spacing 18 lines per 10 cm ff. 1v-63r, 27 lines per 10 cm ff. 63v-67v, 16 lines per 10 cm ff. 68v-135vScript:
Naskh; the scribe of Item 1 (ff. 1v-63r) is Ḥamzah ibn ‘Alī ibn Ḥamzah al-Qazwīnī al-Bayhaqī, known as Sa‘d al-Khurāsānī (حمزة بن على بن حمزة القزويني البيهقي المشهور بسعد الخراساني; see colophon on f. 62r)Ink: Black ink, with rubricated headings and overlinings, diagrams and table borders in redBinding: India Office binding with guardsCondition: Badly worm eaten; all folios removed from quires, protected with silk and mounted on guards; one folios is missing after folio 32Marginalia: Numerous and mostly in hand of scribeSeals: Ff. 1r, 68r, 105r, 106r and 135v
The Zīj, or tables of astronomical calculations,produced by Ulugh Beg (1394-1449). This copy lacks the introduction and explanatory material and contains only the tables themselves.Folio 68r contains a diagram apparently unrelated to the texts before or after it.ff 68v-135v
Treatise on the hydraulic and pneumatic machinery of water-clocks with thirteen diagrams, attributed to Archimedes (Ἀρχιμήδης; أرشميدس; fl. 3rd century BC). The title is given wrongly as كتاب أرشميدش في عمل السكامات (
Kitāb Arshimīdash fī ‘amal al-sakāmāt; f. 2v, line 1); the final word should read البنكامات (
al-binkāmāt, 'water-clocks'). The treatise is a compilation material from Greek, Byzantine, Persian and Arabic sources, and some sections may in fact be derived from Archimedes.Begins (f. 2v, lines 3-6):إذا أردت ذلك فاعمد إلى نحاس فاتخذ منه خزانةللماء (!) يكون ارتفاعها ثلثة أشبار في شبرين وليكنمدورة مستويه مهتدمة جيدة اللحام وليكن لهاقوائم ...Ends (f. 21r, lines 7-11):... فنركب القمع في طرف الأنبوب من خارج ونصبالماء حتى يبلغ المقدار الذي يراد منها الذي وصفناه فيماتقدم من عملها إن شاء الله وقد يستخرج من هذه الآلة آلاتكبيرة فافهم ما وصفناه ولا قوة إلا بالله ثم ما أردنا منذلك وبالله التوفيق ...The text is accomapied by thirteen diagrams with captions in Persian.Diagrams:Top section of water-clock, showing a man's head whose eyes change colour on the hour a bird's head that drops balls onto a cymbal, and the mechanisms that drive these devices (f. 2r);Pipes, float and float chamber (f. 5r);Pipe out of which water enters the sump (f. 5v);Semi-circular plate indicating the twelve signs of the zodiac, and pipe with division marker and tap (f. 6v);A device found in a previous diagram (f. 8v);Drum container, water container, and water-sump container of a water-clock (f. 9r)Top section of a water-clock, showing a woman's head flanked by columns marked to indicated the 24 hours of the day (f. 11r);Automata of an executioner and fettered prisioners (f. 12v);Automaton of an executioner on horseback (f. 14v);Statues of men that rise and fall on rods to indicate the hours of the day inscribed on columns, and the mechanism that drives them (f. 16r);Mechanical snakes that emerge from holes at the foot of a mountain on the hour and the mechanism that drives them (f. 17r);A tree containing birds which emit cries on the hour when the snakes on folio 17r emerge from their holes, and the mechanism that drives them (f. 19r);Flautist automaton (f. 20v).Ff. 2r-21r
Two technical treatises on the design and construction of hydraulic machines.Contents:1) Archimedes (أرشميدس),
Kitāb Arshimīdas fī al-binkāmāt(كتاب أرشميدس في البنكامات; ff. 2r-21r);2) Apollonius the carpenter and geometer (أبلنيوس النجار الهندسي),
Ṣan‘at al-zāmir(صنعة الزامر; ff. 21r-25v).Codex; ff. i+25+iiMaterial: PaperDimensions: 193 x 136 mm leaf [121 x 56 mm written]Foliation: British Museum foliation in pencilRuling:
Misṭarah; 18 lines per page; vertical spacing 15 lines per 10 cmScript:
NaskhInk: Black ink, with rubricated titles and diagrams in red and blackDecoration: Diagrams on ff. 2r, 11r, 12v and 14v beautifully paintedBinding: British Museum bindingCondition: Waterstains, wormholes, foxing, grime, etcMarginalia: 1 marginal correction (f. 8v) by main scribeSeals: f. 2r
Abstract: Two texts on astrology and astronomy by Naṣīr al-Dīn al-Ṭūsī.Binding note: Limp dark brown leather with blind-stamped fillets; water damaged.Contents: "1. fol. 3a-53a: Sharḥ-i S̲amarah-i Baṭlamyūs. Persian translation of and commentary on an Arabic version of Ptolemy's CentiloquiumContents: a collection of a hundred aphorisms on astrology. With original Arabic text; missing first page."Contents: "2. fol. 54a-130a: Risālah-i Muʻīnīyah dar ʻilm-i hayʾat. Manual of astronomy dedicated to Muʻīn al-Dīn Abū al-ShamsContents: son of the author's patron Nāṣir al-Dīn ʻAbd al-Raḥīm ibn Abī Manṣūr (governor of Quhistan). Missing first page; with numerous diagrams."Ms. composite codex.Title of first text from fol. 1a, by a later hand; title of second text from fol. 54a.On front cover: Label reading "284" in Arabic script.Ms. erroneously foliated beginning on first flyleaf. Record follows erroneous foliation.Physical description: 15-16 lines per page; written in casual nastaʻliq by two different hands in black on glazed, laid Arabic paper. Rubrication and catchwords. Some damp staining; edges somewhat ragged.Origin: First text completed Ramaḍān 935 H May-June 1529 by Muḥammad Ḥusayn al-Ḥasanī (fol. 53a). Second text completed on Wednesday, 7 Rabīʻ II 681 H 15 July 1282 (fol. 130a).
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 281Origin: Lacks dated colophon ; hand, paper, etc. may suggest 16th century. Date in seal impression provides an approximate terminus ante quem of 1107 [1695 or 1696] depending on the elapsed time between the making of the seal and its impression in the ms.Binding: Pasteboards covered in painted lacquerwork ; Type II binding (with flap) ; spine and fore edge flap in dark brown leather ; doublures and interior of envelope flap in red brown (dark red) leather with recessed inlays of paper in lapis lazuli, light blue, yellow, and green with filigree in brown and black leather ; upper and lower covers bear painted lacquerwork design in gold, green, red, black, and dark red of nearly identical composition ; design consists of scalloped central mandorla (reminiscent of Déroche class. OSd 8), pendants, and corner pieces with border consisting of a series of lozenges ; all are filled with an elaborate swirling floral vegetal design ; upper and lower doublures bear central scalloped mandorla, pendants and corner pieces in leather filigree (black and brown) and recessed paper inlays (lapis lazuli, green, light blue, and yellow) surrounded by simple gold-painted border accents ; interior of envelope flap continues design of doublures ; sewn in white and blue green threads (intertwined), two stations ; worked endbands in blue green, white and pink (traces) ; in poor condition with extensive abrasion to covers resulting in loss of lacquer and paint ; spine leather lifting and detaching from text block, upper cover detacing ; some pest damage ; boards delaminating ; endbands nearly gone ; paper label pasted to upper cover (no writing) ; currently housed in envelope.Support: non-European laid paper (untinted but gold-flecked) set in tinted leaves of non-European (likely Persian) laid paper, mainly alternating shades of blue (often toward green) and yellow, occasionally pink ; laid lines of set-in written area running horizontally spaced roughly 7 laid lines per cm. ; laid lines of tinted leaves running vertically spaced roughly 8-10 laid lines per cm. with curving and sagging ; chain lines difficult to view but may be sporadic short lengths ; a few inclusions ; well-burnished and smooth ; flyleaves of several paper types - European laid paper, non-European (likely Persian) laid paper (decorative silhouette paper), and Persian or Indian laid paper of no earlier than late 18th century.Decoration: Illuminated headpiece (ʻunwān) on fol.1a consisting of rectangular piece surmounted by triangular or hasp piece ; rectangular piece carries lobed central lozenge in gold, with flanking pieces in gold and red all on a field of lapis lazuli with floral vegetal pattern in black, red, yellow, white, and lavender ; bordered in bands of white, blue, and gold (with swirling pattern) ; surmounted by triangular piece or hasp in gold and lapis lazuli with same floral vegetal pattern ; surmounted by vertical stalks (tīgh) ; a band of black with same floral vegetal pattern and flanking bands of red and gold separates the two pieces ; simple illuminated headpieces throughout and at close consisting of rectangular piece with central gold cartouche (empty) flanked by almond-shaped pieces in black or red on fields of lapis lazuli with swirling vegetal motif bordered in bands of gold and red ; "tailpiece" accompanied by flanking rectangular pieces with swirling floral vegetal pattern in black, red, yellow, white and lavender on fields of gold, bordered in blue ; written area surrounded by a frame consisting of a series of bands varying in color according to tint of surrounding leaf ; for lighter colored leaves the frame is in green, gold, black and blue and for darker colored leaves the frame is in blue, gold, black and red ; simple gold bands outlined by black fillets frame columns within written area.Script: Nastaʻlīq ; sans serif ; characteristic descent of words to baseline along with superscript of final words and letters at end of many lines ; characteristic letterforms ; contrast in thickness of horizontal and vertical strokes ; horizontal strokes often elongated.Layout: Written in 11 lines per page ; single column divided to two columns to set off poetry ; frame-ruled.Collation: iii, 4 III (24), II (28), IV (36), I (38), ii ; chiefly ternions ; catchwords present.Explicit: "من وفایی ندیده ام ز خسان گر تو بینی سلام من برسان ... چون مصفا شوی زرزق وزفن مرد گر دی اگر چه هستی زن"Incipit: "ای درون پرور برون آرای ای خرد بخش [بیخرد] بخشای"Title from inscriptions on front flyleaf and fol.1a.Ms. codex.Exquisite manuscript containing what appears to be excerpts from the mystical mathawī (mas̲navī) of Sanāʼī, Ḥadīqat al-ḥaqīqah wa-sharīʻat al-ṭarīqah.
Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center Isl. Ms. 429Origin: Lacks dated scribal colophon ; decoration, hand, paper, etc. would suggest 16th century.Former shelfmark: "400 T. De M. [i.e. Tammaro De Marinis]" and "237" inscribed in pencil on 'title page’.Binding: Pasteboards covered in dark red-brown leather ; Type II binding (with flap) ; board linings in untinted laid paper ; upper and lower covers carry stamped and gold-painted scalloped mandorla (filled with vegetal composition, compare Déroche class. OAi2 1) and pendants, along with gold-painted accents and tooled border ; overall in poor condition with significant abrasion, lifting and losses of leather (spine and fore edge flap in particular), minor delamination of upper board, etc. ; repairs to fore edge flap in paper.Support: non-European (likely Persianate) laid paper with 7-8 laid lines per cm. (horizontal, somewhat indistinct) and no chain lines plainly visible, fairly thick and sturdy, well-burnished ; severe moisture damage to incipit page.Decoration: Illuminated headpiece (ʻunwān) at opening on p.2 consisting of rectangular piece with gold cartouche now carrying title "حديث اربعين لمولانا جامى" flanked by floral vegetal pieces in gold, pink, and orange on a field of blue, surmounted by a scalloped triangular piece or hasp continuing floral vegetal design, itself surmounted by vertical stalks (tīgh) in blue ; written area of incipit page (larger than written area elsewhere) appears to be gold or silver flecked, elsewhere only portions of the written area appear to be gold or silver flecked ; written area throughout surrounded by a gold frame with outermost blue rule ; ḥadīth text chrysographed.Script: Nastaʻlīq ; elegant hand ; serifless with characteristic descent of words to baseline and superscripting of final words and letters ; elongation of horizontal strokes ; text of ḥadīth fully vocalized.Layout: Written in roughly 9 lines per page, three of ḥadīth text and six of the Persian verse paraphrase with the hemistiches of four lines of verse divided and arranged on the diagonal ; written area divided to set off the ḥadīth text and elucidation ; frame-ruled.Collation: IV+1 (9) ; quaternion with added leaf ; catchwords present ; pagination in pencil, Western numerals, supplied during digitization.Colophon: "Authorial," reads " تمت ترجمه هذه الاربعين بتوفيق من هو ناصر ومعين سنه ست و ثمانين و ثمانمائة متع الله بها كل فريق فيه و الحمد لله على الاتمام و الصلوه و السلام على محمد و آله البررة الكرام"Explicit: "وقال لا يشبع المؤمن من دون جاره هر که در خطه مسلمانی باشد از نقد دین گر انمایه ... تمت ترجمه هذه الاربعين بتوفيق من هو ناصر ومعين سنه ست و ثمانين و ثمانمائة متع الله بها كل فريق فيه و الحمد لله على الاتمام و الصلوه و السلام على محمد و آله البررة الكرام اربعینهاى سالکان جامی هست بهر وصول صدر قبول بنود از فضل حق عجیب و غریب که بدین اربعین رسی بوصول"Incipit: "صحیح ترین حدیثی که راویان مجالس دین ... اما بعد این چهل کلمه است ازان کلمات که سهولت فهم و حفظ را بنظم فارسی ترجمه گر ده می آید امید ... لا يؤمن احدكم حتى يحب لاخيه ما يحب لنفسه هر کسی را لقب مکن مؤمن گرچه از سعی جان وتن کاهد ..."Title from headpiece at opening (p.2).Ms. codex.Fine copy of Jāmī's verse paraphrase of forty ḥadīth.