Перегляд елементів (загалом 1176)
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[Osmanlıca Mecmuası]
The text is mainly copied in nesih, with sections towards the end in divani and rık’a scripts. Black ink is used for the main text, with red for titles and esoteric terms on the final page. There are no textboxes, and the text is arranged into a single column consisting of a variable number of lines, as the text space does not appear to have been regularized.
The majority of the text, at the start, are letters and discourses on a variety of topics, usually identified in the title, organized as a münşeat. A fihrist of these sections is available at the start of the volume. Towards the end of the text, the titles for these sections are no longer included, and the letters and discourses give way to a collection of other, unidentified prose and poetical texts in various directions on the page. Some of these pieces are in divani script, and various hands are clearly found. The end of the text contains a listing of terms and their definitions in rık’a.
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Анна Ярославна : українська княжна на королівському престолі Франції в XI. сторіччі
Бібліотека самоосвіти -
Посвідка студента Київської духовної академії Олексія Ненадкевича
Посвідка студента третього курсу Імераторської Київської Духовної Академії Олексія Михайловича Ненадкевича, видане єпископом Василієм, настоятелем Богоявленського монастиря і ректором академії (в миру Дмитро Іванович Богдашевський). Документ надавав право студенту вільно проживати у місті Києві та його околицях протягом півроку -
"Вокругъ Свѣта": журналъ путешествій и приключеній на сушѣ и на морѣ 1900 года
Зшиток з 50 номерів
Зшиток об’єднує видання: №1-№50 (1900)
Штамп: "Книга изъ библіотеки Иваненко" -
«Fixing a hole»
Рік надходження – 2004.
Дарунок автора після персональної виставки «Золота груша» в Галереї мистецтв НаУКМА (квітень 2004 року). -
«Дівчино моя, напій же коня!»
Рік надходження – 1997.
Дарунок автора після Різдвяної виставки (проект Романи Кобальчинської) у Галереї мистецтв НаУКМА (грудень 1996 – січень 1997 р.р.). -
«Марка в Америці 10 коп.» Російсько-американської компанії
Марка чотирикутної форми на пергаменті, у верхніх кутах – два круглі отвори. На лицьовій стороні овальна печатка із двоголовим орлом, під яким напис у три рядки: «РОССІЙС:АМЕРИ/КАНС:КОМПА/НІЙ ПЕЧАТЬ». По обідку напис: «ПОДЪ ВЫСОК: ЕГО ИМП: ВЕЛИЧ: ПОКРОВИТ:». Під печаткою напис «Десять копѣекъ.». На зворотній стороні у горизонтальному темному еліпсі, що розміщений на темному прямокутнику, напис у чотири рядки: «Марка/Въ Америкѣ/10 коп/№ 26416». Марку подарував Церковно-археологічному музею у 1876 р. вихованець Киїської духовної академії, ректор Іркутської духовної семінарії Модест (Стрельбицький). Відомі емісії марок компанії у 1816, 1822, 1826, 1834 та 1852 рр. Використовувалися як грошові знаки. Компанія (ств. 1799 р.) монопольно контролювала промисли й копалини російської Америки.
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[Behcetü’l-fetava]
The text is copied in unvocalized nestalik in black ink with red used for headers, overlines and text boxes. The text is organized into a single column inside a single-rule text box containing 31 lines. There are occasional catchwords. On the side of the text boxes is a constant running commentary of the answers in Arabic, including evidence from the Qur’an and the Hadith. There is some evidence of waterstaining and mildew damage.
This volume is incomplete, as it begins with the last words of a question and the answer to it. It likely contains the collected Ottoman Turkish fetava of Yenişehirli Abdullah Efendi (died 1156 AH/1743 CE), who was Şeyhülislam of the Ottoman Empire between 6 Jumādā al-Thānī 1130–17 Rabīʿ al-Awwal 1143 AH (7 May 1718–30 September 1730 CE). Originally of Yenişehir, Abdullah Efendi completed his medrese education in Istanbul. He went on to serve variously as a müderris, custodian of fetva (fetva emini), military judge (ordu kadısı), and kazasker of Anatolia and later Rumelia. Upon the dismissal of Şeyhülislam İsmâil Efendi, Sultan Ahmed III (reigned 1115-1143 AH/ 1703-1730 CE) made Abdullah Efendi his replacement on 6 Cemaziyülahır 1130 AH (7 May 1718 CE). This was in large part thanks to the efforts and recommendation of the incumbent Grand Vizier and Ahmed’s son-in-law, Nevşehirli Damad İbrahim Pasha (in office 1130-1143 AH/1718-1730 CE). Abdullah Efendi remained in this office for over twelve years, enjoying good relations with Ahmed III and Ibrahim Pasha, an influential figure in the Empire’s cultural life in this period, known as the Tulip Age (Lâle Devri, 1130-1143 AH/1718-1730 CE). However, upon the outbreak of the Patrona Halil Rebellion in 1143 AH/1730 CE, Abdullah Efendi became a fierce critic of the Grand Vizier and supported the dethronement of Ahmed III, in large part to protect himself from the rebels. For this behaviour he was dismissed by Ahmed III on 17 Rebiyülevvel 1143 AH (30 September 1730 CE) and exiled to Bozcaada. He was permitted to undertake the Hajj in 1144-5 AH (1732 CE) and was later allowed to reside in his waterside mansion in Kanlıca. He died in 1156 AH (1743 CE) and was buried in Kanlıca’s İskender Pasha Mosque. During his long reign as Şeyhülislam, Abdullah Efendi became one of the important figures of the Tulip Age, issuing a number of notable fetava in favour of contemporary practices. Among these are his judgments on the establishment of the printing press and the printing of non-religious works. Unlike a number of his predecessors in the office of Şeyhülislam, Abdullah Efendi himself compiled the fetava he issued into a large volume. A fetva emini in his service by the name of Mehmed Fıkhi al-Ayni then rearranged the text, following the standard order of classical fıkıh compilations. He completed this edition in Abdullah Efendi’s lifetime and called it Behçetü’l-fetava. For each fetva, Aynî provided references from the most renowned Arabic-language Hanafi source texts. The Behçet went on to become one of the most important Ottoman fetava compilations. Later scholars continued to produce derivatives and supplements to the work, for example Fındıklılı Süleyman Efendi, a clerk at the Kısmet-i Askeri Court in Istanbul who produced a complete index of the work for even more convenient navigation called the Behçetü’l-fetâvâ Fihristi (el-Fihristü’l-Kâmil li-Behceti’l-fetâvâ). The fetava in the Behcet were also summarised and published in the Hulâsatü’l-ecvibe of Çeşmîzâde Mehmed Hâlis. The questions are on a wide variety of topics, including family, property, and inheritance law. The sections on inheritance law contain occasional diagrams working out the shares of an estate destined to each heir, likely added by a later hand, along with rare examples of marginalia in Arabic, some of which references other fetava compilations. The text ends with a final question and answer, without any colophon indicating the copyist, date of copying, or location of production.
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[Доктринальні настанови та історії пророків]
The manuscript is a compilation of prose and verse works in both Ottoman Turkish and Arabic that are not entirely identifiable. It begins with an Arabic explanation of the important points of Islamic practice, followed by an Ottoman Turkish continuation of the same topic, or translation of the text. Much of it is arranged in the form of questions and answers about the beliefs of a particular mezhep, with a long meditation on the names of Allah and their significance. In the middle, after a break in the main text (dated at this point at 1147 AH/1734-35 CE) that is replaced by later additions, there is a brief explanation of the chieftains of the Quraysh, from Hashim ibn Abd Manaf down to Abu Talib ibn Abd al-Mutallib. This is followed by an elegiac (?) poem about Shah Muhammad Janfi (?) bin Ali in Ottoman Turkish (dated 1146 AH), followed by a dua in Arabic. Then comes a chart of the days of various Hijri months assigned to different letters of the abjad in 1103 AH (1691-92 CE), followed by vocalized Ottoman Turkish hikayeler about the Prophets Ibrahim, Yaqub. The hand changes abruptly here, and the vocalization ceases, but the catchwork implies that it is a continuation of the same text. This goes into a series of questions and answers, as well as beyitler, before ending formally. The final two pages contain considerable amounts of graffiti in various directions and hands.
Physical description: The text is copied in an inconsistent hand or possibly hands, mainly following nesih forms but with occasional influence of nestalik in the sins, shins, and final yaas, or rık’a forms elsewhere. Vocalization is more frequent towards the middle and end of the document. About halfway through the manuscript, the original copy ceases, and is then resumed on the following page in a different but similar hand. It is copied throughout in black ink, with inconsistent and sporadic use of red ink for headers, separators, and overlines. The text is arranged in a single column without textboxes at first, and then goes into two columns when in verse, only to return to a single column in prose. The pages contain 19 lines consistently.
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[Збірка віршів османською турецькою мовою]
Переписувач рукопису невідомий.
Рукописна збірка віршів османською турецькою мовою. -
Уривок з передачі "Прогулянки містом"
Уривок з передачі "Прогулянки містом" за 15.02.2018 (телеканал "Київ"). У сюжеті ведуча Аліна Солодка розповідає про історію Києво-Могилянського колегіуму 17-18 ст., зокрема, про навчальні предмети, які викладались у ньому та його видатних особистостей. Коментар професора кафедри історії НаУКМА Максима Яременка про одного з найвидатніших спудеів колегіуму - Григорія Савича Сковороду. Відео належить телеканалу "Київ" -
1001 ніч
Рік надходження – 2006.
Дарунок автора після персональної виставки «Казкоманія» в Галереї мистецтв НаУКМА (квітень 2006 року).