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Various works by Mustafa İbn-i Ali Muvakkıt
Copied in nesih in black ink with red overlines and titles and red text boxes, except for the opening, which is gold ruled. Space has evidently been left for the illumination of an unvan and a title, but neither has been completed. 11 lines per page. A third of the way through the text there is a short marginal text.
The volume contains a variety of works by Mustafa İbn-i Ali Muvakkıt, including Kifayetü'l-vakıt li-maarifetü'l-dair ve fazluhu ve el-semt; Risale-yi ceyb-i afaki; and Kaide-yi irtifa. These texts generally relate to the keeping of time and the various geographical, astronomical, and mathematical information and operations required for it. At the end of the volume are various cetvel (tables) providing the days of the Rumi months; the longitude and latitude of a large number of Ottoman cities and towns, plus Yajuj (Gog); and a listing of Hijri and Rumi months. -
Zenanname, Hubanname, and Çenginame
The text is copied in nestalik in black ink with red used for titles. It is arranged in two columns, which become one for titles and the colophons, surrounded by double-ruled text boxes in gold containing 17 lines of text with catchwords on occasional pages. The work is misbound and might be lacking.
This volume contains Enderuni Fazıl Bey's Zenanname, a mesnevi describing the merits and defects of the women of various nations of the world; Hubanname, a mesnevi describing the merits and defects of the young men of the world; and his Çenginame, a mesnevi describing the merits and defects of the dancers (çengiler) of Istanbul, all three texts in Ottoman Turkish. Much of the content is misogynistic and racist in nature. Fazıl Bey, the son of the famous Tahir Ömer Paşa of Akka (Acre, Ottoman Palestine), lost his father in early life and was brought up in the palace of Sultan Abdülhamit. Under Sultan Selim III he was appointed Vali of Rhodes and was afterwards attached as Hoca to the Divan. He died in Beşiktaş at the end of Zulhicce 1225 AH (January 1811 CE). In the prologue to this work, the poet introduces his beloved, for whom he wrote his Hubanname, and to whose entreaties he again yielded in composing the Zenanname. The text contains three highly similar colophons throughout, none of which provides an exact date of copying.