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Kitab Lugat-ı Nimetullah
The text is copied in largely unvocalized nesih, with considerable marginalia and paratextual content in nasta’liq. The criticial components of the text are in black ink, while the dictionary itself features Persian words in black ink, and Ottoman Turkish translations, overlines, and explanations in red ink. There appears to have been an attempt to create text boxes at the start of the work in red ink, but these were not applied through the rest of the text. In the main body of the work there are nine lines of Persian with nine corresponding lines of Ottoman. In the final quarter of the volume, the hand of the copyist, as well as the organization of the text, changes, having most text in black. It changes again after several folios, this time to be in prose with header terms in red ink and explanations in black ink, with red overlines. It includes 27 lines per page organized into a single column. None of the text contains a proper colophon, and it is therefore difficult to determine the exact texts included or when they were copied. At the end of the text is a partially-faded ownership seal for Hasan Fehmi (?), found on a page that appears to have been pasted over a page of this dictionary or a different text.
The start of this volume contains a Persian-Ottoman Turkish dictionary by Ni‘metullah ibn-i Ahmed ibn-i Kadi Mübarek er-Rumi (died 969 AH/1561-2 CE), known as Sofyalı Ni‘metullah Efendi. Ni‘metullah was born in Sofia and gained some repute as an enameller. He became acquainted with Persian poetry and literature after moving to Istanbul and joining the Nakşibendi tarikat. He then decided to share this knowledge through his Persian-Ottoman dictionary, which he completed in 947 AH (1541 CE). He probably did so ‘at the instigation and with the assistance’ of the famous Şeyhülislâm Kemalpaşazade (died 940 AH/1533 CE). The final quarter of the volume appears to be a grammar of Persian rather than a comprehensive dictionary, with long-form explanations provided in Arabic rather than Ottoman Turkish, and translations of Persian words into Ottoman Turkish. It changes a further time back into a dictionary, with slightly different hand, in the final pages of the work. Here, Kurdish or Gorani expressions in red are explained in Ottoman Turkish in black. The text lacks a proper colophon, and it is therefore difficult to determine the exact texts included or when they were copied. At the end of the text there are a number of short poems, including one about chess. -
Kitāb-i Gulistān
The text is copied in nesih in black ink, with heavy usage of red for titles, headers, dividers, and special or highlighted sections. It begins without an unvan but with a besmele in gold. It is organized into a single column without textboxes, comprising 11 lines of Persian text with 11 corresponding lines of interlinear Ottoman Turkish translation. The manuscript is heavily waterstained and there are numerous repairs evident, largely in the form of paper addended to the original volume.
This volume consists of Sa‘di’s well-known didactic poem Gulistan in its original Persian, accompanied by an interlinear translation into Ottoman Turkish. It is accompanied by considerable amounts of paratextual material in Ottoman Turkish, Arabic and Persian, both in the margins of the text and on the leaves before and after it. Many of the marginal notes along the main text are explanatory in nature, with some of them enclosed in red circles, pointing to the nature of the text sections. A number of the circles are blank, implying that the annotation of the text is incomplete. Among other additions are various ownership seals and inscriptions dating from the 12th century Hijri (18th century CE) and later. Many of the seals are not legible, but at least one reads Quṭb al-Dīn ‘Umr al-Barurzi(?). Some of the ownership inscriptions have been effaced. Another owner listed at the start of the text is es-Seyyit Şeyh Abdurrahman Kalender İbn-i Süleyman el-Kadiri. A note on the life and works of Sa’di found at the start of the volume taken from the Şerh-i Suri. A date of composition of the book is given as 1252 AH (1836-37 CE), but it is not clear if this is intended for the current volume. The end of the volume contains large numbers of couplets and small prose texts in Arabic and Persian about religious matters, copied in various hands. -
Şerh-i Gülistan-i Sudi
The text is copied in nestalik in black ink throughout, with red used for headers, titles, overlines, and textboxes. The text is arranged into single columns inside each of the textboxes, with 23 lines per page, and catchwords.
This volume contains Sudi Bosnevi’s (died 1007 AH/1599 CE [?]) Ottoman Turkish commentary of the Divan of the celebrated Persian lyric poet, Shams-al-Din Moḥammad Hafiz of Shiraz (about 715-792 AH/1315-1390 CE). The Şerh also includes Sudi’s recension of Hafiz’s Divan, as well as his paraphrases of the poems. Sudi was born in the village of Sudići in the Bosnian town of Čajniče, close to the Montenegrin border. He spent time, much of it devoted to studying, in Sarajevo, Istanbul, Erzurum, Diyarbekir, Damascus, Baghdad, Kufa, and Najaf, before performing the hajj and finally settling in Istanbul. He was appointed as a teacher in the Gılmân-ı Hâssa in the palace of İbrahim Pasha, but was dismissed from his post after a short time. After this he retired to a life of seclusion and writing. He was a leading scholar of the period, especially in the field of Persian language and literature. As well as the Divan, he composed commentaries on a number of other Persian classics, including the Shafiya, Kafiya, Masnavi, Bustan, and Gulistan. Sudi composed his commentary of Hafiz’s Divan at the suggestion of Mehmed ibn-i Bedreddin Muhyiddin el-Münşi, or Mehmed Efendi, of Akhisar (died 1001 AH/1592-93 CE). The latter had passed away by the time that Sudi had completed the work in 1002 AH (1594 CE) or 1003 AH (1594-95 CE). Sudi says that the late Mehmed Efendi was a dear friend and benefactor who was also Şeyh of the Haram in Medina, who had requested him to explain the natural sense of the poems of Hafiz without entering into Sufi interpretations. Sudi himself also felt that the existing commentaries of Muslihuddin Mustafa Sürûrî and Şem‘î were not satisfactory, and thus opted to compose his own work in order to remedy their mistakes. The commentary gives, after each verse, some short verbal and grammatical explanations, followed by an Ottoman Turkish paraphrase. It was written more than 20 years after the commentary of Şem‘î, which is occasionally the object of the author's strictures. Both Sudi’s recension of the Divan and his commentary were acclaimed and widely used for editions by Persian scholars as well as for studies by European orientalists (Burrill, ‘Sūdī’). The text is heavily annotated, particularly towards the start, in Ottoman Turkish, Persian, and Arabic. Some of the annotations appear to be in the same hand as the scribe, while others, in a variety of styles including nesih and divani, are by others. The text is also preceded by a short fihrist in red providing the names and locations of the various ebvap. None of the colophons included in the sections provides the name of the scribe or the date or location of copying. -
Kitab Hamse bi-teallüf Yahya
Copied in nesih script in black ink with titles and double-outlined textboxes in red ink. 17 lines per page arranged into two columns. Marginalia at the start of the manuscript and on some sheets includes sums, but some of these appear to be pasted on as repairs or cut off, as if they were written partially on an overlaid sheet of paper.
This volume contains the collected Ottoman Turkish poetry of Yahya. This collection is not the Hamse of the 16th century Ottoman poet of Albanian origin Dukagjini Yahya, also known as Taşlıcalı Yahya, as the contents do not match the five poems usually found in his Hamse, nor does the Hatime match. It is divided into an opening, followed by Vasf-ı sani, Vasf-ı salis, Tevhid-i evvel, Tevhid-i sani, Tevhid-i salis, two Hikaye, Mürtebe-yi hamse, Nev’-i salis, a series of other short poems and stories, and finally a Hatime. -
Kitab-i Muhammediye
The text is copied in vocalized nesih in black ink with red used for titles and some beyitler. In the first part of the text, another hand has added words in Ottoman Turkish. On numerous occasions throughout the text the ink is smudged. The text is enclosed within single-ruled textbox in red divided into two columns separated by a double-ruled bar. Each page contains 13 lines and occasionally catchwords. At the start of the text is an illuminated unvan featuring a dark blue background framed in an undulating black dome with black stems and flowers in yellow and red. The ink of the unvan appears to have either transferred or been rubbed off. The manuscript shows occasional water damage and repairs.
This volume contains the Muhammediye, an Ottoman Turkish work on the life and attributes of the Prophet Muhammad. It was authored by the renowned Sufi Yazıcıoğlu Mehmed Efendi (died 855 AH/1451 CE), who, along with his brother Ahmed Bican (died circa 1466 CE), was among the most popular vernacular religious writers and thinkers of the early Ottoman period. Both were educated by their father, Yazıcı Salih (died after 826 AH/1422–3 CE) and were disciples of the founder of the Bayramiye order, Hacı Bayram-ı Veli (died 833 AH/1429–30 CE). Mehmed had initially written a broader didactic work on religion and Sufism in Arabic called Maghārib al-zamān, which his brother translated into Ottoman Turkish as Envarü’l-ʿaşikin Mehmed then decided to rewrite and expand the sections of the Maghārib on the Prophet Muhammad. The ensuing work was titled Kitabü Muhammediye fi na‘ti seyyidi’l-alemin habibillahi’l-a‘zam Ebi’l-Kasım Muhammedini’l-Mustafa, or Muhammediye, as it was more commonly known. Mehmed completed the work in Gelibolu (Gallipoli) in 853 AH (1449 CE). It went on to become one of the most widely read and memorized books in the Ottoman Empire. Written in a simple style, the work consists of couplets in groups of varying length and arranged in three main parts: beyit 1 to beyit 1413 talks about creation; beyit 1414 to beyit 4756 focuses on the birth (mevlid) and life of the Prophet; and beyit 4757-8765 covers a range of subjects, including signs of the end times, the Day of Resurrection, and the afterlife. In the centuries after the Muhammediye’s completion, its verses on the mevlid were recited during the annual celebrations of this event, while sections on Hasan and Hüseyin were recited on the tenth of Muharrem. Beginning in the seventeenth century CE, the work was also recited by specially appointed Muhammediyehan. There are many commentaries of the work, but the most famous is probably İsmail Hakki Bursevi’s (died 1137 AH/1725 CE) Ferahu’r-ruh.
Copyist Mahmud el-Hacı Kurd.
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[Збірка віршів османською турецькою мовою]
Переписувач рукопису невідомий.
Рукописна збірка віршів османською турецькою мовою. -
[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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Hayriyye and Hayr-I Abad by Yusuf Nabi
The text is copied in clear nesih through, in black ink for the main text, with red used for titles. The text is divided into two columns, except for titles and final beyitler, comprising 17 lines per page, without textboxes. There are occasional indications of water damage throughout.
A collection of poetry by the Ottoman Turkish poet Yusuf Nabi (died 1712 CE), including his Hayriyye (called Hayriname here) and Hayr-i Abad, followed by Mi’raciye-yi Sabit rahmet Allah aleyhi, the mi’raciye of Sabit Bosnevi. At the start of the manuscript are two different ownership seals, one belonging to Şâkir and dated 1009 AH (1600-01 CE), and the other attesting to this being the property of on Mehmet Sabit. The seal is repeated throughout the text. Graffiti can be found at the start and end of the text, and the work has a considerable number of marginal notes in prose and poetry throughout in a hand different from the copyist.
Copyist es-Seyyit Mehmet Sabit İbn-i Haci Hasan
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Lugat-ı Halimi
Nestelik calligraphy; black ink with red catchwords, overlines, and red text boxes; Persian words are written in red with their Ottoman Turkish equivalents in black ink; marginalia in black ink on numerous pages; 270 pages, largely unfoliated; considerable water damage occasionally resulting in the blurring of text on the final pages of the manuscript. On page 268 there is a fihrist by letter indicating the pages of the start of the various letters in pink ink in rık’a.
A Persian dictionary explained in Ottoman Turkish by Lutfullah İbn-i Abi Yusuf el-Halimi.
Copyist: Abdulfakir Mehmet İbn-i Mustafa Vezlik (?) -
Acaibü’l-mahlukat
The manuscript appears to have been improperly bound, with the text beginning on p. 111, and a colophon bearing the date 1155 AH () on p. 110. Nesih. Main text in black ink with red catchwords and overlines. Text in a single column of 25 lines without text boxes. There are a considerable number of notes at the start and end of the volume in Ottoman Turkish and clearly not in the same hand as the main text. One of these at the start of the text is dated 1196 AH (1781-82 CE).
Yazıcıoğlu Ahmed Bican’s (died after 870 AH/1466 CE) Ottoman Turkish translation of Zakariyya ibn Muhammad al-Qazwīnī’s (died 682 AH/1283 CE) ‘Ajā’ib al-makhlūqāt, an Arabic work on geography and cosmography. Yazıcıoğlu Ahmed Bican’s translation was the most well-known and perhaps the most widely read work of its kind. He completed the work in Gallipoli 857 AH (1453 CE). It consists of seventeen chapters and is based on Persian translations rather than al-Qazwīnī’s Arabic original. -
[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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Untitled theological tract
Copied in fully-vocalized nesih in black ink. The text is arranged into a single column with no text boxes, 20 lines per page. As there are numerous ink blotches and one section crossed out, it is likely that this was not a fair copy but either a draft or a copy made for personal use.
The work begins with a short Ottoman Turkish poem and the title Divan-i Mustafa in rık’a, but the main text is in a completely different hand and written in prose, making it highly likely this is not the name of the main work. The bulk of the text is an Ottoman Turkish theological tract that addresses a wide variety of topics, including the Prophet Muhammad’s physical appearance, the hadith, heaven, hell, and rituals. At the end of the text is an additional note that the owner of the work is Derviş Hüseyin Efendi.