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Kitab-i Ravzatu’l-Islam : [manuscript] / Abidi
The text is copied in fully-vocalized nesih in black ink, with faded red headers and text boxes. The text is divided into two columns of 15 lines each.
The Ravzatu’l-Islam, also known as Hayat Kitabı, was originally composed in 1517 CE in Istanbul and is an Ottoman Turkish textbook of Islamic ethics for leading a morally-upright life. Although a proper colophon for the text does not exist, dates can be found in the considerable paratextual content both before and after the main text, including 1195 AH (1781 CE). -
Tefsir-i şerif li-Ebu’l-Leys bi lisan-i Türki : [manuscript] / Abū al-Layth al-Samarqandī ; copyist Meḥmed İbn-i İbrahim
The text is copied in unvocalized nesih, with vocalization for Arabic quotes, in black ink, with red used for titles, headers, overlines of Arabic quotes, and dividers. Overlines in black signify names and passages of note in Ottoman Turkish. It is organized into a single column surrounded by a single-ruled red textbox, with gold-ruled textboxes for the first two folios of the main text. Each page contains 23 lines and alternate pages have catchwords. The volume is in good condition with rare occasions of smearing or (water-)damage to the text.
This volume contains the four-volume Ottoman Turkish version of the commentary on the Quran by the theologian, jurisconsult, and Sufi of Transoxania Abū al-Layth al-Samarqandī (Ebü’l-Leys Semerkandi) (died 373 AH/983 CE). Ebü’l-Leys was a prolific writer in a number of fields, and his works enjoy widespread renown up to the present day. Abū al-Layth’s Tafsīr was initially translated from Arabic into Old Anatolian Turkish by Ahmed-i Dai (died after 824 AH/1421 CE) as Tercüme-i Tefsir-i Ebü’l-Leys es-Semerkandi, and later by Ebü’l-Fazl Musa ibn-i Haccı Hüseyin İzniki (died 838 AH/1434-35 CE), who called his translation Enfesü’l-cevahir. Copies of İzniki’s Enfesü’l-cevahir are often mistaken for Ahmed-i Dai’s Tercüme-i Tefsir-i Ebü’l-Leys es-Semerkandi. A shortened version of İzniki’s Enfes was produced by Şehâbeddin İbn-i Arabşah (died 854 AH/1450-1 CE). İzniki also produced a separate translation of Ali ibn-i Muhammed el-Hâzin’s (died 741 AH/1341 CE) Lübabü’t-tevil. There is sparse marginal annotation in Ottoman Turkish throughout the text, with a two-page marginal note in a different hand found towards the end of the section on the Sūrat al-Ḥashr (folio 361v). The volume ends with a colophon providing the scribe and date of completion of the work, as well as a long list of individuals and groups for whom the reader should pray, including the Padişah-i İslam.
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Divan-i Baki
Main text in nestalik, with considerable marginalia and paratexts before and after the main text in nesih and divani as well. Main text copied in black ink with text boxes in red ink. Text arranged in two columns, occasionally merging into one, of 17 lines.
The collected poetry of the famed 16th century Ottoman Turkish poet Baki, beginning with Mersiye-yi Baki. -
Divan-i Baki Efendi
The main text is copied in inconsistent nestalik, with various nesih elements. There is parallel text in the margins consisting of poems written in something approaching siyakat that, later on, has elements of rık’a as well, and considerable marginalia and paratextual elements in other styles. The main text is copied in black ink with red used sparingly for the titles of sections and, towards the end, dividers. The red titles ceased to be added in red after the kafye of raa’ and were added in a later hand in black ink. Textboxes in thick gold borders exist on the first two pages of the main text only; all other pages do not have text boxes, although these have been drawn in freehand on some pages, likely at a later date. The text is arranged into two columns, coming together for titles and the final beyitler of poems; 15 lines per page. Catchwords are not always present. On the first page of the text is a simple unvan consisting of an outline of a dome above the box containing the title.
This volume contains the Divan of Baki, the greatest lyric poet of the Ottoman Empire, originally written during his lifetime. It begins with the Kaside-yi Baki Efendi berayi Cülus-i Sultan Selim Han. It proceeds with various section for terci’bentler, tahminat-i gazel for various Sultans and notable figures, and then gazeller organized by the letter of the kafye. It appears that some of the kafyeler are incomplete or missing, or might me arranged in the incorrect order. The marginalia consist of dubeyitler arranged in kafyeler beginning with raa’, but it is not clear if these are also gazeller by Baki or by another poet. On occasion, they are interrupted by prose notes in rık’a about the poetry and including quotations from the Qur’an in Arabic. At the end of the work are a number of handwritten notes in Latin script outlining the structure of the work. The date 960 AH (1552-53 CE) appears against one of the marginal beyit towards the end of the work, which likely indicates the date at which the original poem was completed. A poem in rık’a nearing the end of the text dated as ‘on the night of the birth of Sultan Mehmet 8 o’clock 7 R(ecep) (?) 1190 AH (21 August 1776 CE). -
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. -
Hilye-i saadet
Nestalik, main text in black ink with red titles and gold text boxes. The text is arranged in two columns of 17 lines each. Occasional marginalia in Persian occurs throughout the text. The text contains a hatime but does not have a dated colophon.
An Ottoman Turkish poem describing the physical appearance of the Prophet Muhammad. -
Yusuf Züleyha min Tanzim-i Hamdi : [manuscript] / Hamdi ; copyist Behram Bey es-Sibahi.
The text is copied in unvocalized nesih with vocalization appearing only at the start and for non-Ottoman Turkish sections. It was copied in black ink, with red used for titles. It does not contain textboxes, but is divided into two columns, with 13 lines per page. There is considerable evidence of water and other damage, with repairs of sections pasted in, copied in a different hand. Towards the end of the work, the quality of the paper changes and it appears that the text might have been copied by a different hand, following the same structure as above. There are occasional marginal notes and considerable graffiti at start and end.
This volume contains the Ottoman Turkish story of Yusuf and Züleyha, as recounted by Jāmī and paraphrased in verse by Hamdi. Hamdullah, whose mahlas was Hamdi, was the youngest son of the celebrated Şeyh Ak Şemseddin. He lived under Bayezit II and died in 909 AH (1503-04 CE). His Yusuf ve Züleyha, among the most popular of the corpus of Ottoman Turkish mesneviler, was first dedicated to Bayezit, but the poet, seeing that it did not meet with the expected acknowledgment, subsequently suppressed the dedication. Besides the present poem, he left, according to Kınalızade and to the Şakaik, a Leyla Mecnun, a Mevlid poem entitled Mevlid-i cismani ve mevrid-i cani (or mevlid-i ruhani), and a Kiyafetname. The current volume contains both the original colophon dating the work to 897 AH (1492-93 CE), as well as a second colophon asking blessings on the ‘reader, writer and listener’ of the current text and identifying the copyist of the current recension as Behram Bey es-Sibahi, who completed it in Rebiülehir 1001 AH (January 1593 CE).
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Nazihatu’l-muslimîn
The text is copied in fully-vocalized nesih in black ink, with red-inked text boxes, section titles, dividing roundels, and occasional faded overlines. The text is found in a single column of 19 lines. Original Arabic quotes (fully-vocalized) are overlined in black. Pagination has been added at a later date in pencil in Arabic numerals. An obscured ownership or vakfiye stamp is found towards the end of the work.
This text is an Ottoman Turkish commentary on the Vasiyet of Birgivi, a book of religious instruction. There is considerable paratextual material, sometimes expanding the text and sometimes correcting it, as well as reading notes or comments. The paratextual materials are in hands other than the main text. Notes in Latin script, in which are more numerous in the second half of the work, are found in pencil and appear to be transcriptions of the text. -
Nevhatü’l-uşşak
The first page is copied in nesih, while the subsequent pages are in nestalik, except for the final five pages, which are again in nesih by a different hand. The text is in black ink with red used for headers, textboxes, and titles. Text boxes in red have been added to the first three pages, with the unvan on the first page featuring basic design elements in red and blue. It is arranged into two columns each containing 15 lines, and there are blue pencil marks and occasional notes found throughout the text. The pages in nesih appear to be more recent editions, and, given a note at the end of the added text, reading ‘Up to here to be printed’, it is likely that the additions were made in order to complete a wanting text prior to publication, implying that these additions are unlikely to be 17th century CE but rather from the 19th century.
The main text of the work is an Ottoman Turkish mystical mesnevi. At the end of the text are several short prose works and poems in Ottoman Turkish of a supplicatory nature. -
Şerh-i kaside-yi Yunus Emre Misri Efendi
Nesih, main text in black in with red catchwords, overlines, and text boxes. The item was likely taken from a larger codex, as it is foliated with Ottoman numerals running from 39 to 51. The text does not contain a dated colophon.
An explanation of the meaning and structure of Yunus Emre’s Kasideler, composed in the late 13th century CE.
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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. -
Lugat-ı Nimetullah bi Farisi
Фізичний опис: Текст скопійований доволі рівним насталіком. Основний текст чорнилом, з заголовками, роздільниками та надрядковими лініями червоним кольором, а також червоний колір використовується для кінцевої текстової рамки та іноді в маргіналіях. Текст розташований в одній колонці, більшість без текстових рамок, хоча на останній сторінці основного тексту є намальований прямокутник та трикутник навколо колофону з підсвічуванням чорним і червоним кольорами; 21 рядок на сторінці. Надрядкові лінії вказують на перські слова і фрази як у основному тексті, так і в маргіналіях.
Цей рукопис - це персько-османський словник Німетуллаха ібн-і Ахмеда ібн-і Каді Мубарек ер-Румі (помер 969 р. за хіджри / 1561-2 р. н.е), відомого як Соф'ялі Німетуллах Ефенді. Німетуллах народився у Софії і здобув певну репутацію як емалювальник. З перською поезією та літературою познайомився після переїзду до Стамбула та вступу до Накшбендійського тарікату. Після цього він вирішив поділитися своїми знаннями через цей персько-османський словник, роботу над яким було завершено в 947 р. хіджри (1541 р. н. е). Ймовірно, він зробив це «зі спонуканням та за допомогою» відомого шейхуль-іслама Кемальпашазаде (помер 940 р. за хіджри / 1533 р. н.е) (Бертельс, 'Niʿmat Allāh').
Текст поділяється на три частини: дієслова в алфавітному порядку; правила перської граматики з поясненнями перською мовою; іменники в алфавітному порядку. Тут слова розташовані відповідно до їхньої початкової літери, а всередині вони поділені на три розділи залежно від початкової голосної в слові. Поетичні цитати переважно взяті з перського глосарію Шемс-і Фахрі, складеного в 745 р. за хіджри (1344-45 р. н.е) із назвою Міяр-і Джамалі. Німетуллах використав принаймні п'ять інших джерел, а також надав значну кількість власного матеріалу. З цих додатків нотатки про діалекти та його етнографічні спостереження є великою цінністю (див. Бертельс, 'Niʿmat Allāh'). В кінці основного тексту є перелік чисел перською мовою, за яким слідує серія нотаток на цій мові.