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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. -
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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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). -
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 (?) -
Lugat-ı Müntahab
The text is copied in nesih in black ink with red used for headers and titles, separators, and ruling. It is compiled into a single column within a single-ruled textbox containing 7 lines of Arabic and 7 lines of Ottoman Turkish translation. On occasion, a separate textbox created in the same fashion and by the same hand as the main one is added in the margin of the page with a single column of additional Arabic words and Ottoman Turkish translations. Both the main and the additional text boxes were clearly added after the text, as they are often irregular in shape, following the course of the words, and are absent on some pages. Some pages include catchwords. The Arabic line is horizontal, with the translation occasionally slanted or vertical. There is considerable paratextual content, and heavy waterstaining. At times, the manuscript has been repaired in a very crude manner, with pieces of paper affixed to tears (?) or holes, obscuring the text. There is a single, exceptionally faded stamp at the start of the work.
This volume contains an Arabic to Ottoman Turkish word list. The text is organized according to the first letter of each word, and then sub-divided according to the letter that follows. The Arabic explained in the text is not Classical Arabic, as many of the plurals identified do not match those expected for the Classical language, and a large number of words are not found in standard dictionaries of Classical Arabic. The (socio?)lect has yet to be identified, and it is not clear whether the scribe is following their own interpretation of the lect’s phonology, or a more widespread system. The text includes a brief colophon that provides the date of copying and a prayer for Muslim men and women. There is also a partially legible seal at the start of the work identifying it as the property of Seyyit Ahmet, as well as an inscription identifying Hoca es-Seyyit Ahmet Efendi as the man who purchased it for 10 kuruş at an unspecified date. -
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.
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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. -
Şemayil-i şerif
The text is copied in unvocalized nesih in black ink, with red used for titles, headers, and textboxes, except for the first two folios of the main text, which contain thick outlines in gold. The first folio of the main text also features an unvan in gold, with an undulating triangle outlined in red containing white and pink flowers, green vines and red buds on a gold background, and green shoots rising from the triangle. After the initial takriz, the text is arranged in two columns (with titles, endings, opening and post-script in a single column), incorporating 17 lines.
The main text of the volume is a description of the Prophet Muhammad’s physical appearance, characteristics, and personal history, divided according to the fihrist at the start of the work. It is likely a copy of an Ottoman Turkish translation of the Shamā’il al-nabawiyah wa’l-khaṣā’il al-Muṣṭafawiyah by al-Tirmidhī without the name of the translator immediately available. The manuscript begins with a takriz and then followed by the start of the main text, which is followed at the end by a long supplicatory poem in Ottoman Turkish. The volume contains a seal and inscription indicating its ownership by Da’i Abdi. There are frequent long comments in Ottoman Turkish in the margins. -
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. -
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.