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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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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.
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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. -
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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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.