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[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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[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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[Доктринальні настанови та історії пророків]
The manuscript is a compilation of prose and verse works in both Ottoman Turkish and Arabic that are not entirely identifiable. It begins with an Arabic explanation of the important points of Islamic practice, followed by an Ottoman Turkish continuation of the same topic, or translation of the text. Much of it is arranged in the form of questions and answers about the beliefs of a particular mezhep, with a long meditation on the names of Allah and their significance. In the middle, after a break in the main text (dated at this point at 1147 AH/1734-35 CE) that is replaced by later additions, there is a brief explanation of the chieftains of the Quraysh, from Hashim ibn Abd Manaf down to Abu Talib ibn Abd al-Mutallib. This is followed by an elegiac (?) poem about Shah Muhammad Janfi (?) bin Ali in Ottoman Turkish (dated 1146 AH), followed by a dua in Arabic. Then comes a chart of the days of various Hijri months assigned to different letters of the abjad in 1103 AH (1691-92 CE), followed by vocalized Ottoman Turkish hikayeler about the Prophets Ibrahim, Yaqub. The hand changes abruptly here, and the vocalization ceases, but the catchwork implies that it is a continuation of the same text. This goes into a series of questions and answers, as well as beyitler, before ending formally. The final two pages contain considerable amounts of graffiti in various directions and hands.
Physical description: The text is copied in an inconsistent hand or possibly hands, mainly following nesih forms but with occasional influence of nestalik in the sins, shins, and final yaas, or rık’a forms elsewhere. Vocalization is more frequent towards the middle and end of the document. About halfway through the manuscript, the original copy ceases, and is then resumed on the following page in a different but similar hand. It is copied throughout in black ink, with inconsistent and sporadic use of red ink for headers, separators, and overlines. The text is arranged in a single column without textboxes at first, and then goes into two columns when in verse, only to return to a single column in prose. The pages contain 19 lines consistently.
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[Збірка віршів османською турецькою мовою]
Переписувач рукопису невідомий.
Рукописна збірка віршів османською турецькою мовою. -
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. -
Arabic-Ottoman Turkish dictionary
The text is copied in nesih for the Arabic lines and a rık’a/divani mix for the interlinear Ottoman Turkish translations, black ink throughout with red used for titles. These are not consistent and occasionally appear in black, possibly replacing either missing or faded titles, in a different hand. There are no textboxes, but catchword appear throughout, with 7 Arabic lines and 7 interlinear translation lines per page. The translations are often, but not exclusively, written at an angle. Arabic words are sometimes separated by large black dots. Despite a sudden gap after Babu’l-kaf faslu’l-ya, it does seem that the original text is resumed as intended. Obscured or faded ownership seals appear towards the start of the text. There is considerable evidence of water damage.
This volume contains an Arabic-Ottoman Turkish dictionary divided into 28 ebvap based on the final radical of each word, with each bab subdivided into 28 fusul based on the first letter of the word. The volume contains neither a mukaddime or hatime, and there is no colophon. The text has not been matched to any extant copies found in the British Library’s collections. -
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). -
Divan-i Nesimi
Copied in black ink with the text arranged in two columns of a maximum of 17 lines each. Space has been left between the poems, possibly with the intention of adding in titles at a later date. Lightly marbled fly-leaves. Illegible ownership seals found on pp. 1 and 95. A short note in a different hand is written in the margin of p. 158.
The Ottoman Turkish poetry of Nesimi.
Copyist: Ibrahim Gurban-i Sani.
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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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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. -
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.