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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. -
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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[Збірка віршів османською турецькою мовою]
Переписувач рукопису невідомий.
Рукописна збірка віршів османською турецькою мовою. -
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. -
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. -
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. -
[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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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. -
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. -
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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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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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 (?)