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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. -
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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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. -
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). -
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.