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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. -
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). -
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. -
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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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. -
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. -
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. -
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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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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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. -
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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[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.