200 résultats
129670aafParis, Librairie Fischbacher, 1886, in-8vo, XXXVI + 390 + 550 p., reliure en d.-cuir originale.
189299912708Romae Forzani et Socii Romae Forzani et Socii 1892, fort In-8 demi vélin à coins, dos lisse à filets dorés, pièce de titre, 1040 pages. Bon exemplaire.
Romae Forzani et Socii 1892, fort In-8 demi vélin à coins, dos lisse à filets dorés, pièce de titre, 1040 pages. Bon exemplaire.
New Turkish Paperback. 4to. (33 x 25 cm). Edition in Turkish. 382 p., color ills. Kur'an-i Kerim sanati. Türk ve Islâm Eserleri Müzesi hazineleri. 15 Ekim 2016 - 20 Subat 2017. [Exhibition catalogue]. With contributions by François Derroche, Edhem Eldem, Jane McAuliffe, Sana Mirza, Zeren Tanindi. In the early twentieth century, the Ottoman Empire was in political turmoil. Officials moved valuable artworks--including thousands of sumptuous Qur'an (Koran) manuscripts and loose pages dating from the 7th to 17th century--to Istanbul to ensure their safety. Penned by celebrated calligraphers and embellished by skilled illuminators and bookbinders, these manuscripts are now housed in the Museum of Turkish and Islamic Arts (Türk ve slam Eserleri Müzesi or TIEM) in Istanbul, established in 1914. This story unfolds in "The Art of the Qur'an: Treasures from the Museum of Turkish and Islamic Arts," the companion publication to the Arthur M. Sackler Gallery's groundbreaking exhibition, the first major presentation of Qur'ans in the United States. The book's authors describe the formation of this one-of-a-kind collection and the history of TIEM, whose centuries-old records on patrons, calligraphers, illuminators, and provenance allow us to create "biographies" detailing the production of the Qur'ans in the exhibition. Essays address the Qur'an as a written text--from content and organization to the elaborate calligraphy and illuminated designs that transformed the volumes into beautiful artworks. "The Art of the Qur'an "also includes in-depth descriptions of some seventy works from TIEM and the Smithsonian's Sackler and Freer Galleries. It features full-page, color images of the earliest known Qur'an folios and manuscripts from the Umayyad and Abbasid Near East (7th-10th century), Seljuk Iran and Anatolia (12th century), the Mongol Il-Khanid and Timurid empires and Mamluk Cairo (14th and 15th centuries), Safavid and Ottoman empires (16th and 17th centuries) as well as a number of mosque furnishings, such as Qur'an boxes and stands. Most of these works have rarely, if ever, been published.
1900820Paris, A.-L. Guyot, s.d. (circa tout déb. XXe siècle), deux tomes in-16 reliés en un volume ; demi-chagrin vert foncé, plats de percaline vert anglais, dos à nerfs décoré de fleurettes dorées ; 191 pp. ; 189 pp.
Fine French Original decorative imitation full leather bdg. Demy 8vo. (22 x 14cm). In French. [Lxv], 632, [7] p. Le Coran. Traduction intégrale et notes de Muhammad Hamidullah. Préface de Louis Massignon. Avec la collaboration de Michel Leturmy. Hamidllah, (1908-2002), D. Phil., D. Litt., HI, was a Muhaddith, Faqih, scholar of Islamic law and an academic author with over 250 books. A prolific writer, his extensive works on Islamic science, history and culture have been published in several languages and many thousands of articles in learned journals. His scholarship is regarded by many as unparalleled in the last century. A double doctorate (D.Phil. and D.Litt.) and a polymath, he was fluent in 22 languages including Urdu (his mother tongue), Persian, Arabic, French, English, German, Italian, Greek, Turkish, Russian etc. He learned Thai at the age of 84. Hamidullah is known for contributions to the research of Hadith history, translations of the Qur'an into multiple languages and in particular into French (first by a Muslim scholar) and for the monumental biography of the Islamic prophet Muhammad in French. He is also famous for discovering a missing work on the Prophet Muhammad regarded as one of his great contributions to the Hadith literature. The earliest Hadith manuscript still extant today, Sahifa Hammam bin Munabbah, was discovered in a Damascus library. Hammam bin Munabbah being a disciple of Sayyidina Abu Huraira, one of the Sahaba. Massignon, (1883-1962), was a Catholic scholar of Islam and a pioneer of Catholic-Muslim mutual understanding (Krokus 2012, p. 525). He was an influential figure in the twentieth century with regard to the Catholic church's relationship with Islam. He focused increasingly on the work of Mahatma Gandhi, whom he considered a saint. He also played a role in Islam being accepted as an Abrahamic Faith among Catholics. Some scholars maintain that his research, esteem for Islam and Muslims, and cultivation of key students in Islamic studies largely prepared the way for the positive vision of Islam articulated in the Lumen gentium and the Nostra aetate at the Second Vatican Council (Krokus 2012, p. 525). Although a Catholic himself, he tried to understand Islam from within and thus had a great influence on the way Islam was seen in the West; among other things, he paved the way for a greater openness inside the Catholic Church towards Islam as it was documented in the pastoral Vatican II declaration Nostra aetate. "This non-trade edition is reserved exclusively for members of the French Book Club. It includes ten thousand copies numbered from 1 to 10,000.". This is no. 9499. 9499/10000.
Nell’ottica di Harnack il dogma è considerato dalla prospettiva dell’incontro della predicazione cristiana con la cultura ellenistica, e la sua storia come storia della concettualizzazione e della sostanziazione metafisica della figura di Gesù. Scritto di portata rivoluzionaria, la Storia di Harnack è la messa in discussione della legittimità di un cristianesimo fondato sui dogmi. Frutto di un sapere vastissimo, quest’opera – per dirla con Yves Congar – è il risultato felice del concorso di una serie di doni eccezionali: chiarezza di vedute, sensibilità per gli sviluppi e le differenze, unite a uno stile brillante e alle qualità del conferenziere. Autori: Adolf von Harnack.
Very Good English Original 1/4 leather bounds. 4to. (28 x 21 cm). In Arabic text. 2 volumes: ([viii], 491 p.; [x], 574 p.). El-fetava-i hindiyye. 2 volumes.
Book is in excellent condition. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind except for pages 8 and 9 with marginalia and underlining. 586 pages, chapters include Of terrorism and the arts, Posh art and post-historic art, The anti-aesthetics of an art of chaos, Furniture as frame, Vital structures: the constructive nexus in South America, The ruptura group and concrete art, Gego and the analytic context, Julio Le Parc, promoter of technological art, On the subject of Waldemar Cordeiro's popcretos, Critical painting of Jose Balmes, Leon Ferrari: Dogma and resistance, Play and grief, etc. Full color prints and photos throughout, often full page.
New English Paperback. 4to. (33 x 25 cm). Edition in English. 382 p., color ills. The art of the Qur'an. Treasures from the Museum of Turkish and Islamic Arts. 15 October 2016 - 20 February 2017. [Exhibition catalogue]. With contributions by François Derroche, Edhem Eldem, Jane McAuliffe, Sana Mirza, Zeren Tanindi. In the early twentieth century, the Ottoman Empire was in political turmoil. Officials moved valuable artworks--including thousands of sumptuous Qur'an (Koran) manuscripts and loose pages dating from the 7th to 17th century--to Istanbul to ensure their safety. Penned by celebrated calligraphers and embellished by skilled illuminators and bookbinders, these manuscripts are now housed in the Museum of Turkish and Islamic Arts (Türk ve slam Eserleri Müzesi or TIEM) in Istanbul, established in 1914. This story unfolds in "The Art of the Qur'an: Treasures from the Museum of Turkish and Islamic Arts," the companion publication to the Arthur M. Sackler Gallery's groundbreaking exhibition, the first major presentation of Qur'ans in the United States. The book's authors describe the formation of this one-of-a-kind collection and the history of TIEM, whose centuries-old records on patrons, calligraphers, illuminators, and provenance allow us to create "biographies" detailing the production of the Qur'ans in the exhibition. Essays address the Qur'an as a written text--from content and organization to the elaborate calligraphy and illuminated designs that transformed the volumes into beautiful artworks. "The Art of the Qur'an "also includes in-depth descriptions of some seventy works from TIEM and the Smithsonian's Sackler and Freer Galleries. It features full-page, color images of the earliest known Qur'an folios and manuscripts from the Umayyad and Abbasid Near East (7th-10th century), Seljuk Iran and Anatolia (12th century), the Mongol Il-Khanid and Timurid empires and Mamluk Cairo (14th and 15th centuries), Safavid and Ottoman empires (16th and 17th centuries) as well as a number of mosque furnishings, such as Qur'an boxes and stands. Most of these works have rarely, if ever, been published.
Very Good English Leather spine, hardcover not original. 2 volumes in 1 set. [ii], 367 p.; [ii], 327 p. 4 to. (30 x 20 cm). In imprint page of 1st volume, there's wear. In Ottoman script. h. 1318 - 1320 = m. 1902 - 1904., Ozege: 14796. Rare. Kitab-i Mevkûfatî. 2 volumes set [in 1]. Translator: Mehmed Mevkûfatî.
New English Original bdg. Small 4to. 184, 564, 216 p. A heavy volume. Ills. In Arabic. This is a facsimile edition of the copy (Mushaf) of the Holy Quran which is attributed to the time of Ali b. Abi Talib and located in Sana'a, Yemen. It comes out as a third publication in IRCICA's series of editions of oldest copies of the Quran. Earlier IRCICA had published editions, accompanied by descriptive and comparative studies, of two Quran copies that are attributed to the time of Othman b. Affan namely the copies of Topkapi, Istanbul and al-Mashhad al-Husayni, Cairo. The other copies attributed to the same period are in the following cities: Istanbul (the Museum of Turkish and Islamic Arts, edition published by ISAM, Istanbul, 2008); London; Paris; St. Petersburg, and Tashkent. There are other editions of Quran copies that IRCICA published outside this series. One of them is the copy dated 582 H/1186 and known as the Fazil Pasha (Sherifovic) Mushaf, which is located in Gazi Husrevbegova Library, Sarajevo. Another edition, supervised by IRCICA, is the reprint of the Mushaf of Kazan dated 1803 which is known to be the first copy printed in the Muslim world; it was reprinted in cooperation with Kazan Municipality in the year 2005 corresponding to the millennium of Kazan city. By publishing these editions, with studies in the case of the former ones, IRCICA aims to contribute in preserving them and making them known and accessible to all. The Sana'a copy is located at the Grand Mosque of Sana'a. The elaborate Introduction to the edition is a study by Dr. Tayyar Altikulaç, specialist of the history of copies of the Quran and ex-Head of Religious Affairs in Turkey. The study is a concise history of the dissemination of the Holy Quran through its copies and of the developments relating to script, orthography, punctuation, locations, etc. of the copies. It examines, describes and analyses the characteristics of the Sana'a copy as to script, orthography, binding, etc. It also describes the other copies attributed to the period of Othman b. Affan as well as the copy printed by the King Fahd Complex for the Printing of the Holy Quran, Medina, which is known to be in conformity with the orthography of the time of Othman b. Affan. IRCICA planned to publish this edition during the 2010-2011 period which, at the suggestion of IRCICA, was designated by the 2010 meeting of the OIC's Council of Foreign Ministers as the "1400th Year of the Revelation of the Holy Quran". The Council had invited all OIC member countries and Muslims' associations and institutions world-wide to commemorate this anniversary of the beginning of the revelation with cultural and scholarly activities that would contribute in diffusing a correct and deeper understanding of the Holy Quran. IRCICA for its part is honoured to have been able to record this publication among its activities related to the said Year.
179297657[Görlitz], 1792. XXXXIV, 186 S. 20 cm. Pp. d. Zeit mit Rückenschildresten.
20075143990Solothurn / Düsseldorf: Walter Verlag + Düsseldorf: Patmos Verlag 1993-2007. Zwischen 550-800 Seiten pro Band. Mit einigen Abbildungen. Gr.-8° (23,5 x 17 cm). Orig.-Leinenbände mit illustrierten Orig.-Schutzumschlägen.
New Turkish Original aesthetics full leather bdg. in traditional Ottoman style. In publisher's special box. 4to. (30 x 20 cm). In Arabic. All edges gilt. Fully illuminated as traditional: Serlevha, hecde hizb, cüz roses, zahriye semses, müsenna besmele, with 'tevafuk' and color secavends, and med-kasirs. 605, 11, [4] p. The glorious Quran. Kur'an-i Kerim. was an Islamic calligrapher born during Ottoman times. His real name is Sheikh Musa Azmi, which is why his works may be found to be signed as Azmi. He is known by the pseudonym Hamid. He is also known as Hamid Al Amidi in international circles. Hamid learned the jali-thuluth (Turkish: celi-sülüs) style from Mehmed Nazif (1846-1913), the naskh and thuluth styles from Kamil Akdiç (1862-1941) and the ta'liq style from Mehmed Hulusi (1869-1940). His works are on display in many countries including Egypt and Iraq. His works are also on display in many newly built mosques of Istanbul. Some of his popular students include Hasan Çelebi and Fuat Basar. He was buried in the Karacaahmet Cemetery of Üsküdar district, Istanbul.
168446401343Paris, , Journel, , 1684 ; in-12 , vélin ivoire de l’époque. - 18 ff. n. ch. [Titre, épître, préface, privilège], 188 pp., 32 ff. n. ch. [Remarques, table, catalogue Journel]. - EDITION ORIGINALE DE CETTE TRADUCTION du Commonitorium Peregrini de Vincent de Lérins. Elle est de Jean de FRONTIGNIERES qui a signé la dédicace à François de Harlay. Le traité de Vincent de Lérins avait été traduit une première fois par G. Ruzé en 1560 – Voir Graesse VI, p. 327 - Cioranesco 31889. In ne sait rien de Jean de Frontignières qui est aussi l’auteur de quelques poèmes, d’une traduction du livre d’Oexmelin sur les flibustiers et d’un roman intitulé La Puits de la Vérité. Vincent de Lérins, un Lorraain natif de Toul, fut moine de Lérins. « Venu, comme de nombreux autres moines de Provence, du Nord de la Gaule, Vincent a écrit son Commonitorium en 434 » (Dict. de Spiritualité). L’objet de ce traité, rédigé trois ans après e Concile d’Ephèse qui condamne le Nestorianisme, est de définir les critères de l’orthodoxie chrétienne. Ignoré au Moyen Age, le Commonitorium connut de nombreuses éditions aux XVIe et XVIIe siècles. « L’Eglise catholique s’appuie sur le canon lérinien pour consolider le concept de tradition, la Réforme pour faire le procès de l’innovation. Au XIXe siècle, le cardinal Newman contribuera à l’actualité de Vincent en faisant du traité une lecture quoi lui permet d’y trouver des bases pour l’œcuménisme » J.P. Weiss in Dict. de Spiritualité. Qualifié de Livre d’Or par le Père Labbe, ce livre est un guide pour préserver les fidèles de toutes les nouveautés en matière de foi. En matière de dogme, toute nouveauté est suspecte à moins qu’elle n’ait été définie dans un concile. Ex-libris manuscrit et imprimé de L. Neveu, frère du diocèse de Versailles (XIXe s.). - Quelques feuillets déreliés.
188195398Paris, Amand-Durand, [ 1881]. 16 x 11,2 cm (Einfassung). Blattmaß 17,9 x 12,5 cm. Verso mit dem rotem Orig.-Stempel des Stechers. Unter Feinkarton-Passepartout.
1920PHO-1443Paris , Librairie Paul Geuthner , 1920 , in-8 , viii-315pp.-1f. , demi cuir et coins , dos lisse , perforations sur le premier plat .
Very Good Japanese Original cloth bdg. Demy 8vo. (22,5 x 16 cm). In Japanese and Turkish. 45, 59 p., 74 unnumbered pages of plates and ills. with tissue papers. Scarce Japanese and Turkish bilingual book published by the Embassy of the Republic of Turkey in Tokyo, during Hüsrev Gerede's (1886-1962) embassy in the 47th commemoration year of the sinking of the Ottoman frigate Ertugrul. This richly illustrated book includes a detailed historical account of the accident and sinking, with a map showing the cruise line that Ertugrul followed after she left Yokohama to return to Turkey, and the area of Kashinozaki Lighthouse, where she sank. Another map shows the area and its surrounding where the monument was erected in memory of Ertugrul. In addition to the 74 pages of plates showing presidents and dynasties of both countries, ministers in their cabinets, Ambassadors, as well as Ertugrul's making process, journey, and traditional commemoration ceremonies in Japan; a plan of the Martyrdom was added. The book was printed separately as paperback and hardcover, and the copy we have is a hard copy. Ertugrul, launched in 1863, was a sailing frigate of the Ottoman Navy. While returning from a goodwill voyage to Japan in 1890, she encountered a typhoon off the coast of Wakayama Prefecture, subsequently drifted into a reef, and sank. The shipwreck resulted in the loss of more than 500 sailors and officers, including Rear Admiral Ali Osman Pasha. Only 69 sailors and officers survived and returned home later aboard two Japanese corvettes. The event is still commemorated as a foundation stone of Japanese-Turkish friendship. OCLC shows only two printed copies in three libraries worldwide 633837567, 25341022, 28679707.
Fine English Paperback. Foolscap 8vo. (17,5 x 12,5 cm). In English. 41, [3] p., musical scores of Mawlid. The Mevlidi Sherif (Wisdom of the East Series). Translated by F. Lyman MacCallum. Süleyman Çelebi, also called Süleyman Of Bursa, one of the most famous early poets of Anatolia. Süleyman appears to have been the son of an Ottoman minister, Ahmed Pasa, who served in the court of Sultan Murad I. Süleyman became a leader of the Khalwatîyah dervish order and then imam (religious leader) to the court of the Ottoman sultan Bayezid I (1389-1402). After Bayezid's death, Süleyman took the position of imam in a mosque in Bursa. Süleyman's most famous and only surviving work is the great religious poem Mevlûd-i Nebi, or Mevlûd-i Peygamberi. The Mevlûd, as it is more commonly called, tells the story of the Prophet Mu?ammad's birth, life, and death; his miracles; and his journey to heaven. Written in simple 15th-century Ottoman Turkish style, it is a work inspired with religious fervour and is often recited at religious ceremonies, particularly funerals in present Turkey. It is chanted during the celebrations of the Prophet's birthday. (Britannica). "In he days of Tamerlane (at the end of the 14th century) Chelebi was one of the royal chaplains of Sultan Beyazid the Thunderbolt. When amerlane overthrew Beyazid, Süleyman found refuge as chief-priest of the Great Mosque at Bursa. Therehe composed the 'The birth-song of the Prophet' to confute a teaching that Muhammed was no greater than other prophets. The poem survives after 500 years and is much loved by the people of Turkey. It is recited at times of thanksgiving and sorrow and on many special occasions. An authority on Turkey said recently: "No one can know what Muhammed means to a Turk unless he is familiar this poem.". The Wisdom of the EEast Series has a definite object. It is planned, by means of the best Oriental literature-its wisdom, philosophy, poetry, and ideals- to bring together West and East in a spirit of mutual sympathy, goodwill, and understanding. From India, China, Japan, Persia, Arabia, Palestine, and Egypt these words of wisdom have been gathered.
New Turkish Original aesthetics full leather bdg. in traditional Ottoman style. With flap (miklep). In publisher's special luxury box. Large 4to. (30 x 25 cm). In Arabic. All edges gilt. Fully illuminated as traditional: Serlevha, hecde hizb, cüz roses, zahriye semses, müsenna besmele, with 'tevafuk' and color secavends, and med-kasirs. 605, 11, [4] p. The glorious Quran. Kur'an-i Kerim. was an Islamic calligrapher born during Ottoman times. His real name is Sheikh Musa Azmi, which is why his works may be found to be signed as Azmi. He is known by the pseudonym Hamid. He is also known as Hamid Al Amidi in international circles. Hamid learned the jali-thuluth (Turkish: celi-sülüs) style from Mehmed Nazif (1846-1913), the naskh and thuluth styles from Kamil Akdiç (1862-1941) and the ta'liq style from Mehmed Hulusi (1869-1940). His works are on display in many countries including Egypt and Iraq. His works are also on display in many newly built mosques of Istanbul. Some of his popular students include Hasan Çelebi and Fuat Basar. He was buried in the Karacaahmet Cemetery of Üsküdar district, Istanbul.
New Arabic Original bdg. 4to. In Arabic and Turkish. 2 volumes set: (77, 1563, 72 p.). Mushaf-i Serif (Topkapi Sarayi Müzesi nüshasi, Medine Nr. 1). 2 volumes set. Prep. by Tayyar Altikulaç. One of the main chapters of IRCICA s research program titled "Studies on the Holy Quran" consists of analytical and comparative studies on historical and physical features of early copies of the Holy Quran which are located at different places around the world. These studies, published by IRCICA, not only enrich the academic literature in the field but also highlight the clear evidence of the authenticity of the Holy Quran, thus refuting some Western +authors suggestions to the contrary. The following volumes have been published by IRCICA in this series, in the order of publication: the copies attributed to the time of the Third Caliph, Othman bin Affan RA and preserved, respectively, at Topkapi Palace Museum in Istanbul and the Central Library of Islamic Manuscripts (originally founded as Mashhad al-Husayn) in Cairo; the copy attributed to the time of the Fourth Caliph Ali bin Abi Talib KAW and located in the Manuscripts Library near Sana a Grand Mosque, that attributed to the period of the Third Caliph, Othman bin Affan RA and preserved at the Islamic Arts Museum in Cairo, the partial copy preserved at the National Library of France, Paris, the partial copy at Tubingen University Library, Germany, the partial copy at British Library, London, the copy located at State Library in Berlin, Germany, and now, a two-volume study on the copy which is located in the collection of Fahreddin Pasha ("Defender of Madina" during World War I) at Topkapi Palace Museum Library, Istanbul. This new book contains the scholarly study by Dr. Tayyar Altikulac, specialist of studies on the Holy Quran and ex-President of Religious Affairs in Turkey, on this copy. The latter was brought from Madina to Istanbul by Fahreddin Pasha. The study is composed of elaborate chapters written with utmost depth and meticulosity. Some of the subjects dealt with are: the history of the copy, its physical condition and contents, its descent, its relationship with the known pronunciations, its orthography, the period when it was copied, and the method applied in the study.
156357649Venedig, [Comin da Trino], 1563. 8°. Mit Holzschn.-Druckermarke a. Titel u. einigen Holzschn.-Vignetten. 4 nn., 130 num., 2 weiße Bll. - Angeb. - Villegaignon, Nicolas Durand de. Clarissimi [...] D. Nicolai Villegaignon [...] adversus novitiu[m] Calvini, Melanchthonis, atq[ue]; id genus sectarioru[m] dogma de sacramento Eucharistae, opuscula tria, recens conscripta, & in lucem edita [...]. Köln, Maternus Cholinus, 1563. Mit Holzschn.-Titelvignette u. einigen Holzschn.-Initialen. 36 nn., 216 num., 4 nn., 87 num., 1 weißes Bll. - Angeb. - [Smith, Richard]. Religionis et regis adversus exitiosas Calvini, Bezae, et Ottomani coniuratorum factiones defensio prima, ad senatum populumq[ue]; Parisiensem. Antwerpen, Jan Mollijns, 1562. 20 num. Bll., Blindgepr. Schweinsldr.-Bd. d. Zt. a. 4 Bünden m. drei handschriftl. Rückenschildchen.
New Arabic Original cloth bdg. 592 p. In Arabic. Elephant folio. (49 x 35 cm). First Edition. Illuminated. Reprinted from the original manuscript of Topkapi Palace Museum dated 1584-87. The Koran known as Ahmed Karahisarî's Mushaf-i Serif is leading among the most important works created by artists, who are experts of letters of the Ottoman Palace dealing with the art of books. The work is registered at number 5 among the Hirka-i Saadet books of the Library of Topkapi Palace Museum. Its binding with golden gilded ornament, angle and border has miklep and is made of black leather and was repaired in time. Being the Koran with the largest size written in the Ottoman world, is sized 61.5x42.5 cm and consists of 300 sheets. The place of the work where the name of the calligrapher and the date of transcription would have been written, i.e. the colophon is left empty. The reason for attributing it to Ahmed Karahisarî, the famous calligrapher of the period of Kanunî Sultan Suleyman, is based on a foundation record at its beginning: in this foundation record on page 1b, it is briefly stated that the work is the Mushaf-i Serîf of Karahisarî, was kept in the sultan's treasure until then and was devoted to the Hirka-i Serîf Chamber (Private Chamber) for being recited in 1107 (1696) by Sultan Mustafa II. The beginnings of Fâtiha and Bakara chapters of the Koran, every page of which is gilded carefully, are written with celî muhakkak (large cursive style) and reyhanî calligraphy. Two opposed pages following the epigraph demonstrate a different arrangement. Here, one line each of celî calligraphy at the bottom and top and reyhanî calligraphy in a round medallion at the middle are used. In the opposed pages following this, the same arrangement is used without the medallion. Following this diversity at the beginning, the Koran is written according to a classical arrangement known as Yakut style, consisting of one line of celi muhakkak, five lines of nesih (roundish writing), one line of celî sulus (large style), again five lines of nesih and celî muhakkak calligraphy at the bottom. Ahmed Karahisarî is the most famous artist writing in this style among 16th century Ottoman calligraphers. However, it is quite surprising that the signature of Ahmed Karahisarî, who had great reputation in his time, is not seen at the end of the work. This can be explained by the failure to complete the Koran of the artist due to his death or his old age. It is possible to determine the period in which the work, accepted to be written by Ahmed Karahisarî, famous calligrapher of the time of Kanunî Sultan Suleyman, and incorporating the richest examples of Ottoman palace gilding art was completed with its main lines in the light of some documents.It is understood that 220 pages of the Koran known as Ahmed Karahisarî Mushaf-i Serif and which is one of the most valuable works of Topkapi Palace Museum were written by Karahisarî at the time of Kanunî Sultan Suleyman between 1545-55 and was left unfinished upon the death of the artist. It is also understood that the remaining 80 pages completing the Koran were possibly written by Hasan Celebi, his adoptive son, under the patronage of Sultan Murad III between 1584-87. Conjunction, drawing of rulers, gilding of every page and binding and final completion of the work was performed between 1584-1596. Murad III, who died in 1595, could not see the result of this study that he assumed the patronage of for long years.
Very Good Burmese Original dark brown leather with embossing on the front board with an initial-like symbol. The black script in ink with several pencil annotations on rectangular pieces of thick hand-made mulberry paper. Closed size: 38x12,5 cm. Open size: 550x38 cm. Text in Pali, written in Burmese "round" script, richly illustrated in red, black, white, and yellow from the most influential Buddhist and astrological texts of the region. Well-preserved and in very good condition. Extremely rare example of one of the longest and a richly illustrated parabaik from Burma, "reflecting an old system of Theravardan magical beliefs pertaining to Burma / Myanmar over 100 years ago". A highly collectible item from the pre-colonial period of the Konbaung dynasty, formerly known as the Alompra dynasty, the Third Burmese Empire, the last dynasty that ruled Burma/Myanmar from 1752 to 1885, Buddhist Myanmar. With its open size, it is extremely rare in length with 44 folds; "The longest one would have 64 folds" (Harvard online). The scenes might show episodes from the Buddhist folk tales popular in Burma towards the end of the 19th century including many ancient tables and ca. 40 specific depictions of Buddha's life, Buddhist practices, some historical scenes, and religious practices like sky burial scenes, etc, as well as astrological and astronomical chapters. Folding-book manuscripts (Parabaiks in Burmese) are a type of writing material historically used in Mainland Southeast Asia, particularly in the areas of present-day Myanmar, Thailand, Laos, and Cambodia. The manuscripts are made of thick paper, usually of the Siamese rough bush (Khoi in Thai and Lao) tree or the paper mulberry, glued into a very long sheet and folded in a concertina fashion, with the front and back lacquered to form protective covers or attached to decorative wood covers. The unbound books are made in either white or black varieties, with the paper being undyed in the former and blackened with soot or lacquer in the latter. Along with paper made from bamboo and palm leaves, parabaik were the main medium for writing and drawing in early modern Burma/Myanmar.
