Adolf von HarnackMareMagnum
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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. Quest'opera - per dirla con Yves Congar - è il risultato felice del concorso di una serie di doni eccezionali: potenza di lavoro, chiarezza di vedute, unione di erudizione del dettaglio e di visione d'insieme, sensibilità per gli sviluppi e le differenze, e tutte queste capacità unite a uno stile brillante e alle qualità del conferenziere. Il quarto volume approfondisce i misteri della somiglianza di natura del Figlio incarnato di Dio con la natura umana e dell'unione personale della natura divina e di quella umana nel Figlio incarnato di Dio. Autori: Adolf von Harnack.
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.
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. Quest'opera, per dirla con Yves Congar, è il risultato felice del concorso di una serie di doni eccezionali: potenza di lavoro, chiarezza di vedute, unione di erudizione del dettaglio e di visione d'insieme, sensibilità per gli sviluppi e le differenze, e tutte queste capacità unite a uno stile brillante e alle qualità del conferenziere. Argomento del sesto volume è da una parte il periodo di Cluny, di Anselmo e di Bernardo, sino alla fine del XII secolo con la potente figura di Francesco d'Assisi, dall'altra i lunghi anni che dagli ordini mendicanti del XIII secolo conducono alla soglia del XVI secolo. Autori: Adolf von Harnack.
Mm 170x240 Quarta edizione (ampliata). Brossura editoriale di 101 pagine. Esemplare in ottimo stato. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
Vol. unico. <BR>8°, pp.(2) 141-1 b. Cop. posticcia.
182715597Landishuti, Landshut, Joseph Thomann, 1827. 8°, 40 & 277 & 12 S., Einband stark beschabt und stark bestoßen, altersbedingte Bräunungen, Gebr.sp., Halbleder
Very Good English Original bdg. HC. Half-title. Demy 8vo. (22 x 15 cm). In Latin. [i], 768 p. 1st of 2. First volume. Summa theologica. Dilinger emendata de Rubeis, Billuart et Aliorum. Notis selectis ornata Pars I.
18858999Berlin, Verlag von W. Hertz, 1885. 8°, 560 S. N.a.V., Rückenschild einseitig gelöst, Einband stark beschabt und bestoßen, Gebr.sp., Halbleinen
Editions le Centurion 1981, in-8 broché, 110 pages, bon état . Ouvrage préfacé par Mgr. Duchêne et Mgr. Rozier.
19667971Limburg, Lahn-Verlag, 1966. 8° klein, 45 S., Heft 28 altersbedingte Bräunungen, min. Gebr.sp., kartoniert
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.
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.
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.
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 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.
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 English Paperback. Demy 8vo. (21 x 14 cm). In English and Arabic. 128 p. The development of the linguistic semantics emerges from the development of the human society itself due to either the necessity or the creativity which grow throughout time using synecdoche, metaphor, metonymy, and connotative meanings. Studies on the semantic development have significant implications which are associated with the philosophy of human development itself. Therefore, this study aims at identifying the semantic development of the word "asubh" and its derivations in the Holy Quraan, the Hadith, and Arab's provers, and poetry. The research problem lies in the fact that the word "Asubh" is expressed by words like "sabah" and "isbah" and several meanings used by the dictionaries, whereby this word has become a wide semantic area used in several contexts, such as "to become, pray, light, clarity, hope, scandal, war, death, and warning". As a result, the relationship between the meanings of "asubh" and these contexts should be clarified since the semantic development cannot be identified without them to remove the apparent contrasts in these denotations or show their rhetorical aspect as well as demonstrate the way of generating meanings of the word "asubh" from each other.
[Friuli-Teologia] (cm. 24) bella piena pergamena originale. Titolo al dorso.-- pp. XXXVI, 332; pp. XX, 444. Opera nota, più volte ristampata. L' autore, friulano (1686-1756) famoso predicatore domenicano è noto per le sue polemiche contro i gesuiti sulla questione del probabilismo. Per notizie vedi: Gamba "Letterati province venete " 1822 I 127; * Manzano "Letterati friulani" 1885 p. 66; * De Tipaldo " Italiani illustri" 1834 VIII 301. Esemplare molto bello, fresco e nitido.[f43] Libro
19752625Stuttgar Berlin Köln Mainz, Verlag W. Kohlhammer, 1975. Okt. 8°, 152 S., Urban TB 611, T-Reihe Einband gebräunt, sonst sejr gutes Ex.
19097462Paderborn, Druck und Verlag von Ferdinand Schöningh, 1909. 8°, 485 S., Wissenschaftliche Hausbibliothek. Erste Reihe. Theologische Lehrbücher IX., Lesebändchen, Einband eingefleckt, altersbedingte Bräunung, sonst gutes Ex., Leinen
1999917503Stockholm: alfabeta, 1999. 240 S. mit zahlr. Abb., gebundene Ausgabe mit illustr. Umschl.
CONSIDERAZIONI DALL'ISOLAMENTO SUL PASSATO E SUL FUTURO RACCOLTE DA MANFRED WILKE CON UN ARTICOLO DI LUCIO LOMBARDO RADICE EINAUDI 1980 150 PP. SEGNI DEL TEMPO FRONTE RETRO ALLA COPERTINA, COME DA FOTO, PER IL RESTO OTTIMO, PROBABILMENTE MAI SFOGLIATO.
1890109094Leipzig. Verlag von K. Gustorff., 1890. 327 Seiten, 24 cm. Originalbroschur.
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.
19913084728Frankfurt am Main: S. Fischer 1991. 277 Seiten. 8° (17,5-22,5 cm). Illustrierte Orig.-Broschur. [Softcover / Paperback].
