MareMagnum
ALI AMIR-MOEZZI MohammadMareMagnum
Dictionnaire du Coran
Robert Laffont 2007. In-8 relié cartonnage souple éditeur, 1024 pages. Très bon état
115 résultats
A La Mecque [Paris], l'an de l'Hégire, 1165 [seconda metà del '700], un volume in-8, leg. coeva in mezza pelle, titolo e filetti in oro al dorso, pp. XVI, 230, 269, [3]. Solo primo volume (su due). Qualche brunitura. Asportato il margine sup. dell'occhietto.
Lediglich Schutzumschlag berieben und am Buchrücken lichtbedingt ausgeblichen, innen gut und sauber, frei von Anstreichungen. - Sein Vater, der optimistische Ladenbesitzer, nannte ihn „Nasr" („Sieg"), weil er an den Sieg der Alliierten glaubte. Die anderen im Dorf vertrauten dem Gerücht, der deutsche Führer sei zum Islam übergetreten und heiße Muhammad Hitler. In der einfachen und phantasievollen Welt des Dorfes Quhafa wächst der kleine Nasr auf. Mit drei Jahren wird er zu einem Scheich geschickt, um den Koran zu memorieren. Bald liest er den alten Bauern die Zeitung aus der großen weiten Welt vor. Schon als Kind ist er respektierter „Träger des Koran", darf sogar in der Moschee zum Gebet rufen. Als Jugendlicher sympathisiert er mit den „Muslimbrüdern". Nach Aufenthalten in USA und Japan lehrt er an der Universität Kairo. Als er 1995 wegen „Ketzerei" angeklagt und von Islamisten mit dem Tod bedroht wird, ist er bereits eine Berühmtheit, und sein Schicksal geht durch die Weltpresse. Erzählung und Reflexion verbinden sich in seinem Buch: Vom Dorf in die Weltstadt, aus dem Orient in die Zentren westlichen Lebens, als Vertriebener im Exil, als Muslim in der Diaspora. Er erzählt von seinen Visonen und seinen Erfahrungen, davon, was ihn als Gelehrten bewegt und was sein Leben als Muslim prägt: Interpretation und Verständnis des Koran, das Verhältnis von Islam und Politik, der Islamismus - und immer wieder sein persönliches Verhältnis zur Religion. Wir alle werden im dritten Jahrtausend mit dem Islam leben, seinen Widersprüchen, seiner prägenden Kraft. Eine der wichtigsten Weltreligionen erhält hier ein faszinierendes Gesicht. ISBN 9783451269714
New Arabic Original imitation leather bdg. In publisher's special box. Roy. 8vo. (24 x 17 cm). In Arabic and Turkish. 5 volumes set: (2770 p.). Kashf al-asrâr wa hatk al-astâr. [= Kesfü'l-esrâr ve hetkü'l-estâr]. 5 volumes set. A very heavy set.
iii + 403pp., 21cm., text in German, Doctoral dissertation (Inaugural-Dissertation zur Erlangung der Doktorwürde vorgelegt der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn), stamp at verso of title page, softcover (label at spine), text is clean and bright (looks unread), X110785
viii + 144pp., cart., dustwrapper, 22cm., G, [text in english]
New Arabic Original bdg. HC. Roy. 8vo. (24 x 17 cm). In Arabic. 197 p. Tanbih al-hatir ala zallah al-qari wa' al-zaqir. ISLAMICA Commentaries Quran Theology Hermeneutics.
Robert Laffont 2007. In-8 relié cartonnage souple éditeur, 1024 pages. Très bon état
Very Good Turkish Paperback. Cr. 8vo. (20 x 14 cm). In Turkish. 134 p., b/w ills., musical scores. A comprehensive biography of Hafiz Sâmi, (1874-1943), one of the most famous "hânendes" [i.e. musician] in Turkish music, known for his religious and non-religious performances of the last period. Slightly chipped on spine and extremities. Signed by Sagman.
New English Paperback. Pbo. 4to. (27 x 21 cm). In English and Turkish. 264 p., color and b/w ills. Alif Art. Osmanli & Karma Sanat Eserleri Müzayedesi. 18 Aralik 2016. [Auction catalogue].
Very Good English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In German. 69-94 pp. Signed and inscribed by Schimmel in Ottoman script as 'sevgilerimle'. Die Kulturen der asiatischen Grossreiche und Russlands. Sonderbruck: Die islamische Kultur.
Godefroy de Bouillon 2010, In-8 broché, 136 pages. Très bel état
New English Paperback. Roy. 8vo. (24 x 16 cm). In Turkish and facsimile in Ottoman Turkish. 286 p. Ilk Osmanli müfessirlerinden Sihâbuddîn Es-Sîvâsî ve Kur'ân yorumu. SUFISM & MYSTICISM Turkish and Islamic culture Sivasî Tradition Anatolia Ottoman culture Rooted family Sheikh Anatolian Islam Heterodoxy Sect Order Curan Coran Quran.
vi + 208pp., 21cm., softcover, Doctoral dissertation (Dissertation zur Erlangung des Doktorsgrades der Philosophischen Fakultät der Georg-August-Universität zu Göttingen), stamp at verso of title page, text is clean and bright, good condition, X110774
in-4°126 pages, nombreuses illustrations (dont plus. pleine page couleurs), broche, couverture, jaquette illustree. Tres bel exemplaire. [VU-2]
in-8°, 254 pp., broche, couverture illustree Etat moyen (couv. us.). [109B-17][SC-1+]
Cerf 1984, supplément au Cahier Evangile 48, In-8 carré broché, 88 pages. Très bon état.
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 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.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. [xvii], 65 p., 85 b/w plts. Türk - Islâm tahta oymacilik san'atindan rahleler. [= Koran-stands.= Pupitres a Coran.= Koranstander].
Near Fine English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 1 p. text, 2 b/w plts. in one folding page. Türk - Islâm tahta oymacilik sanatindan Selçuk devri bir Kur'an rahlesi.
Robert Laffont 1991. Fort In-8 relié pleine toile bleue éditeur sous coffret illustré. Très bon état
fort vol. in-8°, 1434 pages, cartes, index, broche, couverture illustree plast. Bel exemplaire. [LA-3]
Albin Michel, 1997. In-8 broché de 844 pages. Essai de traduction par Jacques Berque. Edition revue et corrigée. Bon état
Editions Gallimard, 1986. Collection bibliothèque de la Pléiade. In-12 relié plein cuir éditeur sous jaquette, rhodoid et étui. CXV + 1087 pages. Préfade par J Grosjean, introduction, traduction et notes par D Masson. Très bon état.
