115 résultats
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 English Original bdg. HC. Roy. 8vo. (24 x 17 cm). Translation in Turkish and Persian and facsimile of Uzbekistan copy. 776 p., [271] p. Türkçe ilk Kur'an tercümelerinden. Özbekistan nüshasi. Satirarasi (interlinear) Türkçe-Farsça tercümeli. (Giris-inceleme- metin-sözlük-ekler dizini-tipkibasim). Shortly after Turks were Muslim and they accepted Islam, they translated the Quran as interlinear (word by word). This study is one of these early translations of the glorious Quran by Turkic peoples in Uzbekistan and includes facsimile and Turkish and Persian translations. ISLAM The Glorius Quran Manuscript Turkology Interlinear Commentary Turkish - Islamic world Collection.
New New English Original bdg. Dust wrapper. 4to. (32 x 25 cm). Text in Turkish and facsimile of Uzbekistan copy. 32 p., [548] p. Türkçe ilk Kur'an tercümelerinden. Özbekistan nüshasi. Satirarasi (interlinear) Türkçe-Farsça tercümeli. Tipkibasim (Facsimile edition). Shortly after Turks were Muslim and they accepted Islam, they translated the Quran as interlinear (word by word). This study is one of these early translations of the glorious Quran by Turkic peoples in Uzbekistan and includes facsimile and Turkish and Persian translations. ISLAM The Glorius Quran Manuscript Turkology Interlinear Commentary Turkish - Islamic world Collection.
New English Original bdg. HC. Roy. 8vo. (24 x 17 cm). In English and Turkish. [xviii], 511 p. World bibliography of translations of the Holy Qur'an in manuscript form 3: Translations and exegeses in Turkish).= Yazma Kur'an-i Kerim meal ve tefsirleri (Türkçe) bibliyografyasi. Since the mid-1980s, IRCICA conducts a similar project regarding the translations and interpretations of the Holy Quran that are in manuscript form. As a result, first to be published was the World Bibliography of Translations of the Holy Quran in Manuscript Form I (Turkish, Persian and Urdu Translations Excluded). It recorded 293 translations in 58 languages. The second volume, the World Bibliography of Translations of the Holy Quran in Manuscript Form II (Translations in Urdu), compiled by Mr. Ahmad Khan (Pakistan) and containing 226 entries, appeared in 2009. IRCICA presents the third volume, an extensive one titled World Bibliography of Translations of the Holy Quran in Manuscript Form III (Translations and Exegeses in Turkish). It has been compiled from various library catalogues, studies and publications.
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.
in-12, 191 pages, nombreuses illustrations, broche, couverture illustree. Bel exemplaire. [FL-8][CL-1]
New New English Original bdg. Dust wrapper. Mint. 4to. (34 x 23 cm). In Arabic. 229, [1] p. Many color and b/w ills. Islamic treasures and relics in the Ottoman Palace in Constantinople. El muallim-i el-eseriye el-Islamiye fi Medine-i Istanbul.
New English Paperback. Pbo. 4to. (32 x 24 cm). In Turkish. 255, [1] p., fully color ills. Kelâm'dan Kalem'e büyük bulusma. [Exhibition catalogue]. Texts by Süleyman Berk, Mehmet Dag.
New English Paperback. 4to. (28 x 24 cm). In English, Turkish, and Arabic. 198 p., color ills. "The Holy Message Exhibition of Qur'anic Manuscripts" will be open to visits throughout the month of Ramadan, when the Prophet received the first verses of the Qur'an and assumed his post as the holy messenger. In the exibition, where also the sanjak (flag) mushafs will be exhibited along with the large-sized Mushaf al-Sherifs, more than 70 manuscripts will be displayed. The manuscripts will also be elucidated for the visitors by information boards mounted along their display where, apart from their historical and artistic value, also the pigments used in their illumination and ornamentation, covering techniques, and details on their prior reparations which cannot be immediately recognized by an untrained eye. In the exhibition, alongside the Korans, all of which are masterpieces prepared by Ottoman calligraphers (hattat) and painters (nakkas), the Mushafs with Kufic strips from different periods such as: Abbasids, Seljuks, Ilkhanids, Gaznavids, Safavids, and Mamluks; as well as from different regions such as India and the Maghreb that has never been exhibited before will be put to display. The notable artefacts of the exhibit are the Mushaf al-Sherif donated by Mehmed the Conqueror, the Mushaf al-Sherif written down with gold ink for Özbeg Khan, and particularly the 12 centuries old ancient Mushaf al-Sherif registred in the Nuruosmaniye Mosque inventory, which was written with a Kufic gold-inscribed calligraphy on a parchement at a time when paper was not commonly used in the Islamic World.
New New Turkish Original bdg. Dust wrapper. Folio. (34 x 23 cm). In Turkish. 464 p., color ills. All edges gilt. 1400. yilinda Kur'an-i Kerim. Türk ve Islam Eserleri Müzesi Kur'an-i Kerim Koleksiyonu. Collection of qurans in the Museum of the Turkish and Islamic Arts.
New English Original bdg. HC. Oblong 4to. (28 x 32 cm). In English and Turkish. 63 p., color and b/w ills. In search for absolute baeuty. Selected art work from Albaraka Türk Calligraphy Competition.= Mutlak güzeli arayis. Albaraka Türk Hat Yarismasi'ndan seçme eserler. Introduction by Adnan Büyükdeniz; Foreword by Temel Haziroglu; Text by M. Ugur Derman.
New English Original bdg. HC. Oblong 4to. (28 x 32 cm). In English and Turkish. 63 p., color and b/w ills. In search for absolute baeuty. Selected art work from Albaraka Türk Calligraphy Competition.= Mutlak güzeli arayis. Albaraka Türk Hat Yarismasi'ndan seçme eserler. Introduction by Adnan Büyükdeniz; Foreword by Temel Haziroglu; Text by M. Ugur Derman.
New English Paperback. Pbo. Oblong 4to. (31 x 29 cm). In English, Arabic, and Turkish. 93 p., color ills. The holy qur'an past and present.= Geçmisten günümüze Mushaf-i Serîf.
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.
Editions Gallimard, 1972. Collection bibliothèque de la Pléiade. In-12 relié plein cuir éditeur sous jaquette, rhodoid. CXV + 1087 pages. Préfade par J Grosjean, introduction, traduction et notes par D Masson. Très bon état.
Cerf, 1989. In-8 carré broché de 87 pages. Très bon état.
fort vol. in-8°, 1434 pages, cartes, index, broche, couverture illustree plast. Bel exemplaire. [LA-3]
Robert Laffont 1991. Fort In-8 relié pleine toile bleue éditeur sous coffret illustré. Très bon état
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.
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.
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.
Cerf 1984, supplément au Cahier Evangile 48, In-8 carré broché, 88 pages. Très bon état.
