115 résultats
in-8°, 328 pp., ill., diag., broche, couverture illustree Bel exemplaire [HA-4]
pp. 66, (5) ["Magic Wand" Publisher's catalog]. Portrait illustration. Illustrations by Jack Lamonte. 8vo. Original yellow pictorial printed wraps. Nice condition. A "Magic Wand" Publication. First ed ition. Scarce. From the working magic library of Bill Lieberman (Master of Magic) MAG 3
New English Original bdg. Atlas folio. (50 x 35 cm). In English, Turkish, and Arabic. A set of 30 plates, printed in colour on high quality paper and presented in a portfolio, in English, Arabic and Turkish 20 plates of 35x50 cm, 10 plates of 22x35 cm Reproductions of selected samples of calligraphy by masters of this art.
Book shows very light wear only, with a warp to the text block. Binding is solid and square, covers have sharp corners, text/interior is clean and free of marking of any kind on bright white paper. The glue in this perfect bound book is over 50 years old and is likely fragile.
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.
190 pages. Illustrated. Issued under the direction of the Council of Women for Home Missions. "It is generally acknowledged that Mormonism is similar to Mohammedansim in its endorsement of the practice of polygamy, and its ideas of heaven. Many other points of similarity between these systems have been noted by students, and the Book of Mormon has marked resemblance to the Koran. As all ancient religions have a modern equivalent, Mormonism can justly be claimed to be the modern form of Mohammedanism, and not incorrectly termed "the Islam of America." - From the Editorial Committees. Prior owner's name and initials atop front endpaper. Front hinge open. Moderate quantity of markings to contents. Above average wear to beige boards. Book
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.
New New English Original bdg. Dust wrapper. Folio. (32 x 25 cm). In English. 422 p., color ills. Ninety-nine Qur'an manuscripts from Istanbul. Translated by Irvin Cemil Schick. The art of calligraphy was born of the desire record, ornament, and protect the text of the Holy Qur'an in the most perfect form by giving Arabic letters their most beautiful shapes, and by illuminating and binding the written oages so as to grant them a worthy appearance. Among the various peoples that adopted Islam, Ottoman Turks took this mission especially to heart, developing their own particular style especially after the conquest of Istanbul, and constantly striving for perfection in the artistic rendering of every kind of script.
New New Turkish Original bdg. Dust wrapper. 4to. (28 x 21 cm). In Turkish. 574 p., color ills. Study on the objects used in daily life in the Ottoman Empire. Osmanli'da günlük yasam nesneleri. Second Edition.
New English Paperback. Pbo. 4to. (32 x 24 cm). In Turkish. 219 p., color ills. Auction catalogue of Emin Barin Calligraphic Collection. Emin Barin, (1913-1987); a calligrapher, a book binder, a teacher and an art collector. He was born in Bolu, Turkey on May 20 1913. He studied at the Academy of Fine Arts and continued his study in Germany. He learned privately with professor Dorfner in Weimar and the Akademie fur Kunste und Buchgewerbe in Leipzig. In 1958, he received a diploma of honor and a medal for bookbinding. He became a founder of Turkish-German cultural committee in Istanbul.
New Kurdish Original bdg. HC. Roy. 8vo. (24 x 17 cm). In Kurdish and Arabic. 29, [3], 604, [4] p. Qur'ana [Pîroz] Kerîm û wergera ma'neya wê li ser zimanê Kurdî. Prep. byM. Huseyn Êsî, Hüseyin Gündüz, M. Seid Girdarî, M. Muhemmed Bêrkevanî. Translation of the Glorious Quran to Modern Kurdish.
254p. Numerous photo illustrations. Tall 8vo. Original full cloth binding. Original dust jacket slightly chipped. "A classic magical treatise - an essential for every magic entertainer. Includes great magical effects: Fred Kaps' staggering coin and glass routine; Ken Brooke's brilliant Linking Ring count; Hans Trixer's miniature cups and ball routine; five effects from Al Koran including his torn and restored newspaper; Etc." From the working magic library of Bill Lieberman (Master of Magic) MAG 3
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
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 404 p. Türk edebiyati tarihinde, sairlerimizin âyetleri açiklayan siirlerine rastlanmakla birlikte, Serîfî Divâni gibi bütün bir dîvânin âyetlerin tefsir edildigi siirlerden olustugu bir örnek bulunmamaktadir. Serîfî'nin ortalama yirmiser beyitlik gazellerden olusturdugu dîvâni bu yönüyle Türk edebiyatinda siradisi bir örnektir. Dîvânda her gazelden önce siire konu edilecek âyetin metni verilmektedir. Sairin farkli konulardan seçtigi âyetlerin geneli Allah'in varligi, birligi, insanlara verdigi nimetler, insanlardan istekleri gibi konulardan seçilmistir. Bunun disinda Hz. Peygamber, dört büyük halife, sahabe ve velilerin övülmesiyle tevekkül, sabir, sükür, cömertlik, cimrilik, ölümün kaçinilmazligi, cennet ve cehennem ehlinin durumu gibi konular, seçilen âyetlerin tefsirleri baglaminda ele alinmistir. Okuyucuya Kur'ân-i Kerîm'in genel muhtevâsini sunan ve yaklasik 4000 beyitten olusan bu eser, Kur'ân-i Kerîm'in manzum bir tefsiri olarak hem edebî hem de dînî bakimdan büyük bir önem arzetmektedir.
Cloth, 8vo, xvii, [1], 626 + xiv, [1], 639 p.; 22.5 cm. Gathers together 27 and 28 essays by Wolfson in English as well as 2 in Hebrew. "For almost forty years Harry Wolfson has devoted himself unreservedly, indeed heroically, to a bold and imaginative projectentitled 'Structure and Growth of Philosophic Systems from Plato to Spinoza.' The fastidiously reasoned, intricately textured thesis underlying this grand project and unifying its many offshoots has been succinctly and lucidly described by Wolfson himself in the preface to Religious Philosophy: 'If we are to follow the conventional method of dividing philosophy into ancient, medieval, and modern, then medieval philosophy is to be defined as that system of thought which flourished between pagan Greek philosophy, which know not of Scripture, and that body of philosophic writings which ever since the seventeenth century has tried to free itself from the influence of Scripture. Medieval philosophy so defined was founded by Philo. He is the interpreter ofGreek philosophy in terms of certain fundamental teachings of his Hebrew Scripture, whereby he revolutionized philosophy and remade it into what became the common philosophy of the three religions with cognate Scriptures, Judaism, Christianity, and Islam. This triple scriptural religious philosophy, which was built up by Philo, reigned supreme as a homogeneous, if not a thoroughly unified, system of thought until the seventeenth century, when it was pulled down by Spinoza.'" (from vol.1, p. v-vi) -- As the twelfth volume of his Structure, Wolfson intended 'a definitive revision of Spinoza, with cross-references to all the previous books of the series' (Schwarz, Wolfson of Harvard, p. 224). Both Volumes Very Good Condition in Very Good Jackets. A Beautiful Set. (RAB-52-7)
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.
New Turkish Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. 236 p. Tefsir usûlü. A study on commentary method.
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.
viii + 144pp., cart., dustwrapper, 22cm., G, [text in english]
New Turkish Original imitation leather bdg. with a flap. Roy. 8vo. (24 x 17 cm). In Arabic. [5], 604, [21] p., color illuminations. The Glorious Quran - Kur'an-i Kerim. Calligraphed by Huseyin Kutlu. Illuminated by Ersan Percem.
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.
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.
