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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. 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 New English Original bdg. Dust wrapper. 4to. (28 x 21 cm). In English and Turkish. [xii], 563 p., ills., 67 plts., 2 color maps. Mangir: Copper coins of Ottoman Empire.= Mangir: Osmanli Imparatorlugu bakir paralari.
Carta geografica raffigurante il territorio dello Yemen disegnata da Niebuhr nel 1763, incisa da l Desehrt nel 1772 ed edita nel 1780. Stampata su carta virata in azzurro. Pieghe editoriali
Very Good Turkish, Ottoman (1500-1928) Paperback. With a pictorial cover. Large roy. 8vo. (23 x 18 cm). In Ottoman script [and French on the cover]. 355-442 pp., ills. Bilingual cover is written 'Medeniyet Ordusu Yemen çöllerinde' and 'L!Armee dans le Desert de Yemen' bilingual in Turkish with Arabic script and in French. [i.e. The Ottoman civilized army in the desert of Yemen]. Extremely rare.
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.
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 English Modern full leather each volumes in traditional Ottoman style. Roy. 8vo. (25 x 17 cm). In Ottoman script. Last 2 volumes are in Modern Turkish. 10 volumes set: ([23], 674, [10] p.; 479, [5] p.; 534, [5] p.; 432, [4] p.; 602, [6] p.; [4], 554, [5] p.; [21], 912 p.; [1], [5], 786, [4] p.; 892 p.; 1112 p)., folding maps, b/w plates. 1896 - 1938. Their contents are: Vol. 1: Description of Contantinople and environs, as of 1631. Vol. 2: Journey to Brousse and Nicomedia, 1640, Pontus, Caucasus and Crimea, 1640-44.i expedition to Crete, 1645; journey to Erzerum and Caucasus, 1648. Vol. 3: Syria, Kurdistan, Armenia, 1650; Roumelia, Bulgaria and Dobrudja, 1655-56. Vol. 4: Persia and Iraq, 1655-56. Vol. 5: Journey to Moldavia and expeditions to Transylvania and Russia, 1658; to Anatolia, then across the Dardanelles to Adrianople, 1659; expeditions to Moldavia and Dalmatia, 1660. Vol. 6: Expedition to Transylvania and journey to Albania, 1661-62; expeditions to Hungary, Montenegro and Croatia, 1663-64. Vol. 7: Austria, Crimea, Daghestan, Caucasus, Astrakhan. Vol. 8: Crimea, Crete, Salonica, Roumelia (Greece). Vol. 9: Pilgrimage to Mecca and Medina. Vol. 10: Egypt. Evliya Çelebi was son of the chief court jeweler, he was educated in a madrasah (Islamic college) and a Qur?an school in Constantinople; and, excelling as a Qur'ân reciter, he was shown favour by the reigning sultan, Murad IV. Entering the Ottoman palace school, he developed skills in Arabic, calligraphy, and music. Under the patronage of the court he began the journeys that took him from Belgrade to Baghdad and from Crimea to Cairo, sometimes as an official representative of the government and sometimes on his own. The result of these travels was his masterwork, the Seyahatname (1898-1939; 'Book of Travels'). This work is also referred to as the Tarih-i seyyah ('Chronicle of a Traveler'). Evliya possessed a vivid imagination, occasionally mixing fact and fantasy; he described places he could not possibly have visited. Noted for his fascinating anecdotes and charming style, he wrote about the ethnography, history, and geography of the Ottoman Empire and neighbouring lands and about the inner workings of the Ottoman government during the 17th century. (Source: Britannica). Currently there is no English translation of the entire Seyahatname, although there are translations of various parts. The longest single English translation was published in 1834 by Joseph von Hammer-Purgstall, an Austrian orientalist: it may be found under the name "Evliya Efendi." Von Hammer-Purgstall's work covers the first two volumes (Istanbul and Anatolia) but its language is antiquated. Other translations include Erich Prokosch's nearly complete translation into German of the tenth volume, the 2004 introductory work entitled The World of Evliya Çelebi: An Ottoman Mentality written by University of Chicago professor Robert Dankoff, and Dankoff and Sooyong Kim's 2010 translation of select excerpts of the ten volumes, An Ottoman Traveller: Selections from the Book of Travels of Evliya Çelebi. Evliya is noted for having collected specimens of the languages in each region he traveled in. There are some 30 Turkic dialects and languages cataloged in the Seyâhatnâme. Çelebi notes the similarities between several words from the German and Persian, though he denies any common Indo-European heritage. The Seyâhatnâme also contains the first transcriptions of many languages of the Caucasus and Tsakonian, and the only extant specimens of written Ubykh outside the linguistic literature. First Printed Set of Evliya Chalabi's book(s) of travels. Voyages and Travels in Greece, the Near East and adjacent regions made previous to the year 1801; being a part of a larger catalogue of work on geography, cartography, voyages and travels, in the Gennadius Library in Athens, compl. by Shirley Howard Weber, Vol. II: 1631.; TBTK 10360.; Özege .; Only 2 copies located in OCLC as set: 80395042. Rare as set.
