BONAVENTURA Gustavo -MareMagnum
159 résultats
Firenze, 1940, stralcio con copertina posticcia muta, pp. 411/416 - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
Milano, 1959, stralcio con copertina posticcia muta, pp. 257/270 con numerose fotografie ed una cartina. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
xviii + 134pp.with 33 figures in-text + 19 plates out-of-text, cloth, 31cm., VG
Présentation du Yémen en 2 parties: "Ouverture au Yémen" par l'écrivain et cinéaste Michel BULTEAU (utilisant également le pseudonyme Baron Bulto) et "Partir au Yémen" par l'écrivain Alain JOUFFROY (1928-2015); carte et nombreuses photos couleurs de Lyu (Ryu) HANABUSA; Exemplaire bien complet de ses jaquette et étui. Français
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.
A clean, unmarked book with a tight binding. Full dark blue cloth boards. Previous owner's name has been whited out on front endpaper. Edge wear to dust jacket. 350 pages.
Light tanning to pages. Minor shelfwear. ; Islam D'Hier Et D'Aujourd'hui; Vol. 1; 281 pages
Vilo 1999. In-4 relié toile sous jaquette de 191 pages illustrées. Très bon état
ix + 188pp.+ 120 plates out-of-text, cart., dustwrapper, 29cm., in the series "Publications of the American Foundation for the study of man" volume IV
Edisud, 2003. In-4 broché covuerture à rabats de 173 pages illustrées. Bon état
In-4 (cm. 34), tela editoriale, titolo al dorso, sovracoperta, pp. 304, con illustrazioni in bianco e nero e a colori, ISBN 9781856695145. In ottimo stato (nice copy).
492pp.richly illustrated in colour & bl/w, 1st edition, cart.cover, dustwrapper, 28cm., [Exhibition catalogue, München, Staatlichen Museum für Völkerkunde, April-Dezember 1987]
In-8° grande (cm. 26,7x18,9), pp. 21. Brossura editoriale, firma in cop. Lievi usure. Intonso. "Alla fine del 1904 il YEMEN fu sconvolto dalla più violenta e dalla più importante ribellione 6tra quelle succedutesi alla rioccupazione turca". Censito come estr. alla sola Biblioteca del Distretto delle scienze sociali..., Università degli studi di Cagliari.
Legatura rigida editoriale,sopracoperta illustrata,in 8o. Illustrazioni e grafici.Ottima copia.Pp.378
br. Per quasi un millennio, l'Arabia è rimasta per gli Europei una terra dimenticata. Soltanto alla fine del XV secolo iniziò a diradarsi il lungo oblio: venne riportato alla luce il concetto di "Arabia felix", che nasceva dall'abbondanza e dalla rarità delle mercanzie che da questa terra arrivavano in Occidente. In "Arabia felix" Alessandro de Maigret racconta la sua spedizione archeologica in questi territori misteriosi, allargando gli orizzonti della ricerca e indagando non solo le varie fasi storiche dello Yemen - dalla preistoria all'Età del Bronzo, fino alle dinastie reali che vi si sono susseguite -, ma anche analizzando la religione, l'architettura e le arti di questa affascinante civiltà. L'autore cerca di portare chiarezza tra le leggende che si sono diffuse nei secoli e, attraverso una vasta quantità di dati archeologici, ricostruisce il complesso mosaico dell'antica "Arabia felice".
P., Laffont, 1969. In-8 broché, couverture à rabats, 302 pages, avec des illustrations hors texte. Très bon état.
in-8°, 302 pages, ill. hors texte N&B, annexe, index, broche, couverture illustree plast. à rabats. Bel exemplaire. [CA26/2]
Firenze, 1995, 8vo stralcio con copertina posticcia muta, pp. 474/489 con illustrazioni e tavole fotografiche a colori. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo, completo in se, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perché ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “extract” or “excerpt” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
[viii] + 279pp.with frontispice & 96 figures + 140 plates out-of-text (of which some folding plans), cloth, 31cm., VG
[iv] + 206pp.with figures & folding plans + 75 plates out-of-text (containing 234 ills.) & 9 folding tables (loosely inserted), cloth, 31cm., VG
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.
New English Paperback. Roy. 8vo. (24 x 17 cm). Papers in Turkish and Arabic. 430 p. Uluslararasi Dördüncü Orta Dogu Semineri: Ilkçaglardan Islâmiyetin dogusuna kadar Orta Dogu. Elazig 29-31 Mayis 2009. Bildiriler. Papers of the fourth international seminar on the Middle East. pp.271-335 in Arabic. 500 copies were printed.
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.
