Nafaḥāt al-uns min ḥaḍarāt al-quds, yā Takmilah-i ḥavāshī-yi Nafahāt al-uns

Name: Nafaḥāt al-uns min ḥaḍarāt al-quds, yā Takmilah-i ḥavāshī-yi Nafahāt al-uns
Author: Jāmī, 1414-1492, جامي, Lārī, ʻAbd al-Ghafūr, -1506, لارى, عبد الغفور

İsim	Nafaḥāt al-uns min ḥaḍarāt al-quds, yā Takmilah-i ḥavāshī-yi Nafahāt al-uns
Yazar	Jāmī, 1414-1492, جامي, Lārī, ʻAbd al-Ghafūr, -1506, لارى, عبد الغفور
Yazar Orijinal	جامي لارى عبد الغفور
Basım Tarihi:	1700
Konu	Sufis -- Biography -- Early works to 1800, Muslim saints -- Biography -- Early works to 1800, Sufism -- Early works to 1800, Manuscripts, Persian -- Michigan -- Ann Arbor
Tür	Kitap
Dil	Farsça
Dijital	Hayır
Yazma	Evet
Fiziksel Boyutlar	304 leaves : paper ; 246 x 145 (175-189 x 85-95) mm. bound to 247 x 150 mm
Kütüphane:	Michigan Üniversitesi Kütüphanesi
Demirbaş Numarası	1194683346
Kayıt Numarası	990068045630106381
Lokasyon	UM Ann Arbor Libraries, University Library
Tarih	18th century (exact date unknown)
Notlar	Ms. codex., Title supplied by cataloguer, following preface on fol.12b (p.24) and published title., Incipit: [1] "الحمد لله الذي جعل مرائى قلوب اوليائه مجالى جمال وجهه الكريم و الاح منها على صفايح وجوههم لوايح نور القديم" [2] "تيمنا بذكر الملك الاعلى وحمدا لله تبارك وتعالى وصلى الله على محمد المصطفى وعلى اله وصحبه الوفا وارباب الصفا بعده چون تسويد اين اوراق بتوفيق عليم خلاق بسر حدا تمام رسيد و ذكر فضل طوايف اوليا قدس الله تعالى اسرارهم بامداد حضرت ذى الفضل و العلى بانجام كشيد دلرا تعطش بزلال ذكر احوال اين طايفه هم چنان بر قرار بود بلكه از شوق بگفت و كوى اين طايفه برزگوار بيقرار خصوصا ذكر حضرت مخدومى قدس الله تعالى سره كه نام خجسته فرجام سعدات انجام خضرت ايشان عليه الرحمة والرضوان در نفحات مذكور نبود اگر چه تعريف و مدحت ايشان مناسب مرتبه امثال فقيران نيست", Explicit: [1] "كارشان جز نفى ذات و وصف فعل خويش نيست اى خدا چه بود كه جامى را كنى در كارشان" [2] "تمام شد وبعد ازان حضرت امير عمارت عالى برقبله قبر حضرت ايشان عليه الرحمة بنياد نهادند وجمعى از حفاظ تعيين فرمودند وفقه الله بمزيد الاكرام وبدعائه يختم الكلام وصلى الله على محمد واله اجمعين", Collation: V (10), 34 IV (282), III (288), 2 IV (304) ; chiefly quaternions ; catchwords present ; a few folia left blank and unmarked though ruled, but with no missing text (between the works, etc. see p.569 and p.607) ; table of contents foliated in a "green" ink, Hindu-Arabic numerals mid-margin on the verso of each leaf ; foliation in black ink, Hindu-Arabic numerals through end of main text (نفحات الانس) ; pagination in pencil Western numerals, supplied during cataloguing., Layout: Written in 23 lines per page ; mainly single column with table of contents ruled in characteristic grid pattern ; frame-ruled with impression of ruling board evident., Script: Naskh ; elegant Persianate hand ; partially serifed with occasional right or left sloping head serifs on lām, ṭāʼ, etc. but free-standing alif serifless, kāf mashqūqah preferred, pointing in distinct dots, two dots of letters such as tāʼ and yāʼ positioned vertically, final yāʼ often unpointed ; table of contents in a fine tawqīʻ, serifed and partially ligatured., Decoration: Illuminated headpiece (ʻunwān) on fol.11b (p.22) consisting of rectangular piece carrying the text "رب وفقنى باتمامه" in gold, set off by cloud bands and decorative flanking pieces, surmounted by w-shaped piece with heavy floral vegetal pattern in blue, orange, red, white, and green on fields of gold and blue ; the entire piece is framed in a well with gold, red (with white dots) and black bands and surmounted by decorative bands and leaves and a vegetal pattern with lotus-like blossoms ; below, a simple gold accented rectangular piece carries the basmalah ; well-executed illuminated headpiece (ʻunwān) on fol.285b (p.570) consisting of rectangular piece with gold cartouche carrying the basmalah in red flanked by decorative pieces, surmounted by w-shaped piece with fine vegetal floral pattern in gold, blue, red, and pink with black outlines on fields of gold, blue and red ; entire is framed in well of elaborate design consisting of bands of red and blue with white, green, yellow, and red accents and gold, red and black fillets ; decorative bands and leaf designs border the w-shaped piece ; a floral design in gold with green, red, pink and blue accents fills the space above the w-shaped piece ; written area throughout is bordered by an elaborate frame consisting of blue, red, green and gold bands outlined by black and blue fillets with a second simple rule border consisting of a gold band outlined by black fillets encompassing much of the margins ; table of contents is ruled in a simple frame consisting of a series of red and gold bands outlined by black fillets ; many marginalia in decorative shapes (diamond, triangle, cypress tree, sword, etc.) ; text rubricated with section and entry headings, overlining, etc. in red ; partly chrysographed with certain section headings and key words in gold (particularly in the first part of the text) ; text to be supplied by rubricator appears occasionally in margins., Support: non-European (Persian - 18th century, earlier rather than later) laid paper with laid lines running horizontally spaced roughly 8-9 laid lines per cm. and somewhat indistinct ; no chain lines visible ; nicely sized and burnished ; crisp ; sewing loose in first few quires., Binding: Dense pasteboards covered in painted lacquerwork, spine in black leather ; Type III binding (without flap) ; doublures in painted lacquerwork ; lacking doublure hinges and flyleaves ; upper and lower covers bear paintings of virtually identical composition in mirror image on a red (with metallic sheen) background ; gold painted fillets define outer and inner frames consisting of a series of bronze triangular shapes on bands of black ; between these frames, an elaborate floral design consisting of an alternating succession of red lozenges outlined in bronze filled with flowers, buds and leaves in yellow, red, pink and green ; the main panel has a central cluster of hydrangea-like flowers in pinks and reds along with peony-like flowers in yellow and gold with adjacent tulips, poppies, other floral forms, and leaves in various shades of green ; other flowers, buds and leaves fill the remainder of the panel ; upper and lower doublures also bear paintings of virtually identical composition in mirror image on a maroon background (with floral vegetal design in gold/bronze) consisting of a central scalloped mandorla and pendants outlined in gold/bronze fillets and filled with flowers and leaves in pinks, reds, yellows, and greens all on fields of dark green ; gold painted fillets define a frame consisting of a series of dots in gold on the dark green background ; sewing in pink thread, two sewing stations ; repairs, reinforcement in white ; primaries in pink, chevron endbands in white and blue ; in fair condition ; worn, leather of spine brittle, abraded and lifting; lacquer and paint of covers is chipped, lacquer of doublures is crazed ; housed in box for protection., Origin: Lacks a colophon but paper and hand would suggest early to mid 18th century., Notable lack of ownership marks apart from inscription on tail edge of text block "٤١", inscription "S [?] 38 T. De M. [i.e. Tammaro De Marinis]" on fol.1a and "٢١٠" on fol.1a, all likely former inventory marks ; traces of a label on spine ; notabilia marking entries for various Ṣūfīs and saints appear throughout., Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 268
Örnek Metin	Fine copy of Jāmī's (d.898/1492) prized collection of biographies of Ṣūfīs and saints with a comprehensive study of Sufism, followed by its Takmilah of his disciple ʻAbd al-Ghafūr Lārī (d.912/1506) which provides a biography for Jāmī himself.
Katkıda Bulunanlar	Lārī, ʻAbd al-Ghafūr, -1506. Takmilah-i ḥavāshī-yi Nafahāt al-uns sharḥ-i ḥāl-i Mawlānā Jāmī.
Son Dizinleme Tarihi	20251210
Biçim	Book, Manuscript, Biography
Koleksiyonda	Abdul Hamid Collection.
Referanslar	Cat. Pers. MSS. Brit. Mus., i, p.349, Lārī, Raz̤ī al-Dīn ʻAbd al-Ghafūr. Takmilah-i ḥavāshī-yi Nafahāt al-uns : sharḥ-i ḥāl-i Mawlānā Jāmī. ed. ʻAlī Aṣghar Bashīr Hiravī (Kabul, 1964).
Elde Ediliş	Acquired by purchase (funds donated by Horace Rackham).
Konular (Diğer)	Headpieces (layout features)

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Nafaḥāt al-uns min ḥaḍarāt al-quds, yā Takmilah-i ḥavāshī-yi Nafahāt al-uns

Yazar Jāmī, 1414-1492, جامي, Lārī, ʻAbd al-Ghafūr, -1506, لارى, عبد الغفور

Yazar Orijinal جامي لارى عبد الغفور

Basım Tarihi 1700

Konu Sufis -- Biography -- Early works to 1800, Muslim saints -- Biography -- Early works to 1800, Sufism -- Early works to 1800, Manuscripts, Persian -- Michigan -- Ann Arbor

Tür Kitap

Dil Farsça

Dijital Hayır

Yazma Evet

Fiziksel Boyutlar 304 leaves : paper ; 246 x 145 (175-189 x 85-95) mm. bound to 247 x 150 mm

Kütüphane Michigan Üniversitesi Kütüphanesi

Demirbaş Numarası 1194683346

Kayıt Numarası 990068045630106381

Lokasyon UM Ann Arbor Libraries, University Library

Tarih 18th century (exact date unknown)

Notlar Ms. codex., Title supplied by cataloguer, following preface on fol.12b (p.24) and published title., Incipit: [1] "الحمد لله الذي جعل مرائى قلوب اوليائه مجالى جمال وجهه الكريم و الاح منها على صفايح وجوههم لوايح نور القديم" [2] "تيمنا بذكر الملك الاعلى وحمدا لله تبارك وتعالى وصلى الله على محمد المصطفى وعلى اله وصحبه الوفا وارباب الصفا بعده چون تسويد اين اوراق بتوفيق عليم خلاق بسر حدا تمام رسيد و ذكر فضل طوايف اوليا قدس الله تعالى اسرارهم بامداد حضرت ذى الفضل و العلى بانجام كشيد دلرا تعطش بزلال ذكر احوال اين طايفه هم چنان بر قرار بود بلكه از شوق بگفت و كوى اين طايفه برزگوار بيقرار خصوصا ذكر حضرت مخدومى قدس الله تعالى سره كه نام خجسته فرجام سعدات انجام خضرت ايشان عليه الرحمة والرضوان در نفحات مذكور نبود اگر چه تعريف و مدحت ايشان مناسب مرتبه امثال فقيران نيست", Explicit: [1] "كارشان جز نفى ذات و وصف فعل خويش نيست اى خدا چه بود كه جامى را كنى در كارشان" [2] "تمام شد وبعد ازان حضرت امير عمارت عالى برقبله قبر حضرت ايشان عليه الرحمة بنياد نهادند وجمعى از حفاظ تعيين فرمودند وفقه الله بمزيد الاكرام وبدعائه يختم الكلام وصلى الله على محمد واله اجمعين", Collation: V (10), 34 IV (282), III (288), 2 IV (304) ; chiefly quaternions ; catchwords present ; a few folia left blank and unmarked though ruled, but with no missing text (between the works, etc. see p.569 and p.607) ; table of contents foliated in a "green" ink, Hindu-Arabic numerals mid-margin on the verso of each leaf ; foliation in black ink, Hindu-Arabic numerals through end of main text (نفحات الانس) ; pagination in pencil Western numerals, supplied during cataloguing., Layout: Written in 23 lines per page ; mainly single column with table of contents ruled in characteristic grid pattern ; frame-ruled with impression of ruling board evident., Script: Naskh ; elegant Persianate hand ; partially serifed with occasional right or left sloping head serifs on lām, ṭāʼ, etc. but free-standing alif serifless, kāf mashqūqah preferred, pointing in distinct dots, two dots of letters such as tāʼ and yāʼ positioned vertically, final yāʼ often unpointed ; table of contents in a fine tawqīʻ, serifed and partially ligatured., Decoration: Illuminated headpiece (ʻunwān) on fol.11b (p.22) consisting of rectangular piece carrying the text "رب وفقنى باتمامه" in gold, set off by cloud bands and decorative flanking pieces, surmounted by w-shaped piece with heavy floral vegetal pattern in blue, orange, red, white, and green on fields of gold and blue ; the entire piece is framed in a well with gold, red (with white dots) and black bands and surmounted by decorative bands and leaves and a vegetal pattern with lotus-like blossoms ; below, a simple gold accented rectangular piece carries the basmalah ; well-executed illuminated headpiece (ʻunwān) on fol.285b (p.570) consisting of rectangular piece with gold cartouche carrying the basmalah in red flanked by decorative pieces, surmounted by w-shaped piece with fine vegetal floral pattern in gold, blue, red, and pink with black outlines on fields of gold, blue and red ; entire is framed in well of elaborate design consisting of bands of red and blue with white, green, yellow, and red accents and gold, red and black fillets ; decorative bands and leaf designs border the w-shaped piece ; a floral design in gold with green, red, pink and blue accents fills the space above the w-shaped piece ; written area throughout is bordered by an elaborate frame consisting of blue, red, green and gold bands outlined by black and blue fillets with a second simple rule border consisting of a gold band outlined by black fillets encompassing much of the margins ; table of contents is ruled in a simple frame consisting of a series of red and gold bands outlined by black fillets ; many marginalia in decorative shapes (diamond, triangle, cypress tree, sword, etc.) ; text rubricated with section and entry headings, overlining, etc. in red ; partly chrysographed with certain section headings and key words in gold (particularly in the first part of the text) ; text to be supplied by rubricator appears occasionally in margins., Support: non-European (Persian - 18th century, earlier rather than later) laid paper with laid lines running horizontally spaced roughly 8-9 laid lines per cm. and somewhat indistinct ; no chain lines visible ; nicely sized and burnished ; crisp ; sewing loose in first few quires., Binding: Dense pasteboards covered in painted lacquerwork, spine in black leather ; Type III binding (without flap) ; doublures in painted lacquerwork ; lacking doublure hinges and flyleaves ; upper and lower covers bear paintings of virtually identical composition in mirror image on a red (with metallic sheen) background ; gold painted fillets define outer and inner frames consisting of a series of bronze triangular shapes on bands of black ; between these frames, an elaborate floral design consisting of an alternating succession of red lozenges outlined in bronze filled with flowers, buds and leaves in yellow, red, pink and green ; the main panel has a central cluster of hydrangea-like flowers in pinks and reds along with peony-like flowers in yellow and gold with adjacent tulips, poppies, other floral forms, and leaves in various shades of green ; other flowers, buds and leaves fill the remainder of the panel ; upper and lower doublures also bear paintings of virtually identical composition in mirror image on a maroon background (with floral vegetal design in gold/bronze) consisting of a central scalloped mandorla and pendants outlined in gold/bronze fillets and filled with flowers and leaves in pinks, reds, yellows, and greens all on fields of dark green ; gold painted fillets define a frame consisting of a series of dots in gold on the dark green background ; sewing in pink thread, two sewing stations ; repairs, reinforcement in white ; primaries in pink, chevron endbands in white and blue ; in fair condition ; worn, leather of spine brittle, abraded and lifting; lacquer and paint of covers is chipped, lacquer of doublures is crazed ; housed in box for protection., Origin: Lacks a colophon but paper and hand would suggest early to mid 18th century., Notable lack of ownership marks apart from inscription on tail edge of text block "٤١", inscription "S [?] 38 T. De M. [i.e. Tammaro De Marinis]" on fol.1a and "٢١٠" on fol.1a, all likely former inventory marks ; traces of a label on spine ; notabilia marking entries for various Ṣūfīs and saints appear throughout., Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 268

Örnek Metin Fine copy of Jāmī's (d.898/1492) prized collection of biographies of Ṣūfīs and saints with a comprehensive study of Sufism, followed by its Takmilah of his disciple ʻAbd al-Ghafūr Lārī (d.912/1506) which provides a biography for Jāmī himself.

Katkıda Bulunanlar Lārī, ʻAbd al-Ghafūr, -1506. Takmilah-i ḥavāshī-yi Nafahāt al-uns sharḥ-i ḥāl-i Mawlānā Jāmī.

Son Dizinleme Tarihi 20251210

Biçim Book, Manuscript, Biography

Koleksiyonda Abdul Hamid Collection.

Referanslar Cat. Pers. MSS. Brit. Mus., i, p.349, Lārī, Raz̤ī al-Dīn ʻAbd al-Ghafūr. Takmilah-i ḥavāshī-yi Nafahāt al-uns : sharḥ-i ḥāl-i Mawlānā Jāmī. ed. ʻAlī Aṣghar Bashīr Hiravī (Kabul, 1964).

Elde Ediliş Acquired by purchase (funds donated by Horace Rackham).

Konular (Diğer) Headpieces (layout features)