• Number of titles: 62
• Languages used: Arabic, Latin, German, French, English, Dutch, Hebrew
• Title list available
• MARC records are available
Location of originals: Bayerische Staatsbibliothek, Munich; Württembergische Landesbibliothek, Stuttgart; Amsterdam University Library, Amsterdam; Provincia Veneta di S. Antonio di Padova dei Frati Minori, Venice; Universitätsbibliothek Erlangen- Nürnberg, Erlangen; Universitätsbibliothek München. Munich; Zentralbibliothek Zürich, Zurich
This collection contains all Arabic Koran editions printed in Europe before 1850, as well as all complete translations directly from the Arabic (until about 1860). Among the secondary translations, only those into German and Dutch are offered completely. Of the partial editions, only the typographically or academically most interesting ones are presented here. This collection includes Korans and Koran translations in eight languages. It is of interest to orientalists, theologians, philologists and book historians alike.
Lithographed Editions of Firdawsī’s Shāhnāmah is a collection of extremely rare and illustrated lithographed editions of the famous Persian epic
The Book of Kings by Firdawsī. The
Shāhnāmah was completed at the beginning of the eleventh century C.E. and it is both a monument of classical Persian literature and of Iranian national identity. Scholarly research on the work has mainly focused on the establishment of a faithful and reliable text. However, there are numerous “Oriental” editions that have received little attention. It has never been thoroughly studied how many of these different editions exist or what the exact nature of the known editions is. The first complete edition of the
Shāhnāmah was printed in movable type. It was prepared by Turner Macan and published in four volumes in Calcutta, 1829. Besides this editio princeps, further nineteenth century editions in movable type were published by by Jules Mohl (Paris 1838-1878) and Johann August Vullers (Leiden 1877-1879), respectively. The vast majority of "Oriental" editions of the
Shāhnāmah, however, were printed by way of lithography. The first lithographed edition was published in Bombay 1262/1846, another further thirty lithographed editions of the
Shāhnāmah followed, most of them published in Indian cities such as Bombay, Lucknow, and Cawnpore. Five large-sized lithographed editions were published in Iran by order of Husayn Pāshā Khān Amīr Bahādur, known as
Shāhnāmah-yi Bahādurī (Tehran 1319-1322/1901-1904). The lithographed
Shāhnāmah editions have distinct characteristics that are particularly relevant to the the study of the growing appreciation of the work in the nineteenth and early twentieth century. First of all, each copy of an edition is potentially unique due to the specific circumstances of lithographic printing. Secondly, various editions might have different wording and might thus offer additional clues to the establishment of the text itself. Thirdly, all
Shāhnāmah's lithographed editions contain illustrations adding to their popular appeal. The present collection offers the complete text of thirteen lithographed editions of the
Shāhnāmah. It includes the Indian Bombay editions of 1262/1846 and 1266/1849, as well as the first Iranian edition Tehran 1265-67/1851-53 and all four of the ensuing editions published in Iran and also a selection of eight Indian editions published in the latter half of the nineteenth century. Beyond their importance as historically produced texts, some editions are noteworthy for their calligraphy, such as the 1277/1855 Bombay edition prepared by Awliyā' Samī', or the 1307/1889 Tehran edition prepared by Muhammad-Ridā Safā "Sultān al-kuttāb". Particularly the illustrations in the Iranian editions are quite appealing and have been produced by major artists of the day such as Mirzā 'Alī-Qolī Khu'ī (Tehran 1265-67/1851-53), Ustād Sattār (Tabriz 1275/1858), and Mustafà (Tehran 1307/1889).
Catalogue of the Arabic, Persian and Turkish Manuscripts in Belgium is a union catalogue aiming is to present the Oriental manuscripts held by various Belgian public institutions (Royal Library, university and public libraries). These collections and their contents are largely unknown to scholars due to the lack of published catalogues. This first volume, consisting of a bi-lingual (English and Arabic) handlist, concerns the collection of the Université de Liège, which holds the largest number of Oriental manuscripts (c. 500). Each title is briefly described, identifying the author and offering basic material information. Most of the manuscripts described in this handlist originate from North Africa.
The Library of the Hungarian Academy of Sciences was established in 1826. Its collection of Persian manuscripts is the most comprehensive set of its kind in Hungary. The volumes were produced in four major cultural centres of the Persianate world, the Ottoman Empire, Iran, Central Asia and India during a span of time that extends from the 14th to the 19th century. Collected mainly by enthusiastic private collectors and acknowledged scholars the manuscripts have preserved several unique texts or otherwise interesting copies of well-known works. Though the bulk of the collection has been part of Library holdings for almost a century, the present volume is the first one to describe these manuscripts in a detailed and systematic way.
From the first Arabic grammar printed at Granada in 1505 to the Arabic editions of the Dutch scholar Thomas Erpenius (d.1624), some audacious scholars - supported by powerful patrons and inspired by several of the greatest minds of the Renaissance – introduced, for the first time, the study of Arabic language and letters to centres of learning across Europe. These pioneers formed collections of Arabic manuscripts, met Arabic-speaking visitors, studied and adapted the Islamic grammatical tradition, and printed editions of Arabic texts - most strikingly in the magnificent books published by the Medici Oriental Press at Rome in the 1590s. Robert Jones’ findings in the libraries of Florence, Leiden, Paris and Vienna, and his contribution to the history of grammar, are of enduring importance.
enlightened rule, some of France’s “best heads,” notably those of Voltaire and Diderot, had been turned by lavish patronage of Russia’s Catherine II . 3 Given her goal of expansion at Ottoman expense, promoting her image as enlightened implied presenting the Ottomans in antithetical terms as lawless despots
appear on the plate, from left to right, without introducing consistencies that are not present on the plate. Some of the plates in the third folio volume bear the names of etchers rather than engravers. In those cases, the frequency of multiple names of artists who performed different tasks makes
The Technique of Islamic Bookbinding is the first monograph dedicated to the technical development of the bookbinding tradition in the Islamic world. Based on an assessment of the extensive oriental collections in the Leiden University Library, the various sewing techniques, constructions and the application of covering materials are described in great detail. A comparative analysis of the historic treatises on bookbinding provides further insight into the actual making of the Islamic book. In addition, it is demonstrated that variations in time and place can be established with the help of distinctive material characteristics.
Karin Scheper’s work refutes the perception of Islamic bookbinding as a weak structure, which has generally but erroneously been typified as a case-binding. Instead, the author argues how diverse methods were used to create sound structures, thus fundamentally challenging our understanding of the Islamic bookbinding practice.
Karin Scheper has been awarded the
De La Court Award 2016 by
The Royal Netherlands Academy of Arts and Sciences for her study of the bookbinding tradition in the Islamic world.
Nakib ül-Eşraf , the head of the Prophet’s descendants, inasmuch as the sultan always conferred this dignity on a present or former kazasker or judge of Istanbul. 4 Those claiming prophetic descent, which might be either through the father or the mother, were estimated at one-thirtieth of the entire
were probably different people with radically different techniques. Combining illustrations with printed text presented more challenges. Copper-plate engravings had to be printed on a rolling press, which had a horizontal action. 2 The text had to be printed on a letterpress printer, which had a