Script Analysis
The NLM Manuscripts
The Arabic Manuscripts
Aqfahsi, Ahmad ibn 'Imad al-Din ibn Muhammad, d. 1405.
Adab ma yatakarraru fi al-yawm wa al-laylah min al-akl wa al-shurb wa al-du'a' wa al-kawm (Proper conduct in eating, drinking, praying, and sleeping, which repeat day and night) [15--?-18--?]
The first ten pages of this manuscript are restorations. The scribe made a fairly good facsimile of the original script.
The script is a good, legible naskh. The eyes are closed. An unusual feature is that many of the letter sin are flat (toothless). Written in black, carbon ink, and red ink, possibly cinnabar. On some pages the traces of the mistarah are visible. Final kaf has the seren.
Najib al-Din al-Samarqandi, Muhammad ibn 'Ali, d. 1222.
al-Adwiyah al-mufradah al-musta'malah bi-khawassha wa-af'alha al-mashhurah bi-ha ajib al-Din al-Samarqandi (Useful simple remedies with their properties and utilities for which they are renowned) al-'ashr al-akhir min Ramadan 740 [March 1340]
The main script is a very distinctive combination of naskh and nasta'liq. Some sins have teeth, some are flat. The eyes are closed, final kaf has the seren. Some letters in their final forms have their dots attached to their tails, a feature of modern scripts like ruq'ah and diwani. Double diacritics are ?? and triple diacritics by ??.
The manuscript begins with a basmalah in musalsal script, alphabetical divisions and chapter headings are written in thuluth script, vocalizaton in red ink. Subheadings in red ink.
The scribe was Muhammad ibn Abdallah al-Mulaqqab bi-al-Shams al-Tustari al-Mutatabbib. Probably copied in Kwarazm (modern Khiva). Item 2 (Ittikhadh ma' al-jubn wa manafi'uhu wa-isti'maluh = The use of cheesewater and its virtues, probably also by al-Samarqandi) is by the same scribe.
Avicenna, 980-1037.
al-Ashi'ah al-bariqah bi-al-anwar al-shariqah fi ahwal al-nafs al-natiqah (The rays gleaming with radiating lights concerning the states of the rational soul) 13 Jumadá I, 1146 [22 October, 1733]
A small, legible naskh script. The eyes are closed, the script has a pronounced slant toward the left. Thick black ink, a paler red ink. Scribe 'Umar Suwaidan al-Munawani, dated 1146 AH.
MS A 3
Ishaq ibn Hunayn, 830-910. Risalah al-Shafiyah fi adwiyat al-nisyan (The salutory treatise on drugs for forgetfulness) [ca. 1400]/ Ibn al-Tilmidh, Amin al-Dawlah Abu al-Hasan Hibatallah, d. 1154 or 1165. Aqrabadhin (Formulary) 25 Rabi I, 902 [1496]
The manuscript is in a simple naskh, which has some characteristics of riqa' such as deep extensions and alifs that hook on their lower ends to the left. Lam-alifs have the muhaqqaqah form, ??. Chapter titles are in riqa' script, red ink. Dated 920 AH. Closed eyes.
Fol. 70 has what appears to be some calligraphic practice under the title, all in a small muhaqqaq script in brown ink. The text is in a small naskh, brown ink.
The last item is in a swiftly written riqa'.
Aqrabadhin al-Khayl (Medical formulary for horses) [17--?]
A small naskh-based script. Titles are in red text in black ink. Clear evidence of mistarah usage to lay out the pages. Most lams have tarwisahs, as is basic in naskh (no tarwisahs on alifs). Final kafs have serens. The final alifs were drawn with a descending stroke.
MS A 5
Mirza 'Ali, fl. 1611. Asrar al-'ilaj (Secrets of curing) 1243 [1827]
The manuscript is comprised of two parts, both in the same hand. The script derives from Persian nasta‘liq. The colophon on fol. 75b states a possible 1243 AH date. The signature of the scribe is unclear but seems, partially, to be Sayyid Ghulam Shabbir Haji Khalaf Bahadur, in the reign of Sahib-i Ali Shan Bahadur. This manuscript was probably written in a Persian using region, or more likely, India.
MS A 6
Harawi, Muhammad ibn Yusuf, fl. 1492-1518. Bahr al-jawahir (The sea of gems) [16--?]
The manuscript is written in an Indian style nasta'liq. There are impressions of mistarah use still evident. Many letters were drawn thinly, with the nose of the pen. On words ending with the ta marbutah an extra tooth was included, making it look as if an extra letter should be there.
MS A 7
Jaldaki, Aydamir ibn 'Abd Allah, d. 1342. Burhan fi asrar 'ilm al-mizan (Proof regarding the secrets of the science of the balance) [18--?]
The text body of this magnificent seven volume Moroccan manuscript is a late Maghribi version of the basic Maghribi mujawhar script. It features a strong inclination of its verticals to the left, unlike most Maghribi scripts which are quite perpendicular. The eyes are closed. The elongated kaf (boru kef) is rarely used, in contrast to most Maghribi scripts. Red, maroon, blue-green text highlight are in the mashriqi (eastern) script - (a Maghribi variant of the thuluth styles). Some text highlights are written in gold, burnished and outlined with black ink, also in the mashriqi script, as are the chapter headings, and the well composed illuminated panels.
This is the work of a very good calligrapher, very consistent from beginning to end. Book design is first rate. A brown, caustic ink was used in the text body writing - it shows some discoloring through the paper. This is probably due to the use of oak galls, vitriols and other biting chemicals in old ink formulae to give the ink better flow. The shaddahs are written with the vowel fathah (A) ??, reversing normal Maghribi usage.
MS A 8
Ibn al-Mutran, Muwaffaq al-Din Abu Nasr As'ad ibn Ilyas, d. 1191. Bustan al-atibba' wa-raudat al-alibba' (Garden of the physicians and meadows of the wise) [not after 1376]
The text body was written with a square-cut pen tip, which suggests a scribe outside the late Abbasid innovations of Yaqut al-Musta'simi, possibly in Egypt. The scribe left many serens off the kafs in their initial and medical positions, and adds the seren to some final kafs.
The use of the marshuqah form of the lam-alif is frequent, although the warraqiyah and muhaqqaqah forms are also met. No tarwisahs. This is a rather archaic, warraqi script having some riqa' characteristics.
Some alifs in their final position ascend, or descend. Keywords are in the same script, but larger. The ink is brown and mildly caustic.
MS A 9
Jalal al-Din Muhammad al-tabib al-Isfahani, fl. 1828. al-Dastur al-Jalali (Jalal's Book of rules) [not before 1828]
A calligraphically distinguished specimen, it is written in a Persianate naskh through fol. 65b. Then it begins to degenerate, on the next page another scribe takes over. At the top of the fol. 65a he is poorly imitating the previous style but confuses the naskh principles and begins to incorporate elements of riqa' , such as some darwisahs on initial veritcals, fully rounded and closed jims and finally by fol. 67b, rounded and hooked waws. (See illustration A 9-(B).)
Initial waw, fa' and qaf have closed eyes, but they are open on final position waw.
The paper is nicely sized and burnished. The black ink looks Persian and the red ink also has the tone that is typically used in rubrications in Persian manuscripts.
The script never becomes a full riqa', but it is quite clear, easy to read and consistent.
MS A 10
Muhammad ibn Thalib ibn 'Abd Allah ibn Ni'mat Allah ibn Sadr al-Din ibn Shaykh Baha' al-Din al-Shirazi, 17th cent. Fawa'id al-Husaniyah fi al-mujarrabat al-tibbiyah (Useful information for al-Husayn on tested medical remedies) 8 Shu'ban, 1163 [13 July, 1750]
The basmalah is an ill-formed imitation of thuluth script. The text body is a good, clear Persianate naskh, not too consistent. The eyes are closed, and there are no tarwisahs.
MS A 11
Qumri, Abu Mansur al-Hasan ibn Nuh, 11th cent. Kitab al-ghina wa-al-muna (The book of wealth and wishes) [1601]
The first section is written in a swiftly written careless nasta'liq.
The second and main body of text was written in a naskh based script heavily influenced by an early siyaqah (Turkish siyakat) script. This is especially apparent in the initial mims. Eyes are closed.
Rosettes were pasted into the margins thoughout the text. The work has an Ottoman look to it, probably 17th century.
MS A 12
Ibn Sallum, Salih ibn Nasr Allah al-Halabi, d. 1670 or 1. Istikhraj Kitab [fi al-]tibb (Extract of the Book on medicine) [18--?]
The titles are in a crudely written thuluth. The text body was written in a script which seems to be a riqa' with naskh characterisitcs. Eyes are closed, serens on final kafs. Alifs, as well as initial lams and independent lams and kafs have the tarwisah.
The ink starts slightly caustic brown, then a black was used and finished in brown.
MS A 13
Ibn Sallum, Salih ibn Nasr Allah al-Halabi, d. 1670 or 1. Ghayat al-itqan fi tadbir badan al-insan (The ultimate of perfection concerning the treatment of the human body) 2 Sha'ban, 1162 [26 October, 1749]
The script is Ottoman nasta'liq, called hurde (small) talik in Turkish. It is not too neat and consistent, but quite legible nevertheless.
In many cases the Arabic definite article al is connected in a distinctive ligature, especially on words beginning with the jim type letters.
MS A 14
Jaldaki, Aydamir ibn 'Abd Allah, d. 1342. Ghayat al-surur fi sharh Diwan al-shudhur (The acme of pleasure in the commentary on the poems Nuggets of gold) 1180 [1766 or 1767]
Basic simple naskh, with the eyes closed. Sometimes multiple dot diacritics are in a single stroke. The final alifs are downstrokes. The writing is not consistent, but legible and neat. Brown, slightly caustic ink, with rubrications.
MS A 15
Ghayat al-umniyat fi ma'rifat al-hummayat (The most that could be desired concerning the knowledge of fevers) [15--?]
This manuscript has the look of an early Ottoman copyist's naskh, even though initial alif and lam both have the tarwisah. Final kafs have the seren, eyes are both closed and open haphazardly. The verticals lean strongly to the left. A ?? is placed over the letter sin to distinguish it from shin.
MS A 16
Mas'ud ibn Muhammad al-Sijzi, fl. before 1334. Haqa'iq asrar al-tibb (Realities of the secrets of medicine) [15--]
Written in a small nasta'liq, probably Ottoman. Very inconsistent, some words are illegible. Serens on final kafs. The initial ha' is written according to Ottoman practice without the sub-stroke. The verticals lean toward the right as is standard in nasta'liq.
MS A 17
Razi, Abu Bakr Muhammad ibn Zakariya, 865?-925? al-Juz al-thalith min kitab al-Hawi fi al-tibb (The third part of the comprehensive book on medicine) 12 Dhu al-Qa'dah, 487 [30 November, 1094]
This magnificent book was written in a consistent, very legible script that appears to be an early example of the tawqi' script, although it doesn't have the characteristic tarwisahs. Because of its small size it may also be riqa' script, which is essentially a small tawqi'.
Usage of diacritics is rare. Most kafs have no serens, lam-alifs are marshuqah. Idgham (hook ended forms) of mim and ra' is extensive. The eyes are open which suggests tawqi' or riqa'.
The manuscript begins with a carefully copied section in red ink in a more exact and slowly executed tawqi'.
This volume is a brilliant example of a very early secular style of writing by a trained calligrapher. Tawqi' is one of the important six styles developed in Baghdad.
The ink is brown, possible faded, and red ink for highlights and titles.
The writing style and pen cut (square) suggest an affinity with the Baghdad school of calligraphy, in fact, that of the founder of an important method, Ibn al-Bawwab, d. 1022. The style and date support this contention.
MS A 18
Shirazi, Najm al-Din Mahmud ibn Diya' al-Din Ilyas, d. 1330. Kitab al-hawi fi al-tibb (The Comprehensive book on medicine) [15--]
The script here is a crudely executed hybrid of naskh and nasta'liq. It has the compactness and spacing associated with early Ottoman writing. The nasta'liq type initial ha' is used in some words. Hook-end serens on kafs, and on final kafs as well. Some ligatured the definite article is encountered.
MS A 18.1
Shirazi, Najm al-Din Mahmud ibn Diya' al-Din Ilyas, d. 1330. Hawi fi 'ilm al-tadawi 8 Muharram 885 [20 March 1480]
The text script (A) is a script loosely based on nasta'liq, many of the diacritics were left out.
The text script (B) is a loose naskh/nasta'liq hybrid. This is clearly seen in the nasta'liq way of writing the combination on dal-ra'. ??
Traces of mistarah use in (A) are obvious, but not in (B).
Catchwords were written in the borders, in an archaic looking thuluth script, probably by a later scribe. The number 4 in the contents is written in the Persianate way ??.
MS A 19
Damiri, Muhammad ibn Musá, 1344-1405. Hayat al-hayawan (The life of animals) Sha'ban 805 [February or March 1403]
This is an early copyist's naskh script, very consistent, very legible and elegant. The writing is consistent from beginning to end. Use of the mistarah is evident throughout. Final kafs have serens. Brownish black ink. The triple dot diacritics for shin were often written as a tirnak??. All verticals are downstrokes. The script has an Arabic look. A beautiful copy of al-Damiri's classic.
MS A 19.1
This little manuscript is a fine example of regular, consistent Ottoman hurde talik (small nasta'liq). It was a swiftly written practical script commonly used in the Ottoman chanceries which produced waqf documents and fatwas.
It differs from small Persian nasta'liq. It has a slightly heavier look as not as many letters are written with the nose of the pen. Short, shikaste type nuns are common but not overwhelming. Written in black ink, rubrications are in the famous Ottoman "Lal murekkebi," an inimitable red ink. The paper is Ottoman, as is the layout and preparations. mistarah use is evident.
MS A 20
Buni, Ahmad ibn Qasim ibn Muhammad al-Sasi al-Tamimi, ‚d 1594-1691. I'lam al-qarihah bi-al-adwiyah al-sahihah (The teaching of those with talent about the reliable medicaments) [between 1750 and 1800?]
The script is a small Maghribi mujawhar style. Brown ink. Untypically, the final nuns, fa's and qafs are dotted.
Marginal notes are in a later "eastern" (not maghribi) style, with normal "eastern" placements of the diacritics. "Eastern," (not maghribi) numbers are on top of each page.
MS A 21
'Ilm al-tabi'iyat al-insaniyah (The science of human constitutions) [18--?]
It was written in a simple Persian naskh, not consistent, but easily read. Some ligatures of the definite article. The eyes are closed, and there are no tarwisahs.
MS A 22
Ibn Jumay, Hibat Allah ibn Zayn, d. 1198. Irshad li-masalih al-anfus wa-al-ajsad (Guidance for the welfare of souls and bodies) [ca. 1200]
(A) is a simplified, inconsistent riqa' script with its characteristic idgham of ra' and occasionally nun and mim. Final kaf has the seren.
(B) is a crude tawqi' script used for the headings.
These two scripts show clear evidence of having been learned according to the method of Ibn al-Bawwab (d. 1022 CE). This method was preserved in Egypt until the 16th century. The script has a Mamluk look to it, as does the binding, although it has been re-bound backwards.
MS A 23
Ibrahim ibn Abi Talib ibn 'Ali al-Hanafi, 17th cent. Istibsar fi 'ilaj amrad al-absar (Reflection on the treatment of ocular diseases) 5 Muharram 1110 [24 July 1698]
This work was written in a swiftly executed, idiosyncratic, but legible, script combining elements of riqa' and naskh. The final lams descend below the line as in naskh. The heads of independent jims are closed as in riqa', and the independent dals resemble those of riqa' as well as the waws. The eyes are closed. The triple dot formations are done in an interesting stroke and there are a lot of cross-outs.
The final page bears an interesting inscription which reads "if this book is sold for its own weight in gold, the seller will have been cheated."
MS A 24
Avicenna, 980-1037. al-Jawhar al-nafis fi sharh urjuzah al-Shaykh al-Ra'is (The precious gem in commenting upon the poem of Shaykh al-Ra'is) 11 Sha'ban 892 [2 August 1487]
The script is crude, but neat and legible, although not consistent throughout the book. It is naskh based. The eyes are closed, and the lams descend below the line. It is written in black ink with lots of rubrications.
From the use of Coptic numerals as well as mention of the Coptic date (apparently this book was copied in 1040 AH from another copied in 942 AH - approximately 1630 and 1535 CE respectively) in the colophon, one can reasonably assume this is an example of 17th century Egyptian work.
MS A 25
'Aynzarbi, Abu Nasr 'Adnan ibn Nasr, d. 1153. al-Kafi fi sina'at al-tibb (What is sufficient concerning the medical art) [12--?]
This appears to be a rather early naskh script, crudely written. The tirfil is used consistently for indicating the ihmal of sin, dal, and ra'. The final kafs have serens or small kafs over them. There is some vowelling. Occasionally small ha' under ha'.
The ink is brown, with rubrications. Many reading signs - shaddah, diacritics put in later in black ink. I have indicated these in the examples with red ink.
MS A 26
'Ali ibn al-'Abbas al-Majusi, ‚d fl. 940-980. Kamil al-sina'ah al-tibbiyah (The complete book of the medical art, known as The royal book) 1 Safar 1138 [9 October 1725]-5 Jumadah II 1138 [8 February 1736]
The text was written in a small consistent naskh based script. There are no tarwisahs except a curious loop on the alif of lam alif.
The title appears to be by a Persian scribe named Riza (Rida).
MS A 26.1
'Ali ibn al-'Abbas al-Majusi, fl. 940-980. Kamil al-sina'ah al-tibbiyah (The complete book of the medical art) 7 Dhu al-Qa'dah 604 [15 May 1208]
A very carefully written text in a script that has characteristics of rayhani, although it is naskh based. It is very consistent. The sins carry the tirfil of ihmal. Ihmal of 'ayn is represented by small 'ayns under them. The final kafs have both the small kaf and the seren. Final alifs are descenders.
The ink is a neatly flowing brown, rubrications in red, possibly cinnabar ink.
MS A 27
Avicenna, 980-1037. Tashrih al-a'da al-murakkab min kitab al-Qanun (The anatomy of the parts assembled from the Book of the Canon) 5 Rajab 992 [13 July 1584]
Here is a fine example of a clear, carefully written naskh, in line with the Persian style.
The colophon on fol. 38a states that it was copied in the city of Dilman, in 992 AH (approximately 1486 CE).
The pen was kept consistently dimensioned and sharp throughout, and the ink is black and red.
MS A 28
Razi, Abu Bakr Muhammad ibn Zakariya, 865?-925? Kitab al-Mansuri (Mansur's book) 1078 [1667 or 1668]
The script is a small, loose, reasonably consistent nasta'liq with heavy shikaste influence.
The name Zakariya is consistently misspelled with a dhal rather than zay, as is common in non-Arab areas. There is a Shiite reference in the colophon. The scribe was Hakim Muhammad Rida ibn Muhammad Mu'min-i Hamadani.
MS A 29
Sanawbari, Muhammad al-Mahdawi ibn 'Ali ibn Ibrahim, d. 1412. Kitab al-rahmah fi al-tibb wa-al-hikmah (The book of mercy concerned with medicine and wisdom) salkh Rabi II 1226 [ca. 19-23 February 1811]
The script is a small, simplified naskh with elements of nasta'liq. The two dot diacritics were written as a tirnak and 3 dot diacritics as ??, for speed.
MS A 29.1
Shadhili, Sadaqah ibn Ibrahim al-Misri, 14th cent. al-'Umdah al-kuhliyah fi al-amrad al-basariyah (The ophthalmological principle in ocular disease) [16--?]
The text is a small naskh based script. Some of the sins have a short serpentine toothless form. The script is neat, eyes closed, legible and well spaced.
MS A 30
Ibn Sallum, Salih ibn Nasr Allah al-Halabi, d. 1670 or 1. [Ghayat al-bayan fi tadbir al-insan] (The ultimate in explanation concerning the treatment of people) 1 Jumadah II 1241 [11 January 1826]
This manuscript and two others in the collection are tours de force of Maghribi calligraphy and book design and production. (See MS A 85 and MS A 90). These three manuscripts show Maghribi at its best. The text script is the many faceted mujawhar, the headings, highlights and some marginal writings in the mabsut script, a grander flatter Maghribi.
The text body was written with a highly caustic brown ink that is very dark, has a good flow, and is slightly raised. Headings, highlights and marginal writings are in red ink, and what appears to be a coarsely ground cobalt green ink, which was just being produced on an industrial scale around the time these manuscripts were produced. There is a lot of burn-through caused by the brown ink.
The tarwisahs are on the right side of the veriticals contrary to the usual usage. The eyes are closed on the basic text body script, open on the mabsut style.
The calligrapher asserted in his name that he was a follower of the Hanafi school of fiqh. He also used eastern numerals instead of the Maghribi numerals common in Morocco, and final fa', qaf and nun are dotted. These facts suggest a possibility that this workshop existed in Ottoman Tunisia, or less likely Ottoman Algeria.
MS A 30.1
Galen. Kitab Jalinus fi manafi' al-a'da' (The book of Galen on the uses of the parts) [16--]
This is a crowded, delicate basic naskh script. It is close to the Persian standard style of that script. Occasionally the eyes are open, diacritics often were not added. The used of the nose of the pen is ubiquitous. Interestingly, the ha' mukhtalasah is occasionally used, which also may point to a Persian origin, as does the tarwisah as a "sliver" (shaziyah) on the left side of the lam.
MS A 31
Salawi, Ahmad ibn Muhammad, fl. 1770-1815. Khalitah fi sina'at al-tibb (Miscellany on the art of medicine) 14 Muharram 1229 [6 January 1814]
It was written in a simple non-calligraphic Maghribi script. The final fa's, qafs and nuns are dotted. The date was written in "eastern" numerals.
Text body in brown ink. The red ink used for highlights, catchwords and subjects is apparently a metallic pigment, paper burn shows it was quite caustic.
MS A 32
Dhahabi, Muhammad ibn Ahmad, 1274-1348. Kitab tibb nafis (Valuable medicine) 18 Muharram 957 [6 February 1550]
A simple well spaced naskh script was used to write this manuscript, in black and red ink. The mims are of an interesting shape in their initial form, suggesting the siyaqat mim.
MS A 33
Jabir ibn Hayyan. Majmu' nafis fi al-kimiya' (A valuable collection on alchemy) [16--?]
The text body is in a neat and legibly written nasta'liq. The rubrications are in a script composed of a Persianate naskh with some riqa' characteristics such as big tarwisahs on lam and alif.
On fol. 58a there is a notation in a different red ink by a later user in a Maghribi script, suggesting the book (or the user) had done some extensive travelling.
MS A 34
Avicenna, 980-1037. Urjuzah [17--]
The script is a simple, not too carefully written naskh based book hand. There is a frequent use of lam alif in the marshuqah form. Tarewisahs are haphazard, and on the left of the verticals. Some of the sins are toothless, some vocalization in red ink, there was an attempt to keep the eyes open, not always successfully.
On fol. 10a the brown ink becomes darker in hue, and by fol. 11a it appears as if another scribe had taken over the job, or that the original scribe had suddenly become quite sloppy. The lam alifs suggest the second possibility.
MS A 35
Suyuti, 1445-1505. Majmu'at maqamat al-Suyuti (A collection of maqamahs by al-Suyuti) 16 Ramadan 1001 [16 June 1593]
The script is a very legible and neat naskh. There is a frequent use of the old proof-reader's symbol ?? or ?? to justify the lines. It was also used in writing poetry as a decorative element.
The ink is a dark brown and slightly caustic. Rubrications are in a red, possibly cinnabar ink. On fol. 9b the red ink has abrasive red particles in it which seem to have been rubbed with a piece of gold which imparts a golden sparkle to the ink. This is an old technique, but is more commonly done with black ink.
The scribe's name al-Hulwani and self designation as a follower of the Shafi'ite school of fiqh could indicate an Egyptian origin of the manuscript.
MS A 36
Manzumah fi al-tibb (A poem on medicine) [17--?]
In this interesting naskh based script, the scribe started with a freshly clipped, sharp pen and as he proceeded, it got progressively duller.
Very clear and legible, the script has compact, slightly exaggerated naskh characteristics. There are no tarwisahs, the eyes are closed, occasional use of the toothless sin. Double diacritics are tirnaks, triple diacritics are done as ??, as in MS A 29, but the manuscript is not by the same hand.
The smaller scale marginal notation and final page notes appear to be by the same scribe.
MS A 37
Ibn Butlan, d. ca. 1068. Fi tadbir al-amrad al-'aridah 'aláa al-akthar min al-aghdhiyah al-ma'lufah wa-al-adwiyah al-mawjudah li-yantaf'u bi-ha ruhban al-adyirah wa-man ba'uda 'an al-madinah (On the management of diseases for the most part through common foodstuffs and available drugs for the use of the monks of the cloister and whoever is far from the city) [17--]
The manuscript was written in a small naskh based script, very clear and legible.
There are some serens on final kaf, the eyes are closed, verticals slant to the left.
Brown ink was used for the text, rubrications are in a script style approaching riqa'.
MS A 38
Qalyubi, Shihab al-Din Ahmad ibn Ahmad, d. 1659. Kitab al-Masabih al-saniyah fi tibb al-bariyah (Brilliant illuminations concerning Prophetic medicine) Dhu al-Qa'dah 1228 [26 October-24 November 1813]
This manuscript bears a good deal of similarity to A 29, especially regarding its unusual blue dyed paper, ink and penmanship characteristics.
This work begins with a style resembling and possibly by the same scribe as A 29, but on fol. 3b, line 8, it changes to a sharper and different naskh based script. It changes back to the naskh/nasta'liq hybrid of the original scribe on fol. 19a, line 6, until fol. 21a, line 7, where it slips into a cramped naskh. It changes again on fol. 22a, line 3, to a spikey naskh, and returns to the original naskh/nasta'liq hybrid on fol. 22b, which continues to the end of the book. We can surmise two or even three different copyists. The line in the example highlights some of the naskh with riqa' characteristics.
MS A 39
Kitab al-Mayamir (The book of homilies) 938 [1531 or 1532]
This is a miniscule naskh/nasta'liq/riqa' mixture. Very unusual and distinctive riqa' like final jim. The nun tails and similar tails slant upwards to their terminations, a characteristic of fast writing.
There is a lot of "nose of the pen" usage. Final kafs have the seren, eyes are closed. On the whole, it is a very flowing execution.
MS A 40
Ibn Jazlah, Yahya ibn 'Isa, d. 1100. Minhaj al-bayan fi-ma yasta'miluhu al-insan (The course of explanation concerning what is useful to men) [17--]
This is a very typical standard Persianate naskh.
MS A 41
Suyuti, 1445-1505. al-Manhaj al-sawi wa-al-manhal al-rawi fi al-tibb al-nabawi (An easy manual and refreshing source for the medicine of the Prophet) [15--]
A small naskh based script, very neatly and legibly written, it has characteristics that are common in both Persian and Ottoman (non-Hamdullah influenced) naskh book hands.
Some final kafs carry the seren. Eyes are closed, overall it has an Ottoman look, possibly 16th century, especially in view of the proportions, binding and doublures.
The unvan sayfasi illumination is not original, it is a probably 19th/20th century restoration. The blue pigment looks like French ultramarine, whereas the blue pigment used in the text body looks like a natural mineral pigment, possible lapis lazuli.
MS A 42
Tunakabuni, Muhammad Mu'min, 17th cent. al-Mufradat al-mu'arrabah (The simple medicaments) 2 Muharram 1166 [9 November 1752]
The script (A) is a simple, unsophisticated naskh. The scribe and translator, Ders-i Am Yusuf Zade, known as Shirvani, states in the preface, fol. 1b, that he found the book in the Haramayn (he may be referring to the pilgrimage cities of Mecca and Medina) and he completed his task of translation and copying in two years with the help of friends.
The script radically changes, as do the inks, at the bottom of fol 244b, last line (B). The Arabic/Turkish form of the numeral 4 (??) is used throughout. Both scripts derive from naskh. The first, (A), has a flavor of nasta'liq in it, the second (B), is more open and spacious.
Perhaps the scribe was, as his name suggests, from Shirvan in northern Persia.
MS A 42.1
Kazaruni, Sadid al-Din Muhammad ibn Mas'ud, d. 1357. al-Mughni fi sharh al-Mujiz (The ultimate in commentaries on the Mujiz) 1090 [1679 or 1680]
The script is an elegant, regular Persian naskh book hand. It appears that the final pages, fol. 229b to the end, are on another kind of paper and are restorations in a script, also a Persian naskh, but not an attempt to match the original style.
MS A 43
Ibn al-Nafis, 'Ali ibn Abi al-Hazm, 1210 or 11-1288. [al-Mujiz] (The concise book) [16--]
The manuscript was written in a largish, evenly copied Persian naskh. The eyes are closed. It resembles Persian Qur'anic naskh. The topic titles are in the same script in red, possibly cinnabar ink.
Marginal notes are in the same script. Some marginal notes are in a finely written shikaste script.
This is probably the work of a trained scribe/calligrapher.
MS A 44
Ibn al-Nafis, 'Ali ibn Abi al-Hazm, 1210 or 11-1288. [al-Mujiz] (The concise book) 16 Shawwal 905 [16 May 1500]
The script is a swift, flowing but crude nasta'liq. Traces of the mistarah use are observable, showing a space between the text block and marginal note area (hawamish) of about ¼ inch.
The verticals lean heavily to the right, an exaggeration of the slight lean to the right of calligraphic nasta'liq.
MS A 44.1
Ibn al-Nafis, 'Ali ibn Abi al-Hazm, 1210 or 11-1288. [al-Mujiz] (The concise book) [17th or 18th cent.]
The first part (1) is in a crude by legible nasta'liq. The second part (2) is a more careful, swift nasta'liq. The style of the writing is Persian, as well as the illumination, which is gold and oxidized silver.
MS A 45
Sha'rani, 'Abd al-Wahhab ibn Ahmad, 1493 (ca.)-1565 or 6. [Mukhtasar al-Tadhkirah] 20 Jumadah I 1038 [15 January 1629]
In the illustrations, (1) is the basic text. It is a very neat and legible script that is solidly within the parameters of naskh script practices. The vocalisation and reading signs (shaddah, sukun, etc.) were provided only where they were necessary. The alifs are shortish, three to four dots high. Since the script leans toward the heavy and thick side, the scribe resorted to the common practice of using his pen's "nose" (the right hand tip of the nib) to draw some parts of the letters to lighten them and make them fit what otherwise would be a cramped page. The dal is often mursalah (sharp tailed). The eyes are closed. The pen was kept sharp.
The ink is a carbon black, a little thin. The rubrications are in a pigment ink, possible cinnabar.
The marginal notations:
(2) Some of the notations are in the same script and ink and are original, but probably written with the pen's "nose."
(3) Some of the notes are in Turkish and Arabic in a script that is between riqa' and ta'liq, in black ink.
(4) Some later notations, in Arabic, are in a script related to the Persian shikaste (Turkish - kirma ta'liq). This is readily seen in the shikaste nun. There are consistently used assimilations and connected definite articles. A similar script was used to indicate (in red ink) materia medica in each topic in the margins.
A script on the fly leaves is the same as (4). This is a fine example of Arab style naskh.
MS A 45.1
Sha'rani, 'Abd al-Wahhab ibn Ahmad, 1493 (ca.)-1565 or 6. Mukhtasar al-Tadhkirah (Epitome of the Memorandum book) [17--?]
The manuscript was written in an inconsistent Maghribi book hand.
The keywords are in a simple Maghribi mabsut script, in red, text brown and cool green (probably cobalt) ink.
MS A 46
'Ala'i, Ibrahim ibn Abi Sa'id ibn Ibrahim al-Maghribi, 12th cent. Kitab al-Munjih fi al-tibb wa-al-tadawi min sunuf al-amrad wa-al-shakawáa (Success in medicine and in therapy among the categories of diseases and complaints) [ca. 1800]
Basically, this is an example of a naive script, with a base in naskh, and hints of riqa' throughout, like darwisahs on alifs, but they are haphazard. The eyes are closed, except 'ayn/ghayn.
A haphazard, naive thuluth was used for the chapter headings. The scribe did keep his pen sharp throughout, although he was writing on unsized, unburnished paper, which is very absorbent.
The ink is caustic and shows burning of the paper.
MS A 47
Ibn al-Baytar, 'Abd Allah ibn Ahmad, d. 1248. Muntaqa min al-kitab al-jami' li-quwan al-adwiyah wa-al-aghdhiyah (Selections from the Comprehensive book on the efficacies of medicaments and foodstuffs) [14--]
The basic text script is a simplified, very legible rayhan (later called rayhani). The rubrications in red are in a larger riqa', as are catchwords and letters, though in the same brown as the text.
It is well written, in a style reminiscent of the Egyptian Mamluk book producers, working under the influence of the teachings of Ibn al-Bawwab's (d. 1022 CE) followers. (See the Ibn al-Bawwab Qur'an in the Chester Beatty Library, Dublin, for an example of this artist's rayhan style. This is a beautiful example).
MS A 48
Qaysi, Fath al-Din ibn 'Uthman ibn Hibat Allah, fl. 1240-1249. Natijat al-fikar fi 'iåaj amrad al-basar (Result of thinking about the cure of eye disease) 5 Jumadah I 907 [16 November 1501]
This script is hardly related to any true classified style, although it seems distantly based on naskh. It is a true idiosyncratic style. It has characteristics of old styles; since it was written with the square cut of the pen, the dating of 1501 CE seems appropriate.
The final kafs have the seren, and the eyes are both open and closed. It is quite legible. A Turkic inscription on the final page (fol. 35b) is possibly an early siyaqat.
MS A 49
Shaburi, Bulus ibn Qustantin al-Malaki, 18th cent. Natijat al-matlubat fi ma'rifat al-hummayat (The result of searchings for the knowledge of fevers) [17--]
The script here is basically riqa' with some naskh influences like the shape of final mim and separate (independent) dal. The letters are well formed, the "boru" kafs are nicely executed, the spacing is wide and careful. This suggests that the scribe, while not a calligrapher, did have some training.
Serens are in place on final kaf. The text ink is brown, rubrications possible in cinnabar ink. The manuscript appears to be Ottoman.
MS A 50
Husayn ibn Ibrahim ibn Wali ibn Nasr ibn Husayn al-Hanafi, fl. 1593. Nukat wa-asrar kafiyah fi al-tibb (Aphorisms and secrets sufficient for medicine) Jumadah I 1001 [3 February-4 March 1593]
This is a small, swiftly written naskh/nasta'liq hybrid, not carefully executed. Many of the diacritics were not put in. The scribe was unable to maintain the quality of the pen-nib and ink strength throughout.
The brown ink is possible of the iron/gall type.
MS A 51
Tifashi, Ahmad ibn Yusuf, d. 1253 or 4. Nuzhat al-albab fi-ma la yujad fi kita (The delight of hearts concerning what is not found in a book) [17--]
The text script is an unusual, small naskh based script, hard to read, partly vocalised and inconsistent.
The titles, rubrications, etc. are in tawqi', large Mamluk style naskh, rayhan and riqa', in black and red ink.
The manuscript is full of unfortunate effacements in black ink.
MS A 52
Antaki, Da'ud ibn 'Umar, d. 1599. Risalat al-nuzhah al-mubhijah fi tashhidh al-adhhan wa-ta'dil al-amzijah (Pleasure and delight in sharpening the intellect and correcting the temperaments) 20 Muharram 1259 [20 February 1843]
The script is in an archaic Egyptian naskh. Double diacritics were written with a stroke, triple diacritics wiht a tirnak or a ??. Corrections were made by drawing slashes through the letters.
The scribe signs his name Ibrahim al-Dasuqi, 1259 AH (1843 CE)
MS A 53
Avicenna, 980-1037. Qanun fi 'ilm al-tibb (The canon on the art of medicine) [14--]
The pages of this rare volume have been restored with the vassale (wassalah) technique, whereby the old text page is glued into new paper borders, in this case, using paper strips, rather than into openings cut into whole sheets of paper. For a full treatment of this technique, see M. Usur Derman, "Letters in Gold," 1999, p. 72, and pp. 84 and 85.
The script is a nicely realized, miniscule nasta'liq. Rubrications are in a Persianate naskh. The illuminations have a poor and perfunctory air about them. Probably a 17th century work, the end-paper marbling is oil-color, possibly Indian.
MS A 54
Damanhuri, Ahmad ibn 'Abd al-Mun'im, d. 1778. al-Qawl al-sarih 'ilm al-tashrih (The true word about the science of anatomy) 14 Rabi I 1155 [19 May 1742]
This manuscript was written in a good, clear, possibly Egyptian naskh. The spacing is regular and open, eyes closed. Rubrications in red ink, the brown used for the text is not caustic.
MS A 55
Avicenna, d 980-1037. [Treatise on colic] [ca. 1800]
This attractive little volume was written in the riqa' script. It is the Ottoman style riqa', as is the slightly larger riqa' used for the rubrications in red and blue ink. Serens on final kaf, eyes are closed.
Probably the book is Ottoman, 16th-18th century.
The end-papers are Ottoman "battal ebrusu" style.
MS A 56
Avicenna, 980-1037. [Tashrih al-a-'da al-murakkab min kitab al-Qanun] [Tashrih al-a-'da al-murakkab min kitab al-Qanun] 27 Ramadåan 1116 [1 January 1705]
Apparently, this manuscript was written in Isfahan by a scribe from Tabriz, in 1705 CE.
The script is based on nasta'liq, but somewhat outside the rules. It is inconsistent and legibility suffers.
MS A 57
Aristatalis, al-hakim. Fawa'id fi 'ilm al-firasah wa-ahwal al-nas (Useful lessons in the science of physiognomy and the conditions of men) Rajab 1264 [3 June-2 July 1848]
The script is a simple naskh by an unskilled copyist. It is not carefully written. From the style of the well written numerals, one may surmise an Arab scribe.
MS A 58
Dimashqi, Muhammad ibn Abi Talib al-Ansari al-Sufi, d. 1327. Kitab Jalil fi 'ilm al-firasah (An important book on the science of physiognomy) [ca. 1400]
This is an excellent example of basic Mamluk style naskh, which derives from the teachings of Ibn al-Bawwab.
A peculiar practice of some Mamluk scribes was that while connecting the two letters, a small space or gap was left between them. This is the rule here, and the letter shapes, spacing, layout and illumination all point toward a Mamluk origin, probably Egypt.
Fully vowelled, the eyes are closed. The ink is black, with red rubrications.
MS A 58.1
Ibn al-Tilmidh, Amin al-Dawlah Abu al-Hasan Hibatallah, d. 1154 or 1165. Risalat al-fasd (Treatise on bloodletting) [179-?]
This manuscript was written by the same scribe as MS A 66.1, which is demonstrated by the way the basmalah in both were written. The divine name rahman is in both identical, and there is disturbance in the line between the ha and ya of rahim in both.
The script is a simplified nasta'liq, which has shikaste characteristics, seen in the terminal lams and nuns. The writing is swift and a bit haphazard.
MS A 59
Averroes, 1126-1198. Sharh 'alá alfiyah (Commentary on the Thousand [Verses]) 16 [Dhu] al-Qa'dah 1005 [1 July 1597]
The original 1005 AH text begins on fol. 52 b. The script is a good, Arab style naskh script. It has some characteristics of Mamluk period naskh. The letters are swiftly written, nicely shaped and elegantly spaced, which improves legibility. The eyes are closed, the inks are black and red.
Fols. 1a to 71 are in a neat Moroccan style Maghribi in pale ink, possibly iron-gall.
Fols. 8b to 51a are in a more modern, possibly Persian type naskh.
MS A 60
Nafis ibn 'Iwad al-Kirmani, d. ca. 1447. Sharh-i Asbab [wa-]'alamat (Commentary on the causes and symptoms) [ca. 1500]
This is a beautifully produced manuscript in a small, neat, well spaced Persian syle naskh. Occasionally the lam-alif as definite article ?? (alif before lam-alif) has its alif written horizontally and joined to the right limb of the lam-alif, as was the practice in the early Persian ta'liq script ??.
The book was completed by other competent scribes in a slightly smaller, swift naskh based script, featuring nun mudghamah in final positions in words like 'an and min.
This is a work from well trained copyists.
MS A 61
Kazaruni, Sadid al-Din Muhammad ibn Mas'ud, d. 1357. Sharh al-Mujiz [15--]
This script has, at first glance, the look of an old, neat naskh. But the fact that it is a nasta'liq based script is evident from a number of factors, such as a general slant of the verticals to the right, nasta'liq ra' mudghamah and initital ha', small waws and the shape of the lam-alif. But it does have some naskh features, it is taller than true nasta'liq, it uses waw-ha' and ra'-ha' ligatures. All eyes, even internal (medial) 'ayn, fa' and qaf are closed.
The ink is a slightly caustic brown, the rubrications use a red that may be cinnabar.
MS A 62
Hakim 'Ali al-Jilani, d. 1609. Sharh al-Kitab al-awwal min kutub al-Qanun (Commentary on the first of the Books of the Qanun) [17--?]
This manuscript was written in a number of variants on nasta'liq, with characteristics of naskh and shikaste. They are swiftly and crudely written Persianate scripts, yet quite legible, possibly by different scribes, possibly Indian.
MS A 63
Nafis ibn 'Iwad al-Kirmani, d. ca. 1447. Sharh al-mujiz (The Commentary on the Mujiz) 1 Dhu al-Hijjah 841 [26 May 1438]
The copy date of this manuscript gives an important clue regarding the origins of the nasta'liq script. Mir 'Ali Tabrizi (d. 1446) is said to have invented it, but earlier examples suggest it already existed, it is more likely that Mir 'Ali formulated the rules. Since this manuscript is dated 1438, it was obviously written during the calligrapher's lifetime. There is a maturity about the script of the book which seems to support the possibility of it being in use for some time already and since it was apparently copied in Samarkand, at quite a distance from the birth place of Mir 'Ali's perfected script.
The script here is 100% nasta'liq in its characteristics, although quickly written, it is neatly spaced, and not cramped.
MS A 64
Ansari, 'Ali ibn 'Abd al-'Azim, fl. 1268-1270. Dhikr al-tiryaq al-faruq (Memoir on antidotes for poisons) [16--?]
This manuscript is a beautiful example of Persian book scripts. The basic text (2) is classic Persian naskh, it is a good clean example, faithful to its rules, reasonably consistent throughout the book. Letters like sin and mim are written with the nose of the pen. The eyes are closed. The ink is black.
Section titles, subjects, etc. are in a Persian tawqi' (1) and riqa'. They are in red ink.
These scripts are very reminiscent of the old school of teaching which derived from the methods of the late Baghdad master calligrapher, Yaqut al-Musta'simi (d. 1298 Ce). They show no influence at all of the Ottoman reforms in these three styles.
MS A 65
Ibn Arfa' Ra's, d. 1197. Sharh Diwan al-shudhur (Commentary on the poems Nuggets of gold) Jumadah I 1123 [March-April 1712]
The script is a semi-consistent style composed of elements of riqa' and naskh, with long, flattish mursalah letters which remind of rayhan.
MS A 66
Hunayn ibn Ishaq al-'Ibadi, 809?-873. [Sharh Masa'il Hunayn ibn Ishaq] [12--]
The use here of the mistarah to lay out the pages and guidelines is very evident. The script is a beautiful archaic looking naskh script with some unusual touches, such as peculiar tarwisahs on the initial lams.
Topic headings are in a large riqa' (or small tawqi').
MS A 66.1
Nafis ibn 'Iwad al-Kirmani, d. ca. 1447. Hadhihi al-hawashi allati amla'ha 'ala sharhihi li-al-asbab wa-al-'alamat (Marginal glosses which [the author] added to his commentary on The causes and symptoms) [179-?]
This is by the same scribe as MS A 58.1. Refer to that entry for analysis.
MS A 67
Aqsara'i, Jamal al-Din Muhammad ibn Muhammad, d. 1378. Hall al-Mujiz (Key to the Mujiz) Jumåadah I 810 [October 1407]
The scribe was (?) 'Ali Mu'in ibn Ahmad (?), possibly working in Herat (dated 1407 CE).
The manuscript begins with a small, neat naskh which has an Ottoman cast to it. This is a restoration.
The original transcription begins on fol. 17a, on a different paper, in a good, early nasta'liq, very consistently written. It is a good source for the study of the early history of that script. See observations on MS A 63.
MS A 68
Astarabadhi, Husayn ibn Muhammad ibn 'Ali, fl. 1427. Sharh al-mukhtasar mawsum bi-Qanunchah (Commentary on the abridgement known as Qanunchah) [18--?]
This is a poorly written nasta'liq on unsized paper. Use of the mistarah is evident. The ink may be of European origin.
MS A 69
Ibn al-Nafis, 'Ali ibn Abi al-Hazm, d. 1210 or 11-1288. Sharh tabi'at al-insan [li-Buqrat] (Commentary on [Hippocrates'] treatise "On the nature of man") 4 Rabi' I 668 [1 November 1269]
The manuscript features a fine example of typical Mamluk period naskh, probably Egyptian. Final kafs have the seren. Most of the diacritics were left out, most eyes open.
The ink is a non-caustic brown.
The covers and doublures also point to a Mamluk origin, as does the thick pinkish (possibly from flax) paper.
MS A 70
[Collection of 23 treatises] [16--?]
A common, very consistent and legible naskh.
MS A 71
Kitab al-siyasah fi 'ilm al-farasah wa-asha'ir al-khayl wa-ama'irha 29 Kanun II 1830 [29 January 1830]
The manuscript is dated 1830, and signed Hanna ibn Jurjis Saruf, most likely in Damascus. The text script is an unusual naskh, written in a slightly caustic brown ink. A purplish-red ink was used for the titles. A very amateurish thuluth was used for the chapter headings, in brown ink.
This is a very interesting and significant example of Levantine Christian Arabic scribal writing.
MS A 72
Qifti, 'Ali ibn Yusuf, 1172 or 3-1248. Kitab al-Ta'rikh (Book of history) 16 Sha'ban 1045 [25 January 1636]
This is a simple, inconsistent nasta'liq.
MS A 73
Avicenna, 980-1037. Tadaruk anwa' al-khata al-waqi' fi al-tadbir (Correcting mistakes occurring in regimen) 8 Rabi' II 1120 [17 June 1708]
The manuscript was transcribed in a small nasta'liq with some shikaste features such as final lam, nun and ya'. The letters were carefully written, consistent and well formed.
There are traces of mistarah use.
The scribe was Muharrir (scribe) Hashim. Dated 1708 CE. The manuscript opens with a well written basmalah in shikaste. There is a slight possibility the work is Ottoman.
MS A 74
Taqasim al-insaniyah fi al-surah al-bashariyah (Structures characteristic of mankind in the human form) [14--?]
The script is a very good, classic non-Persian, non-Ottoman naskh, possibly it is of an Arab origin. Final kaf is distinguished by the small kaf symbol rather than the seren. The eyes are closed.
Headings, etc. are in riqa' and tawqi', in red ink, showing the influence of the Ibn al-Bawwab school.
This is a neat, very well designed book.
MS A 75
Taqi al-Din Muhammad ibn Ma'ruf, 1525-1585. Tarjuman al-atibba' wa-lisan al-alibba' fi mufradat al-tibb (The interpreter of physicians and the language of the wise concerning simple medicaments) [16--?]
This manuscript deserves further study of its inks. Alphabetical letter headings, alif, ba', etc. are in an interesting dark red, possibly an iron oxide natural earth pigment. From the letter dal to the end of the headings are in a black ink with a glittery material in it, possibly mica flakes, possibly ground glass. There is a golden tone to the glitter. Normal rubrications in a light red ink.
The headings are in a fairly good tawqi' (1) and the text body (2) is in a small naskh with siyaqat characteristics such as the flat final nun.
The nose of the pen was used extensively and there is an emphasis on heavy final horizontal strokes. Ha' mukhtalasah was used frequently.
It is a nicely designed book.
MS A 76
[Tashrih al-abdan] (Anatomy of bodies) [ca. 1700]
It was written in a small, neat naskh. The scribe was not diligent in keeping his pen sharp.
Black ink was used for the text, with rubrications in red ink.
MS A 77
Tashkubrizadah, Ahmad ibn Mustafa, 1495-1561. Risalat al-Shifa li-adwa al-waba (Healing with plague drugs) [ca. 1800]
The script is a small, inconsistent nasta'liq. The script rules were not carefully observed, giving it an idiosyncratic look.
MS A 78
Ibn Sallum, Salih ibn Nasr Allah al-Halabi, d. 1670 or 1. Kitab al-tibb al-jadid al-kimiya'i ta'alif Barakalsus (The new chemical medicine by Paracelsus) [17--?]
This is a small naskh script. The eyes are consistently open, the spacing is good, legibility is good, possibly of Ottoman origin.
MS A 79
Dhahabi, Muhammad ibn Ahmad‚ 1274-1348. al-Tibb al-nabawi (Prophetic medicine) 14 Dhåu al-Hijjah 868 [19 August 1464]
This is a finely executed example of 15th century Mamluk naskh and book design. It reflects the concepts current among the Mamluks that advocated an open uncluttered look, with broad margins and wide spacing between the lines and letters. It is a deceptively simple and direct look that facilitates legibility and one could even say, the joy of reading.
The ink is a non-caustic pigment brown. The paper is thick and resembles vellum, it is sized (probably according to Mamluk period recipes based on starches and gelatins), and finally burnished. Red ink was used for rubrications.
MS A 80
Hattab, Muhammad ibn Muhammad, 1497-1547. 'Umdat al-rawin fi bayan ahkam al-tawa'in (Authority of the narrators concerning the explanation of the principles of the plagues) [ca. 1600]
A simple Maghribi based script, unusual in that not only are final fa', qaf and nun dotted, but that fa' is dotted one dot over, and qaf two dots over; contrary to Maghribi usage. This may be due to the circumstances of the author/scribe who writes in the colophon: "and its author says (he uses the third person) the collection [of this book] occurred in the evening of Tuesday, the nineteenth of Rabi' al-Thani of the year (AH) 944, in the honored city of Mecca, in front of the revered ka'bah.
MS A 80.1
Najib al-Din al-Samarqandi, Muhammad ibn 'Ali, ‚d d. 1222. Fi al-mafasil [17--?]
This is a naskh based script. It has a provincial look, most likely coming from Central Asia, perhaps Samarkand. It is very free and legible. The ha' mukhtalasah was used frequently, contrary to good naskh usage.
MS A 81
Jurjani, Isma'il ibn Hasan, 1042 or 3-1136 or 7. Kitab Zubdat al-tibb (The quintessence of medicine) [17--]
(1) is an interesting basmalah in thuluth script. The text script (2) is an inconsistent naskh. Some of the titles are also in thuluth. The text naskh was written in brown and red ink. Some titles in black ink with ground glass, or mica particles for a glitter effect.
MS A 82
Najib al-Din al-Samarqandi, Muhammad ibn 'Ali, d. 1222. [al-Najibiyat al-Samarqandiyah] 3 Dhu al-Hijjah 1012 [3 May 1604]
The manuscript was written in a solid, very legible early naskh, and follows the standards of the Ibn al-Bawwab method.
The same scribe write the whole text. He signs his name on fol. 87a but it was altered at a later date. It probably was Muhammad ibn (Musa) (and possibly - al-Fayyumi). The colophon signature is Muhammad ibn Musa ibn Muhammad. Dated 1604 CE.
Use of the mistarah is clear throughout. Rubrication in red, and an ink, possibly metallic, that has oxidized to a grey-black tone.
It is tenable from the script style and scribe's name al-Fayyumi that this is an Egyptian product. The last two pages, fols. 201a and 202b are written in a good nasta'liq.
MS A 83
Najib al-Din al-Samarqandi, Muhammad ibn 'Ali, d. 1222. al-Asbab wa-al-'alamat (Causes and symptoms) 1097 [1685 or 1686]/ Ilaqi, Muhammad ibn Yusuf, fl.1068. Kitab al-Ilaqi fi al-tibb (The book of al-Ilaqi on medicine) 1087 [1676 or 1677]
The importance of this manuscript is that it is signed, dated and located. It is the work of a scribe working in Usukudar ca. 1685 CE. There are other similar scripts in the collection. It is a swiftly written, barely legible nasta'liq with shikaste type final and independent nuns, although not exclusively. Traces of mistarah use are evident.
Being an Ottoman work, it may suggest such an origin to other similarly written books.
MS A 84
Mas'ud ibn Muhammad al-Sijzi, fl. before 1334. Haqa'iq asrar al-atibba' (Realities of the secrets of physicians) fi ibtida Sha'ban 971 [middle of March 1564]
The text was written in a small, neat script, probably by an Ottoman scribe. It has naskh and nasta'liq characteristics. It also has features of the concept of kirma (Turkish=broken), a process of forming the letter shapes which makes the script swifter to write. Prof. M. Ugur Derman suggests that it is a simple, early form of the siyaqat script. It has a definitely Ottoman look, recalling normal small Ottoman origin scripts.
Marginal notes are in a slightly smaller version of the basic script, by the same scribe. Other marginal notes are in a paler ink, by another scribe trying to imitate the basic script style.
MS A 85
[Collection of medical poems] [18--]
This is Maghribi mujaawhar script in a brown caustic, slightly raised ink which has caused darkening of the apparently unsized and unburnished paper.
The titles, headings and keywords are in a mabsut form of Maghribi script, in red and what is most likely a cobalt green ink.
Use of the mistarah is quite clear.
This is a magnificent example of what is most likely an Algerian or Tunisian workshop, the same one that produced A 30 and A 90, although it could be Moroccan.
MS A 86
Qiwam al-Din Muhammad al-Hasani, fl. 1694-1719. [al-Khamsah al-Qazwiniyah] (The five of Qazwin) [between 1701 and 1720]
The titles (1) were written in excellent riqa' script in red ink. The text script (2) is a Persianate naskh, in black ink. mistarah is clear.
This is a beautifully proportioned and designed book. Fols. 73-83 are in the astrolabe.
MS A 87
[Collection of medical and magical treatises] [16--?]
There are two basic script trends in this manuscript, (1) and (2). It is a highly idiosyncratic naskh, the rules of that script were not closely observed. On (1) there are tarwisahs on both alif and lam, as shaziyahs to the left of the top. Although the writing goes through many size and angle changes, it appears that the whole book is the work of one copyist.
Since it has a Yemeni provenance, it may be typical of writing styles there. If the writing looks at first glance to be on the crude side, it does have an interesting consistency.
MS A 88
Razi, Abu Bakr Muhammad ibn Zakariya, 865?-925? Kitab al-Murshid (The guide) [ca. 1800]/ Muhammad ibn Mahmud, fl. 1758. Risalah hijamiyah wa-al-fasdiyah (A cupping and venesection treatise) 1187 [1773 or 1774]/ Tafilati, Muhammad ibn Muhammad, d. 1777. Tahdhib al-maqamah fi ma warada fi al-fasd wa-al-hijamah (The instruction to the congregation on what has been said concerning venesection and cupping) 1217 [1802 or 1803]/ Naysaburi, Abu al-Qasim al-Habib. Fi Manafi' al-at'imah bi-al-ahadith (On the use of foodstuffs in the Prophetic tradition) Jumadah I 1206 [27 December 1791-25 January 1792]
This is a group of four manuscripts bound into one volume. #117 and 120 were written by the scribe Yusuf Tafilati Naysaburi al-Rustevi, or al-Rasnevi? ibn Isma'il in the madrasah of Abu al-Fadl Mahmud Efendi in Constantinople, 1791-1792 CE.
The script is a simplified nasta'liq (Turkish ta'liq) without any attempt at diligently following the rules of the script. nasta'liq features extensive and integral use of the nose of the pen. Here, there was none.
#118 - Ibn Mahmud. This part was written in a very good quality Ottoman nasta'liq as used in the offices of the sehyulislam and in the vakif departments. It has a few shikaste derived characteristics such as final nun and ya'. The nose of the pen was used throughut correctly.
#119 - al-Razi. The script here is a crude, legible and consistent naskh. The eyes are open. Use of the mistarah is quite prominent.
MS A 89
Tafjaruti, Muhammad 'Abd Allah ibn Muhammad ibn Mas'ud al-Dar'i. al-Rawd al-yani' fi ahkam al-tazwij wa-adab al-majami' (The ripe garden on the principles of marriage and the proper conduct of sexual intercourse) 18 [Dhu al-]Hijjah 1196-1198 [Nov. 24, 1782-1783 or 1784]
This is a common, undistinguished, barely legible Maghribi script. An odd feature is the enlarged letter waw (wa=and) at the beginnings of sections for text division.
MS A 90
Maimonides, Moses, 1135-1204. [Risalah fi al-bawasir] Fi awakir Rajab 1241 [11-21 March 1826]
The script is a very fine Maghribi. It is by the same scribe that wrote A 30; Mahmud ibn Muhammad al-Ibi al-Hanafi, in the last days of Rajab 1241 AH (1826). Since A 30 was finished by him at the beginning of Jumadah II in the same year, one can make a possible case that this manuscript was written in less than 60 days. To have such speed while retaining such quality is extraordinary.
The two manuscripts are very probably from the same atelier as A 85; although A 85's scribe was different, he was equally skilled. It suggests a very select and well run establishment.
The inks are similar in all three manuscripts, especially the red and cobalt green. The European watermarks are the same in all three manuscripts, the paper was probably from the same stock.
From the calligrapher's name, al-Hanafi, and the constant use of eastern style numerals it is very possible these works came from an atelier in Ottoman Tunisia or Algeria. See also A 85 and A 30.
MS A 91
[Collection of 14 treatises by various authors] [17--?]
Although the script passes through a number of changes, it does seem to be by the same scribe throughout. It is naskh based, but with whimsical and capricious mixtures from riqa'.
The ink was a carbon black, red for rubrications.
MS A 91.1
[Collection of alchemical treatises] 1304 [1886 or 1887]
The first item is an Urdu text written in an Indian type nasta'liq. The other texts are in an indifferent, personal correspondence type nasta'liq or shikaste.
All the paper is unsigned and unburnished, used as it came from its source.
MS A 92
[Collection of five treatises by various authors] 2 Rajab 1154 [13 Sept 1741]
The first text was written in 1648 CE in an inconsistent naskh based script in brown ink, (1).
The second is in a naskh based script, heavier than the first, which has elements of riqa' mixed into it. The ink is a darker brown than the first.
The Persian Manuscripts
MS P 1
Qazwini, Zakariya ibn Muhammad, 1208 or 9-1283 or 4. 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat (Marvels of things created and miraculous aspects of things existing) 944 [1537 or 1538]
This is a Persian nasta'liq, swiftly written with many features of shikaste, it has many shikaste ligatures. The ink is black and red.
MS P 1.1
Jurjani, Isma'il ibn Hasan, 1042 or 3-1136 or 7. Aghraz al-tibb (The aims of medicine) 1268 [1851-2]
The script is similar in type to P 1. The tendencies in these scripts are toward the shikaste model, but not well organized.
MS P 2
Qazwini, Zakariya ibn Muhammad, 1208 or 9-1283 or 4. 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat (Marvels of things created and miraculous aspects of things existing) [17--?]
This is an Indian manuscript, its script is an excellent, fully legible Persianate nasta'liq. It was carefully written with the pen kept sharp, it is well spaced, well paced and consistent.
The nose of the pen was used where required, the rules of nasta'liq being punctiliously observed.
MS P 3
Qazwini, Zakariya ibn Muhammad, 1208 or 9-1283 or 4. 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat (Marvels of things created and miraculous aspects of things existing) [17--?]
The script is a good, basic nasta'liq, consistent, although quickly written.
The marble paper (marbled paper) used for the endpapers may, because of its aroma, been done on a fenugreek seed size.
MS P 4
Shirazi, Nur al-Din Muhammed 'Abd Allah ibn Hakim 'Ayn al-Mulk Qurayshi, fl. 1628. Alfaz al-adwiyah (Pharmacological dictionary) 24 Rabi [11]31 [14 February 1719]
The text was written in a swiftly written nasta'liq, the script preparations were not observed by the copyist. Shikaste ya's are employed throughout.
An attractively bound book, with blue and pale orange, dyed paper make it congenial.
The ink is black, the red ink is possibly from red lead.
MS P 5
Jurjani, Isma'il ibn Hasan, 1042 or 3-1136 or 7. Zakhirah-i Khvarazm'Shahi (The treasure of Khvarazm'Shah) Sha'ban 1092 [August-September 1681]
The first part is in a well spaced, neat nasta'liq with a little shikaste influence (1).
The second (2) is in a swifter nasta'liq with more shikaste influence.
Both scripts are self consistent, legible and attractive.
MS P 6
Khurasani, Sultan 'Ali Tabib, fl. 1526-1527. Dastur al-'ilaj (The rule book for therapy) 1232 [1816 or 1817]
The script is a small Persian type naskh. The rubrications are in a Persianate riqa'. The eyes are closed on both, very neatly written. Use of the mistarah is barely detectable.
Dated 1816-1817, signed by the scribe Yusuf ibn (the late) Mulla Isma'il.
MS P 7
Majmu'ah-i tibb va Dastur al-'ilaj (A medical collection and the rule book for therapy) 22 Dhu al-Hijjah 1241 [28 July 1826]
A simplified nasta'liq with few shikaste characteristics used. The red titles are in a larger more careful nasta'liq with more shikaste features, such as lam.
The numeral 5 (usually written in Persian manuscripts as ??) is written here as ?? as in Turkish and Arabic usage.
MS P 8
Sulayman ibn Sulayman ibn Muhammad Wali ibn Himmat ibn 'Isa ibn Hasan. Fawåa'id al-hikmah (Advantages of wisdom) 26 Jumada I 1217 [24 September 1802]
A nicely laid-out manuscript in a basic late Persian naskh. Dated 1802 CE.
Black and red ink.
MS P 9
Haji Zayn al-'Attar, Zayn al-Din 'Ali ibn al-Husayn al-Ansari, 1329-1403 or 4. Ikhtiyarat-i Badi'i (Selections for Badi') Jumada I 1051 [September 1641]
(1) Is a poorly conceived and executed tawqi'.
(2) The text script is a fairly good nasta'liq with some features outside the main rules, especially the short "toothless" sins in place of the "toothed" sin, and the long "toothless" sin. This is a very common scribal usage. The rubrications are in a Persian riqa'.
MS P 10
Sharif Khan, Muhammad, 1725?-1805 or 1816. 'Ilaj al-amrad (The treatment of diseases) Rabi II 1215-Rabi II 1216 [22 August 1800-8 September 1801]
An Indian nasta'liq, on thin Indian paper.
It opens with a simple Indian/Persian "unvan sahifesi" illumination. The gold is impure, and shows signs of oxidation.
MS P 11
A Persian nasta'liq written with an inconsistently sharpened pen. A simplified book copy script.
MS P 11.1
Hakim Muhammad Hadikhan, Muhammad Husayn ibn Muhammad Hadi al-'Aqili al-'Alavi, fl. 1771-1781. Majma' al-javami' va-zakha'ir al-tarakib (Assemblage of generalities and treasuries of compounds) [18--?]
A simple copyist nasta'liq.
MS P 12
Hakim Muhammad Hadikhan, Muhammad Husayn ibn Muhammad Hadi al-'Aqili al-'Alavi, fl. 1771-1781. Makhzan al-adviyah (The storehouse of medicaments concerning the explanation of materia medica) 4 Dhu al-Hijjah 1144 [3 May 1732]
The scribe's name was effaced and another name written over the smeared ink of this spectacular manuscript. The date too may be unreliable, although the script and ink appear to be original.
An expensive production, gold jadwals (text border frames) with fine outlines in black, with a blue outer line enclose the text block. Fine double hairline jadwals enclose the margin area.
The text script is a Persian book naskh overy high quality and daring aspect. Shaziyah tarwisahs on the left of lams and final kafs but not alifs, as is correct according to the rules of naskh. The red ink is of a really carefully prepared hue, the paper is beautifully sized and burnished.
The unvan sahifesi, fol. 1b, is well designed, and harmonizes well with the text page next to it, fol. 2a. The text has gold beynes-sutur illumination separating the lines (giving the writing background a clous-like look). The finish and execution of these two pages is not quite as good as the concept.
There are redundant sins under sins to show they are not shins. Fathahs (A vowels) have an odd but characteristic stroke at their left end. The eyes of waws and final qafs are open.
MS P 13
Muhammad Akbar ibn Mir Hajji Muhammad Muqim, known as Muhammad Arzani, d. 1722. Mufarrih al-qulub: shar-i Qanunchah (The rejoicing of the heart: a commentary on the Qanunchah) Safar 1178 [August 1764]
(1) is a cramped nasta'liq based script, with vocalization on quotations from Arabic.
(2) is loose archaic looking script bearing some resemblance to the old Persian ta'liq script.
MS P 14
Jurjani, Isma'il ibn Hasan, 1042 or 3-1136 or 7. Kitab-i Aqrabadin (The book of remedies) 8 Safar 992 [20 February 1584]
This is a small, neat naskh. It is dated 1584 CE. Mistarah use is evident. It is possibly Ottoman in origin.
MS P 14.1
Muhammad Akbar ibn Mir Hajji Muhammad Muqim, known as Muhammad Arzani, d. 1722. Qarabadin-i Qadiri (The Qadiri formulary) 1886/Ghulam Imam, Hakim. Ilaj al-ghuraba [1864 or 1865]
(1) is an Indian nasta'liq, very close to Persian style. It was correctly written, consistent and legible.
(2) Urdu type nasta'liq used on the lithographed book appendixed to the main manuscript.
MS P 15
'Imad al-Din Mahmud ibn Mas'ud Shirazi, fl. 1571. [Treatise on opium] Rajab 999 [25 April-24 May 1591]
Good Persian type copyist's nasta'liq, with short toothless sins. Diacritics are rather rare in this attractively made and proportioned book.
MS P 16
Jami, 1414-1492. Kitab Salaman va Absal (Book of Salaman and Absal) [17--?]
This book features very true to form classical Persian nasta'liq. It was written by a very accomplished calligrapher. The script follows all the rules of nasta'liq, as understood by the great masters such as Sultan Ali Mashhadi, Malik-i Daylami, and Mir 'Imad al-Hasani. Later Persian nasta'liq developed a different look in the late 19th century CE, thicker, shorter, more cramped and compressed, in fact a rather impressionistic look.
The unvan sahifesi illumination is quite good. The script areas of the text have been flecked with gold ink (zerefsan) after the writing was finished, this is a process used in better class manuscripts. The whole book is well designed, the text zones are separated with gold jadwal divisions.
The volume has suffered water damage. The green pigment, probably Paris green (upper aleto aresenite) used near the golden jadwals has burned through the paper. Amateur repairs have been attempted, but the work should be fully restored.
MS P 16.1
Shihab al-Din ibn 'Abd al-Karim Qivam Nagawri, fl. 1392. Shifa' al-marad (The healing of disease) [16--]
This is a hybrid - old Persian ta'liq and nasta'liq - it demonstrates an evolution toward later shikaste. Mistarah use is evident.
MS P 17
Shahrazuri, Shams al-Din Muhammad ibn Mahmud, 13th cent. Tarikh-i hukama' [between 1602 and 1627]
A Persian nasta'liq, not carefully written.
MS P 18
Mansur ibn Muhammad ibn Ahmad ibn Yusuf ibn Faqih Ilyas, fl. 1384. Tashrih al-badan (The anatomy of the body) 4 Muharram 894 [8 December 1488]
The script is elegant fully realized Persian nasta'liq from the 15th century CE, its first period of well-formulated use.
The paper is beautiful; well sized and burnished. The illumination is simple but good and appropriate.
MS P 19
Mansur ibn Muhammad ibn Ahmad ibn Yusuf ibn Faqih Ilyas, fl. 1384. Tashrih-i badan-i insan (The anatomy of the human body) [14--?]
This is another copy of MS P 18. The script is Persian nasta'liq with some naskh characteristics such as the shape of the independent ba' and final dal. The script is consistent, probably 15th century CE, when in the Persian sphere, copyists had ta'liq, naskh and the new nasta'liq available for use. This seems to be an instance of a commingling of them. The book is very attractive and legible.
MS P 20
Muhammad Akbar ibn Mir Hajji Muhammad Muqim, known as Muhammad Arzani, d. 1722. Tibb al-Akbar (The medicine of Akbar) [17--?]
A crude nasta'liq based script, possibly from India.
MS P 21
Tunakabuni, Muhammad Mu'min, 17th cent. Tuhfat al-mu'minin (The present for the faithful) 16 Safar 1218 [7 June 1803]
A distantly related Persian naskh, not too carefully written, yet consistent and legible. Occasionally one tooth of the sin is left out of the verb "ast" for quickness in writing. The eyes are open on final waw and qaf.
MS P 22
Tunakabuni, Muhammad Mu'min, 17th cent. Tuhfat al-mu'minin (The present for the faithful) [18--?]
This is a simple, legible but inconsistent Indian script based on nasta'liq.
MS P 23
Muhammad Mahdi ibn 'Ali Naqi, fl. 1728. Zad al-musafarin (Provisions for travelers) 19 Muharram 1222 [29 March 1807]
Persian naskh.
MS P 24
Nakhshabi, Ziya'. Ladhdhat al-nisa' [17--?]
The script is a good, sharp Indian nasta'liq.
MS P 25
[Collection of medical treatises] [not after 1797]
Although the manuscript was nicely laid out and designed, the script is an idosyncratic, swiftly written Persianate naskh with some nasta'liq elements.
MS P 26
[Collection of six medical treatises] [17--?]
The script is a crude nasta'liq. Proportion, paper and script suggest a possible Ottoman origin.
MS P 27
[Collection of alchemical and miscellaneous treatises] Rajab 1133 [28 April-27 May 1721]
A light Persian naskh based book hand. It features an interesting use of flat (toothless) sins and shins for convenience, and an unusual construction of sin for the verb "ast" ??. 18th century work.
MS P 28
Mansur ibn Muhammad ibn Ahmad ibn Yusuf ibn Faqih Ilyas, fl. 1384. Kifayah-i Mujahidyah (The sufficient for Mujahid) 24 Shawwal 959 [13 October 1552]
The script is a 16th century CE nasta'liq, simplified. The "nose of the pen" was rarely used in this example, but the script is self-consistent throughout.
MS P 29
Qazwini, Zakariya ibn Muhammad, 1208 or 9-1283 or 4. ['Aja'ib al-Makhluqat va ghara'ib al-mawjudat] (Marvels of things created and miraculous aspects of things existing) [before 1546]
Good, well spaced and swiftly written Indian nasta'liq.
Glossary
Acidic/Caustic
Old inks and paints often had chemical content which through acidity or alkalinity caused the paper ground to be damaged as if burned. I use the term caustic to describe those inks and pigments that damage the paper. Some of the chemicals were gall nuts and a number of vitriols.
Basmalah (Arabic)/Besmele (Turkish)
The sentence is "In the name of God, the Compassionate, the Merciful." It occurs 114 times in the Qur'an and is customarily used at the beginning of letters and books.
Boru Kef (Turkish)
This is the Turkish name for the elongated, "tubular" letter kaf.
Consistency
Theorists such as Ibn Muqlah (d. 940 CE) devised concepts by which calligraphy could be written in a self-consistent manner and criticized.
The most important are:
al-ikmal: Giving each letter its full shape.
al-insijam: Insuring harmony between all elements in writing, or insuring all similar letters have the same dimension and size.
al-ishba': Giving each letter its full dimension as regards thickness and thinness via the manipulation of the pen.
al-itmam: Giving each letter its full dimension.
al-tansil: (also al-madd, al-matt, or keside): Finding the best locations within words, between letters, to place a stretch, and how long to make the stretch. This improves legibility and flow.
al-tastir: Joining word to word until the whole becomes a well-composed line.
al-tawfiyah: Giving each letter its full complement of linear parts.
In this discussion, consistency or inconsistency signifies how well or poorly these principles have been observed.
Diacritic
This is i'jam in Arabic. It means placing distinguishing marks, usually dots, in proximity to letter shapes to derive different letters from one shape, to distinguish one from another.
Durak (Turkish)
A stop mark in a text. An ayah marker in a Qur'anic text.
Eastern vs Western
Linguistic usage in the Islamic West to indicate a usage or relation to the writing practices of the region east of the eastern Libyan Border.
Eyes Open/Eyes Closed
Tams in Arabic means: eyes put out, or closed. In writing it signifies the openness or closedness of the heads of fa', qaf, and waw, and 'ayn and ghayn in medial and final locations. Some scripts, such as nasta'liq, ta'liq, divani, ruq'ah, shikaste and others always have closed eyes in all locations by nature.
Ha' Mukhtalasah (Arabic)
The purloined H. This is where the initial ha' is actually split, the top part removed saving only the lower part. This is common in thuluth script, not done in naskh, divani or ruq'ah. It is also found in tawqi' and riqa'. It is essential in nasta'liq.
Head of a Letter
The top of the alif, kaf, lam, dal, ra'. The beginning knot of fa', qaf, waw; the "eyebrow" of the 'ayn and ghayn. The beginning part of any letter.
Ibn al-Bawwab
He is 'Ali ibn Hilal (d. 1033 CE), the Master of Baghdad. The second major formulator of Islamic calligraphy. His method was universal until it was superseded by that of Yaqut al-Musta'simi (d. 1298 CE). His method continued to be utilized and developed in Mamluk Egypt.
Muhammad ibn Muqlah
The first great formulator of Islamic calligraphy, (d. 940 CE). He is thought to be the originator of the concept "proportional script."
Idgham (Arabic)
When complex shaped letters assimilate into others, giving themselves less complex shapes. Generally two line letters such ra' and nun become hooked shaped tails. It can be seen commonly in the thuluth family of scripts (thuluth, tawqi', riqa').
Ihmal (Arabic)
A letter having no diacritic is subject to ihmal, "omitting."
Jadwal (Arabic)/Cetvel (Turkish)
This word in scribal, illumination and calligraphic usage refers to borders in frames, often in gold, which surround the text and divide its parts and separate it from the hamish - "margin."
Marshuqah (Arabic)
This is the lam-alif of a V shape, usually in older versions of thuluth, and is usual in tawqi' and riq'a.
Midad/Hibr (Arabic)
The main kinds or species of ink, midad is a pigment suspension, usually a base of carbon black and gum arabic. Hibr is usually an iron/gall ink. Sometimes the two kinds are mixed. Older formulations can be quite complex.
Mistarah (Arabic)
A tool to provide rulings on paper for the scribe/calligrapher to follow. They also organize and standardize the layout of a manuscript. Generally, threads are strung over a cardboard panel in the desired arrangement. The paper is pressed over the threads with the finger, giving an impression to be followed.
It also refers to a ruler.
Mursalah (Arabic)
A letter end formed by the process of irsal. This is a manipulation of the pen which puts an "unnatural" point on the letter's end, a common feature of letters like ra', mim, and waw.
Nose of the Pen
This concept refers to holding the pen while writing some letters with only the right tip of the pen tip, so capillary action comes into play. All scripts use it to some degree, although it is an absolutely integral part of nasta'liq practice.
Ottoman Style
Calligraphic practices in the Ottoman sphere of influence after the reforms of Seyh Hamdullah (d. 1520 CE). These reforms led to the modern international style of Islamic calligraphy.
Pen
Arabic qalam, Turkish kalem, Persian kilk and khame. Generally made of seasoned reed or cane, the tip is carved on one end. Larger pens are made of bamboo and wood.
Persianate Style
The calligraphic art has ancient roots in Persia/Iran. The preferred styles, old ta'liq, nasta'liq, shikaste, and Persian naskh all have their own look and style that identifies them as having been produced under this aesthetic method, in regions where Persian culture was influential.
Scribe vs Calligrapher
A scribe is a professional copyist. A calligrapher is a trained, certified professional copyist. Scribal work is a craft, calligraphy is an art in the Islamic book scene.
Seren (Turkish)
This is an Ottoman Turkish word which means the boom from which the sail hangs on a sailing vessel. It is the slash over the kaf which distinguishes it from other letters, it resembles a boom.
Serlevha (Turkish)
Sarlawh in Persian, it means the double page illuminated opening of a Qur'an manuscript, or mushaf, especially.
Shaziyah (Arabic)
A hairline, often as a tarwisah in naskh or old ta'liq or shikaste, or a hairline under an alif in older scripts. Any hairline used as an extraordinary ligature.
Six Styles
These are the six major scripts of the proportioned writing, after Ibn Muqlah:
Arabic
Muhaqqaq
Rayhan
Thuluth
Tawqi'
Riqa'
Naskh
Turkish
Muhakkak
Reyhani
Sülüs
Tevki
Rika
Nesih
Sizing for Paper
Tila' in Arabic, ahar in Persian and Ottoman. It means a coating applied to size a sheet of paper. It can be applied with a tool, sponge, or brush, or soaked as in a bath. There are two basic types - starch/glue sizes and egg white sizes. The paper is burnished after the sizing dries.
Tail of a Letter
The end of a letter, the last part of it to be written.
Tarwisah (Arabic)
The "head" of a letter, also tarwis, or in Ottoman, zülfe. Especially a special head on alif, kaf, lam, ra', zay, and nun, in the shape of a hook, in thuluth. In naskh it is a dot or shaziyah on the kaf and lam, never on the alif.
Tirnak (Turkish) and Tirfil (Turkish)
The finger nail and clover-leaf. They were originally used to indicate ihmal. Now they are balancing elements in calligraphic composition.
Turrah (Arabic)
Gül in Turkish - a small design of endless permutations, generally placed in the margin of a manuscript, contains information about the main text, such as number of verses.
Unvan Sahifesi (Turkish)
This is the illuminated right hand page of an illuminated manuscript's opening page spread. It means title page. Generally used on non-Qur'anic manuscripts.
Vassale (Turkish)
Arabic wassalah. The specialized craft of manuscript restoration, whereby the text block is separated from the manuscript and placed, usually nearly indistinguishably, into new margins. This is only done in important works and is very labor and skill-intensive. The craftsman is call a vassal.
Vertical Letters
Alif, kaf, and lam.
Warraq (Arabic)
The ancient, early Islamic stationer, librarian, and book copyist. It is increasingly thought that the naskh script originated in the practice of these book professionals.
Yaqut al-Musta'simi
The last of the Baghdad trio of originators, he died in 1298 CE. Calligraphy came near its modern form in the teaching of this master and his "seven students." His method eventually spread over the eastern Islamic domains, except for Mamluk Egypt.
Zahariye (Turkish)
On the most sumptuous manuscripts, there was often an open spread illumination, over two pages preceding the serlevha or unvan sahifesi. Generally, it has no text, or minimal text.
Most manuscripts end in an imza sahifesi or signature page, or colophon.
Zerefsan (Turkish)
Zarafshan in Perisan, the origin of the word. It means sprinkled gold and is of two types - ground gold ink flicked over manuscript pages, writing and all and then burnished - and gold leaf pieces dropped onto a damp glue covered ground and burnished when dry. Both techniques add visual articulation to the page and serve to disperse focality.
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