[Majmūʻah-i ghazalīyāt, 16th century].

Fine collection (majmūʻah) of poetry and exquisite calligraphic specimen, according to inscription on flyleaf executed by the renowned 16th century Ṣafavid calligrapher Shāh Maḥmūd Nīshāpūrī, employing ghazals of ʻĀrifī, Bisāṭī, Jāmī, Ḥāfiẓ, etc.Shelfmark: Ann Arbor, University of Michigan, Special Collections Research Center, Isl. Ms. 365Origin: Lacks dated colophon ; according to inscription on flyleaf, executed by the renowned calligrapher Shāh Maḥmūd Nīshāpūrī whose numerous dated manuscripts and calligraphic specimens fall between roughly 1517 and 1572 ; paper, etc. would also suggest a 16th century date of production, though the manuscript was likely rebound much later.Accompanying materials: Slip of paper with descriptive note in ink in hand of G. Meredith-Owens "365 An anthology of Persian ghazals by Hāfiẓ, Jāmī, ʻĀrifī, Bisāṭī, Bāqī, etc. written in calligraphic Nastaʻlīq on tinted paper. Probably first half of the 17th century. Copied ['almost certainly,' struck through] by a Turkish calligrapher. Some leaves missing at the beginning and end."Former shelfmark: "94 T. De M. [i.e. Tammaro De Marinis]" inscribed in pencil on verso of front flyleaf.Binding: Pasteboards covered in dark brown leather with red leather over spine ; Type III binding (without flap) in oblong or safīnah format which was perhaps originally intended to be opened vertically ; doublures / board linings in an orange coated, textured (embossed) paper and flyleaves in a shell marbled paper (primarily in black, gray, and dark pink) ; upper and lower covers carry stamped (with gold-painted paper recessed onlays) central lozenge filled with vaguely symmetrical vegetal composition with gold-painted tooled-rosette and stroke accents as well as tooled and gold-painted border ; sewn in yellow thread, two stations ; worked chevron endbands in yellow and dark pink [?], fairly good condition ; overall in fair condition with minor abrasion, staining, etc.Support: non-European (likely Persian) laid paper (laid lines fairly indistinct but visible), gold-flecked (margins large grain, written area much finer grain) and tinted various shades of pink and salmon with one leaf in blue, now interleaved with slips of blank, untinted wove paper.Decoration: Written area surrounded by frame consisting of several narrow bands of gold outlined in black fillets with outermost blue fillet, inner perimeter and divisions within defined by narrow gold bands ; headings mainly in white ink ; margins and written area gold-flecked.Script: Nastaʻlīq ; compact, exquisite calligraphic hand in a medium line ; serifless, with effect of words descending to baseline, closed counters, elongation and contrasting thickness of horizontal strokes, pointing in distinct dots.Layout: Arranged in 14 hemistiches per page in 10 lines on the diagonal against the long edge of the written area with an additional divided line of four hemistiches along leftward or lower long edge ; frame-ruled.Collation: i, V+2 (11), 2 VI(35), VI+1 (48), i ; now chiefly senions / sexternions with blank wove paper interleaved between original leaves ; catchwords present, but leaves do not appear to follow the order prescribed by the catchwords (compare catchword on p.1 and opening of text on p.4) ; foliation in black ink, Hindu-Arabic numerals (appears in outer margin of each leaf) ; pagination in pencil, Western numerals, supplied during digitization.Incipit: "حافظ ز دیده دانه اشکی همی فشان ..."Title supplied by cataloguer.Ms. codex.Bayānī, Mahdī. Aḥvāl va āsār-i khūshʹnavīsān : nastaʻlīq navīsān. [Tehran] : Dānishgāh-i Tihrān, 1345 [1966],Fine collection (majmūʻah) of poetry and exquisite calligraphic specimen, according to inscription on flyleaf executed by the renowned 16th century Ṣafavid calligrapher Shāh Maḥmūd Nīshāpūrī, employing ghazals of ʻĀrifī, Bisāṭī, Jāmī, Ḥāfiẓ, etc.Mode of access: Internet.Acquired by purchase (funds donated by Horace Rackham).Effaced inscription in black ink on upper doublure / board lining ; clean copy