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OTTOMAN BINDINGS AND TRADITION OF PAPER MAKING: مرح المعالى في شرح الامالى

1,800.00

احمد عاصم
Ahmet Asım (Mütercim Ahmed Asım Ayıntabî, 1787 – 1808)

Merahü’l-maali fî şerhi’l-Emali also Merahu’l-meâlî fî şerhi’l-Emâlî

Istanbul: Takvimhane-i Amire 1266 [1850].

8°, [4 pp.] index, 222 pp., [2 pp.] blank, printed on paper of natural-colour, yellow, green and greyish-apricot paper with colour of paper changing every 8 or 16 pp., contemporary green straight-grain Morocco with gold tooling, dark red label with gold title verso, contemporary embossed pink floral endpapers (sightly stained, printing on greyish apricot paper somehow oily and age-toned, sporadic annotations in black ink in margins, first and last pages with little dusty corner, light glue staning to pasted-down endpapers, sporadic tiny chips in margins, binding with tiny cracks around the spine and restored rubbings on enges and corners, but overall in a good condition) (#70663).

A religious work in Arabic language by an Ottoman scholar Mütercim Ahmed Asım Ayıntabî printed on paper of various colours and bound in a handsome binding.

Additional information

1 in stock

Description

The text is a commentary on by Osman el-Ûşî (لأوشي Ebû Muhammed (Ebü’l-Hasen) Sirâcüddîn Alî b. Osmân b. Muhammed b. Süleymân et-Teymî eş-Şehîdî el-Fergānî el-Ûşî). The author Ahmed Asım (1787 – 1808) was an Ottoman scholar and historian.

Printing on papers of various colours follow the Islamic tradition of colourful supports, which was already used for manuscript on parchment. Later paper was coloured with natural dyes, such as saffron, turmeric, safflower, lac, sappan-wood, henna, pomegranate bark, indigo and sunflower-croton and with minerals, such as verdigris, orpiment, ceruse and blue vitriol (Blair 2000, p. 25).

We could not trace any institutional examples on the internet.