نسخه شناسی

Khawajegi is one of the powerful and unknown poets of the Safavid era, whose manuscripts have not been corrected and analyzed in terms of stylistics. Therefore, the main goal of this research is to introduce and examine Divan"s manuscript and analyze the most important elements of his poetry so that researchers can get to know him and the stylistic coordinates of his poems in linguistic, literary and intellectual fields.

Progressive research, theoretical study and library method and analytical-descriptive method have been done. The studied collection is a unique manuscript of his divan, with the number of acquisition 9015 in 204 sonnets and 36 quatrains and a total of 1528 verses, which is kept in the manuscripts and documents section of the Central Library of Tehran University.

Divan"s poems are arranged in two sections, sonnets and quatrains, in alphabetical order in rhyme. The said divan has been attributed to Khawaji Shirazi, a prominent theologian of the Akbari period, but there is no evidence of it in the text of the copy. The presence of a beautiful single title and decorated tabular pages shows the importance of the copy in the time of its writing. Except for two sonnets and scattered verses in praise of the Holy Prophet (PBUH) and four consecutive quatrains, in each of which the poet described one of the rightful caliphs, Divan does not provide any information about the life and circumstances of the poet.

The examination of the manuscript of Divan Khajagi shows that the manuscript has the characteristics of the 10th and 11th century manuscripts. Both Iraqi and Indian styles can be seen in the court of Khojagi. In the linguistic field, in some sonnets, the use of new or rarely used words and compounds, popular and everyday compounds, many allusions, partial and miniature imagery, etc. It shows the influence of Indian style. From an intellectual point of view, romantic and mystical themes and Khayami"s thoughts are among the most important poetic themes of Diwan Khajagi.

Majma‘ al-Nawādir is a collection of Persian and occasionally Arabic anecdotes compiled by Malik al-Qudāt Ṣadr Jahān Fayḍ-Allāh Binyānī/Banbānī, a government official of Gujarat, in the year 903 AH. He dedicated the work to Maḥmūd Shāh Bīgarā, the ruler of Gujarat (r. 863–917 AH). The author gathered the anecdotes from various Persian and Arabic sources, supplementing them with his own observations and experiences. The book is structured into an introduction, forty chapters, and a conclusion. Six manuscript copies of this work have been identified, four of which are extant. The earliest known manuscript is preserved in the Punjab University Library and was copied in 930 AH. Another manuscript is housed in the Library of the Islamic Consultative Assembly and is estimated to have been copied in the 11th or 12th century AH. A third manuscript was kept in the Asafiya Library in India, with a probable copying date of the 12th or 13th century AH. The fourth manuscript is in the Nūr ʿUthmānīyah Library in Turkey and dates back to 1025 AH. The present article examines and introduces the content and structure of Majma‘ al-Nawādir, its author and his other works, the sources used in its composition, its dedicatee, the place of its compilation, and the existing manuscript copies of the work.

The discovery of original source materials in ancient texts is highly significant for scholars. Revisers often rely on secondary sources in addition to older and more authoritative text versions when correcting and annotating literary works. These secondary sources encompass a range of materials, including translations, summaries, contemporaneous texts, and works utilized by the original author. One such important secondary source is the Persian text "Kanz al-Ma'āref", which provides insights into the Barmakid dynasty. This work was written by Abd al-Jalil ibn Yaḥyā Yazdi and presented to Shāh Shudja' upon completion in central Iran in the 8th century. Two copies of Kanz al-Ma'āref, numbered 1342 and 1351, are housed in the National Library of France, while another copy is held in the Āref Ḥekmat Library in Medina though currently inaccessible. Beyond its historical significance in enhancing our understanding of the Barmakids, Kanz al-Ma'āref contains valuable textual passages that can be leveraged for analysis and correction of ancient verse and prose texts. The author incorporated various literary sources and quoted verses and phrases, making it a rich resource for scholars. This essay presented examples of such cases categorized into three groups: instances where the Kanz al-Ma'āref recording was more accurate than the corrected version; cases where one or more corrections of the original texts were accurate, while the Kanz al-Ma'āref recording was inaccurate; and situations where both the Kanz al-Ma'āref recording and the published correction(s) were correct, but the Kanz al-Ma'āref version was considered superior.

The Malik National Library houses a collection of nearly 4,850 lines of poetry under Access Code 6240. This manuscript is attributed to Mohammad Hossein Saqib in the library's records and is referred to as both "Kaliat Saqib" and "Diwan Saqib" in reference to Shahabuddin Saqib Dehlavi. However, it lacks a title and direct information regarding the poet's identity, aside from the poetic surname "Saqib". This study aimed to introduce the manuscript and its stylistic significance while addressing the question of which poet bearing the surname "Saqib" authored these verses.The article analyzed the bibliographic details of the manuscript using library and document research methods, highlighting its notable features. The findings indicated that the poetry reflected the poet's engagement with new themes, particularly Indian romantic stories. Additionally, the text included Turkish verses and referenced to Fath Ali Shah Qajar, as well as elements of Indian culture. An examination of the biographies of poets known as "Saqib", especially Mohammad Hossein Saqib and Saqib Dehlavi—both listed in the Malik National Library's records—suggested that attributing this work to Mohammad Hossein Saqib was unlikely. Instead, Shahabuddin Saqib Dehlavi might be the more plausible author until further evidence would emerge.The manuscript comprised a preface, sonnets, quatrains, masnavis, odes, humorous pieces, and compositions of stanzas. Key themes included romantic tales, anecdotes, didactic and moral topics, descriptions, debates, and praise of the Imams. The variety of poetic forms and the originality of the subject matter, particularly in the fictional masnavis, warranted significant attention.

Manuscripts contain valuable historical, literary, and mystical information for literary scholars. In particular, one of these manuscripts (with reference to the two cited manuscripts) is the valuable work of Saba Sanabel by Abdul Wahed Muhammad Belgrami (d. 912 AH or 915 AH?) On the subject of mysticism and Sufism and the description of the Sufis of India. In the present research, a descriptive-analytical method has been tried to provide a corrected and revised description of the mentioned version and the content of this work for those who are interested. "Saba Sanabel" is the work of Mir Abdul Wahed Belgrami, a prose and includes seven spikes in Persian, with mystical content, and masterful and fluent methods. The prose of this work is simple and, in some parts, concise. Most of the verses used in the text of the poem are the author. In this work, the author, while expressing his beliefs, has brought pure anecdotes in various mystical subjects and has strengthened the principles of his beliefs by quoting verses and hadiths. A careful study of this work is a reflection of the principles of Belgrami mystical beliefs as much as possible, along with newly discovered points, such as the fact that a Sufi is created with good morals such as love, good fortune, courage, forgiveness ...

The Tafsīr of Sūrābādī (Sūrābānī), also known as the Tafsīr al-Tafāsīr, is a concise Persian commentary on the entire Qurʾān authored by Abu-Bakr ʿAtīq Neyšābūrī around 470 to 480 AH. Various sections, stories, manuscripts, and ultimately the entire work have been published in different forms, with the complete version printed in five volumes by Ali Akbar Saeedi Sirjani in 1381 AH (2002 CE). This article attempts to highlight the shortcomings and errors of this edition, emphasizing the need for a re-edition. To this end, in addition to Sirjani's edition, three manuscripts are also utilized: Konya (dated 723-725 AH), India Office (730 AH), and Leiden (769 AH). This article demonstrates that the primary problems with this edition include the unknown status of the base manuscript(s), lack of an introduction and description of the manuscripts and their characteristics, unclear method of edition, non-critical approach, incomplete recording of variant readings, disregard for phonetic changes and diacritized words, omissions, misreadings, and errors in the correction of some less common words. These issues are significant enough to alter the meaning of some words, differing from what the author intended to convey.

The present study is the introduction and textual analysis of a manuscript called the Divan of Bolbol-e Gilani, written in the 9th century AH. It is manuscript number 86 in the library of Istanbul University which has not been introduced or edited so far. The main goal of this research is to introduce and review this manuscript and express its main linguistic, literary, and intellectual features. The research method is descriptive analysis based on field and library studies and in-text evidence. There is no information about this poet in literary and historical sources and Bolbol remains unknown even among the people of Gilan. He is a poet from the middle class and lacks style, having experimented with the forms of masnavi, qasida, ghazal, and qet’a. Bolbol follows the Khorasani style in qasida and the Iraqi style in ghazal. The manuscript consists of 107 pages and 3078 verses and does not have the scribe's signature, name, or information; moreover, the time of writing is not available, but the text shows that the scribe did not have enough precision in copying: several typographical errors are seen in his manuscript. The main themes of the Divan are the praise of the local rulers of Gilan and the description of its land and beauty.

Anis al-Talebin and Oddah al-Salekin is a precious book written in Persian, but has not been corrected so far. Its value lies in the fact that its writer was a direct student of Khajeh Baha’ al-Din, the establisher of Naqshbandiyeh dynasty. This study examined this book in detail and the concise book of Khajeh Mohammad Parsa. It compared the linguistic and literary features of the two books. This study examined the differenced under four titles: 1. Deletion; 2. Addition; 3. Transposition; 4. Changes and differences in recording words. It showed that the significance of the concise text and examining on is plural: 1) The text is the first one that deals with the life of Khajeh Baha al-Din, the founder of the Naqshbandiyeh, and the author himself closely and directly saw the life of Khajeh Baha al-Din; 2) This work is important in terms of linguistic, literary, historical and social values; 3) The concise version is an independent of the detailed version, so it deserves to be examined as an independent work and be corrected.

Abstract
Anis ol-Arefin (Mathnavi of Nakhoda) is a fictional poem. This mathnavi has been written by Agha Mohammad Hosein Sahib Shirazi and is dedicated to Nakhoda. He composed this verse in 1293 A.H. (during the reign of Nasir al-Din Shah) in his old age and when he was the ambassador of Iran in Bengal, India. The purpose of this study is the linguistic analysis of the poem of Anis al-Arefin based on two existing lithographs of this poem. In addition, this text, apart from the linguistic benefits, has explanations and novelties from a literary point of view. This includes historical information about the Qajar era and the rulers, especially Fath Ali Shah and Naser al-Din Shah and some local border guards of India, geographical information, especially about Shiraz and India, and the birthplace and residence of the poet. Anis al-Arefin is noteworthy, readable, and fresh in terms of folk literature, anecdotes, legends, and parables. In addition, the poet of this poem was a political-literary person. This poem is a unique document in knowing the poet and with it you can get some of his personal and family information and get to know some of the political-historical figures that have not been left in history. Since literary works find meaning in a literary system, we also mentioned the connection of this work with other works, especially Khosrow and Shirin of Nizami, with which the poet of Anis al-Arifin wrote this poem.
 
Introduction 
Anis al-Arefin (Mathnavi of Nakhda) is a romantic poem mixed with mystical and religious topics and sometimes historical-geographic references. This poem, according to its poet, is a real and romantic narration of an adventure between Farrokh (son of Manouchehr, an Armenian ruler from the Hoshang generation) and Golrokh (daughter of Marzban Circassian from the Hormoz generation). Almost no information about Agha Mohammad Hossein can be obtained from the sources, but from the introduction of the poet, one can understand some of the circumstances and aspects of his life. Agha Mohammad Hossein was one of the government officials during the time of Nasir al-Din Shah Qajar (1275-1210) who sent people as political representatives to other countries. He was also sent by the Iranian government to Bengal in India and became the ambassador there for thirty years. Agha Mohammad Hossein heard the story of Anis al-Arefin in the year 1250 A.H. in his youth, from an Armenian priest who came to Shiraz from Isfahan to teach and added to it the words he had heard from others. By composing this verse, Agha Mohammad Hossein tried to imitate Khosrow and Shirin of Nizami.
  
Materials and Methods 
In this analytical-descriptive research, we investigated a folk story in poetry from the Qajar era and discussed various perspectives such as linguistic, historical, geographical, intertextual links, imaginary images, and other side benefits of the book. We had two lithographs of this work with different narratives, based on which we corrected the two editions.
 
Research Searching in Qajar era sources reveals new linguistic, literary, cultural, historical, and geographical aspects. Many parts of the works of this era, especially those that were in the Indian subcontinent, have not been corrected and there is no good print of them. The novelties of the work are as follows:Linguistic novelties: Agha Mohammad Hossein was a Persian-speaking Turkish speaker; therefore, there are many Turkish words in this work. Signs of the influence of dialect, composition, morphological and syntactic novelties, and archaism can also be seen in this text. There are Arabic words and signs of the Arabic language in it. In addition, due to the story axis of this poem, which is taken from folk culture and literature, signs of folk language can also be observed in it.
Literary novelties: Agha Mohammad Hossein was familiar with the works of his predecessors and used them in his poems. Among them are Khosrow and Shirin of Nizami, Golestan and Saadi's sermons, Hafez's Divan, Moluk al-Ajam Hosseini Qazvini’s Al-Mu'jam, and Fayyaz Lahiji’s Sam and Bahram. Another literary novelty of this text is the use of anecdotes, legends, and parables that we did not find elsewhere.
Imagery novelties: In terms of imagery, this text also has novelties, especially in the illustrations and descriptions in which the poet uses all kinds of similes.
Side benefits: This system also has benefits in terms of anthropology and sociology.
 
Discussion of Results and Conclusions 
In the subcontinent of India and Pakistan, there are many works of Persian language and literature that remain unknown and have not been corrected yet. One of these works is a romantic poem titled Anis al-Arefin (Mathnavi of Nakhoda) by Agha Mohammad Hossein Sahib Shirazi (nicknamed Nakhoda, meaning captain). Agha Mohammad Hossein Sahib Shirazi was Iran's ambassador in Bengal, India, for thirty years. This work has novelties in different aspects that have been mentioned in the previous section. It has also other aspects including 1) Personal information about the personal and political life of the poet and his positions and associates, 2) Historical information, especially about the Qajar kings and local rulers of India and referring to some of the historical events of that era and personalities that have sometimes been removed from the pages of history, and 3) Geographical information, especially from Shiraz and India, from the perspective of an observer of Naser al-Din Shah era.

Zamji-Nāmeh is the first logical sequence of Abu Muslim-Nāmeh and from the perspective of story, it narrates the events that happened after the murder of Abu Muslim Khorāsāni. The content of Zamji-Nāmeh is arranged in three parts according to the existing manuscripts and until today, only its first part has been published. The subject of the first part of Zamji-Nāmeh is the description of the circumstances and struggles of Ahmad bin Muhammad bin Ali Zamji and his other comrades who, after the killing of Abu Muslim, went against the Abbasids and continued until the destruction of Abu Ja’afar, the second Abbasid caliph, the narrative of which ends with the martyrdom of Ahmad Zamji. However, the second and third parts of Zamji-Nāmeh, known as Golzār Ali Ahmad Zamji and Koochak-Nāmeh, which reported the condition of the children of Ahmad Zamji and Abu Muslim Khorāsāni, have not yet been reviewed and have not been published. The current research has focused on the criticism of the unique manuscript of the second part of Zamji-Nāmeh, Golzār Ali Ahmad Zamji, in an inductive way and has presented its findings in two parts: codicology and textual criticism. In the first part of the study, the characteristics and handwriting of the only manuscript of this story in the library of Punjab University in Lahore are given, and then some other unknown manuscripts related to Zamji-Nāmeh, which have not been noticed until now, are introduced. After that, in the second part, titled textual criticism, the characteristics of the story have been examined

There are many traditions that gradually move from the realm of knowledge and experience to the realm of ideology or religion. Daubing the letter with dirt is one of the traditions of codicology and writing that has gradually turned from an experimental act into a religious belief. In this article, by examining ancient Persian and Arabic texts, we try to show why the tradition of daubing the letter with dirt was created. In the following, we show how this writing tradition, which was related to the field of letter writing, has gradually taken a religious and faith form in religious texts and it has become a kind of recommended practice. Through this study, it is possible to understand how a scientific belief becomes a religious construction after going through various stages and entering religious texts, and as a result, various types of superstitions are formed. . . . . . .

Tarikh Jahangosha narrates the invasion and rule of the Ilkhanid over Iran. Illustrated manuscripts of Tarikh Jahangosha reveal the terribly painful memories that Iranian kept in their heart’s wounds by Ilkhanid rulers. Visual language of the Illustrations shows secrets of history that cannot be expressed by the text. Therefore, the study of these paintings is as important as the study of its text. This article examines Tarikh Jahangosha’s paintings from the perspective of symbolism and composition by study on two illustrated manuscripts. Then, it answers these questions: symbolism in Tarikh Jahangosha have been influenced by what cultures? What pictorial features did the painters use to show the legitimacy of the kings (Farreh)? How does the images composition reveal the narrative of victory or defeat? The results show that paintings represent a hidden part of the history that cannot be achieved in the text, so we should pay more attention to the paintings of historical texts as a visual language and valuable historic document.

Important historical sources about Saeb Tabrizi are sometimes mixed with all kinds of false information, which due to its reputation and position has caused the spread of these mistakes, to the extent that today it is considered as a misconception, even among researchers. There are also works that indirectly and in the margins, contain very valuable evidence that can be used to correct and explain and correct some incorrect information. One of these cases is the scope of the nine-year difference in the date of Saeb's death (1080-1089 AH) in the sources. This study, which is based on the transcript of the translation of one of Saeb's poems, while emphasizing the year of Saeb's death, ie 1087 AH, has been able to provide a more specific date from the time of Saeb's death and limit its estimate even from year to week and month. Another point is the story of enmity and quarrel between Kalim and Saeb, which also proves the falsity of this rumor from this translation

In the World Memory Documentary Heritage Program, the subject of “originality” is the first and most important criterion for assessing written heritage, including manuscripts. Therefore, without researching the originality of a copy, it cannot be used as a basis for research. In our country, the subject of manuscripts is more related to their textual value and knowledge of correction than the knowledge of manuscript, which is a relatively new science. While the two are closely related. One of the important aspects of this relationship is the orthographic critique and the acknowledgment of the antiquity and originality of the manuscripts that are to be used in the correction of a work; because trusting the dates recorded in the translation of manuscripts without researching it is a fundamental error in correcting the text. The present article, while briefly introducing the manuscripts of Amir Khosro’s Khamseh , which belongs to the eighth century AH, with a typological approach, seeks to examine the authenticity of the newly found copies of this work, which was written in 755 AH and is the oldest known copy of Khamseh to date. For this purpose, the translations, the method of writing and calligraphy, seals, covers, drawings and titles and tables of the version have been examined and while confirming the authenticity and antiquity of the text, its arrays have been added. This copy with the number 13146 is kept in the library of the Islamic Consultative Assembly of Iran and is considered as one of the treasures of that library.

The present study has been done with the aim of textualizing one of the unknown lyric narratives of the Indian subcontinent, called Māhʻmunīr va Khūbʻchihrah, by inductive method. And in two sections, first, the summary of the whole narration is presented and then its characteristics are examined in eight sections: naming, narrator, time and place of authorship, origin, structure, language and literary type., and then in the second part, a report on the literary elements of Māhʻmunīr va Khūbʻchihrah in eleven sections: plot, angle of view, character, time and place, theme, moral principles, Destiny, customs, descriptions and principles are given. The results of this study indicate that Māhʻmunīr va Khūbʻchihrah narration is a relatively successful example of Indian subcontinent love stories that try to promote moral principles with simple and unpretentious language and at the same time romantic plot. plot, angle of view, character, time and place, theme, moral principles, Destiny, customs, descriptions and principles are given. The results of this study indicate that Māhʻmunīr va Khūbʻchihrah narration is a relatively successful example of Indian subcontinent love stories that try to promote moral principles with simple and unpretentious language and at the same time romantic plot. at the same time romantic plot.

This study aims to introduce an ancient literary work known as Zad Al-Moghvin, a book written in the Persian language in the Transoxiana region. The author of this work, on the subject of ethics and sermons and most likely written in the twelfth or thirtieth century, is Mohammad ibn Mohammad Al-Nasr, known as the Ghazi, who lived in Vobkent. Only three manuscripts of this work are available, one of which is kept at the National Archive of Afghanistan and was written in 1485, and the other at the Library, Museum, and Document Center of I.R.Iran's Parliament and written in 1618 and third manuscripts is kept at the the Salar Jung – Museum and Library and was written in 1646. In addition to introducing the manuscripts, the author, his religion, the sources used in the writing of this book, the text structure, and the reasons for its significance are explained in this study. Some of the sources that the author has used in writing this book are Tanbih Al-Ghafilin Samarqandi, Maqazi Mohammad ibn Eshagh, Zad Al-Abedin, Tafseer Anwar, Kitab Al-Anwar, and most likely, Tafsir Miraj.

The present article introduces and describes a new version of Hafez Divan. This copy was written in the first half of the 9th century and is kept under No. 4613/1563 in the Central Library of the University of Punjab, and has not been introduced or used in writing other works. This version is among the first hand manuscripts of Khajeh Shiraz Divan in terms of the date of writing (834 AH). However, in terms of the frequency of the various forms of poetry such as Ghazal, Masnai, Ruba’i, and having refrain, Mokhamas (five-line verse) and Mosadas (six -line verse), it is in the first category of the manuscripts that were written before this date. In addition, although it is the second version that has a comprehensive preface of Golandam, but because the name of Mohammad Golandam is explicitly mentioned in this preface and its pages are not removed, it is superior to other versions.

Shams al-Din Mohammad Shahrzuri has a work that is introduced in the manuscriptology under the names of al-Romoz va al-Amsal in Anwar al-Mujarda al-Mulkuti in Anwar al-Mujarda al-Mulkuti (symbols and examples of theology in the transcendental lights of the universe) and al-Romoz va al-Amsalin Anwar al-Mujarda al-Mulkuti in Anwar al-Mujarda al-Mulkuti fi Maarefat al-Nafs va al-Rooh (symbols and parables of theology in the lights of the Almighty in the knowledge of the soul). Shahrzouri's work belongs to the mysteries and discoveries of Shahrzouri, who followed the opinions of Sheikh Shahabuddin Sahrawardi, the founder of the philosophy of illumination about the soul, the body, the light, and other than that. It can be said that in most of these issues, Shahrzuri answered and defended Sheikh Eshraq's thought against the Masha'i philosophers. In the book of al-Romoz va al-Amsal, Shahrzuri's writing style and the ideas he expressed are completely Eshraqi (enlightening). The authors corrected this book in a selective manner based on the manuscripts of Escorial 696, Majles Shoray Eslami (Islamic Council) 19573, Shahid Ali Pasha 1205, Muhammad Bin Saud 927, which were written in the seventh century of Hijri, and have addressed the evidence of their attribution to Shahr-Zori.