Complete poems of Ghulām Muḥammad Ṭarzī. Divan-i Ṭarzī (Poetic collection of Tarzi) contains verses by Ghulām Muḥammad Ṭarzī (1830-1900), mostly concerning piety, ethics, politics, and society in 19th century Afghanistan. Tarzi came from a distinguished background; he belonged to the Mohammadzai sub-lineage of the Durranis, one of two main Afghan Pashtun lineages, the other being Ghilzai. Because of their connections to Muḥammad Yaʻqūb Khān, Tarzi and his family were exiled from Afghanistan in 1882-83 by Abd al-Raḥmān Khān, a kinsman of Yaʻqūb Khān and a rival to the Afghan throne. The feeling of desolation occasioned by Tarzi's exile pervades many of the poems. Each poem is specific in theme, meaning, and place. One poem, for example, extols the verse of Mirza ʻAbd al-Qādir Bīdil, the famous Persian poet and Sufi who was instrumental in the development of "Indian-style" Persian poetry in the late 17th and early 18th centuries. In another poem, Tarzi praises the wedding of Muḥammad Yaʻqūb Khān, who in 1879 was briefly amir of Afghanistan, after he signed the Treaty of Gandamak recognizing British control of Afghanistan's foreign affairs. Each poem has a rubricated title that indicates where it was written and its purpose. On page 336, for example, it is stated that "this ghazal is written in Kandahar in response to Neamat Khan." A few poems are not titled, but each is distinguished by its conclusion with the author's pen name tarzi (stylist). The volume itself is not titled. The names and personal library stamps of several owners and readers, including that of Abdul Rauf Khan Tarzi, a descendant of the author, appear on the cover and last pages. The book is in two sections: the main one is of ghazal (lyric) verses, while the last 50 pages are in rubai (quatrain) form. The script includes several versions of Persian nastaliq, such as clear nastaliq, broken nastaliq, and uneasy nastaliq. The paper is of different qualities and colors; most text appears on plain cream paper laid down on a marbled backing. Pages have penciled Persian-Arabic numerals inserted by a reader. The marginal notes may be the author's own or by anonymous readers. The final text is a prose piece, in which Tarzi emphasizes his virtue, sorrow, and loyalty. World Digital Library.
Poems. Manuscript. In Persian. Title from fol. 1a. Date from cover. Written by Ghulām Ismāʻīl. Written in Afghanistan. Paper; modern cream color paper; black ink; some sections written diagonally; no catchwords. Nastaʻliq; 15 lines, with some pages of fewer lines written diagonally. Binding is marbled paper over cardboard; light tan leather spine; text block separated from binding.
This manuscript in Persian is an untitled Sufi text on meditation containing both poetry and prose. It was completed in early 1520, probably in Herat (present-day Afghanistan) or Mashhad (present-day Iran). The colophon, which is in Arabic, gives the name of the scribe, Mīr 'Alī Ḥusaynī Haravī (circa 1476-1543). The manuscript is on a firm cream-colored paper inlaid into light cream (folios 1-8) or pale greenish-blue margin paper, with the writing enclosed within alternating gold and cream (or green) bands with black ruling. The margin paper is profusely decorated with floral and animal motifs. The text is in nastalīq script, eight lines to the page. The binding is contemporary leather with medallions. A former owner's stamp appears on folio 1a. Sufism, a mystical and introspective interpretation of Islam that emerged after the initial spread of the religion, combines Islamic teachings with gnosticism. The practice embraced the idea of enlightenment through spiritual knowledge, informed by pre-Islamic Greek, Zoroastrian, and Indian spiritual practices. By the 13th century, Sufi thought in the Persian-speaking world was expressed primarily through poetry or in poetic works of prose, such as this treatise. World Digital Library. Untitled Sufi text on meditation containing both poetry and prose.
Tauhid (the belief in the unity of God) is a central tenet of Islam that also serves as one of the main inspirations of the Masnavi (The spiritual couplets) of Maulana Jalal al-Din Muhammad Rumi (1207-73). This principle also appears in the title of Ibrahim Shahidi Dadah's book Gulshan-i Tauḥīd (Garden of Unitarianism), a work that was inspired by Rumi's well-loved Masnavi. Shahidi Dadah (died 1550 or 1551) was born in Mughlah (Muğla, present-day Turkey) and was a Sufi of the MaulawI, or Mevlevi, order. In Gulshan-i Tauḥīd, Dadah chose from the 25,000 verses of the Masnavi 600 verses and appended to each of them five of his own verses, inspired by and amplifying the original. He completed this work in 937 AH (1530-31). The work has had at least one modern printing (Istanbul, 1881). The manuscript copy presented here was completed in 1233 AH (1817-18), probably in Afghanistan. Each Rumi original verse appears in red ink, followed by the Shahidi Dadah verses in black. The copyist has signed his name as Mir ʻAzim ibn Mulla Muhammad Rajab Balkhi. The manuscript is written in a nastaʻliq script on a light-cream paper. World Digital Library. Versified criticism and interpretation of the classical Mas̲navī of Jalāl al-Dīn Rūmī.
Short versified description of calligraphers of Bukhoro (Uzbekistan). Taz̲kirat al-khaṭṭāṭīn (Memorial of calligraphers) is a book of verse in the mathnawi form. This type of poetry is based on a scheme of individually rhyming couplets and is used in many important works of Persian literature. The author, Muhammad Idris Khvajah Raji Bukhari (died 1919 or 1920), was a literary figure in the fabled city of Bukhara (in present-day Uzbekistan), capital of the Emirate of Bukhara. As the title of the book suggests, the work belongs to the tazkira (memorial) genre, and Raji Bukhari includes in it the names of the Bukharan calligraphers of his day and short accounts of their life and work. These miniature biographical sketches are preceded by an extended and whimsical description of the art of calligraphy itself, and of the various proportions and shapes of the Persian alphabet. Raji Bukhari concludes his work with a list of short references to various branches of knowledge, including logic and grammar. The manuscript, in a nastaʻliq script, was copied in 1908-9, possibly in Afghanistan. The scribe, Katib Kuchak Bukhari, notes that he based his text on the divan (or collected works) of Raji Bukhari. Bukhara came under the control of the Russian Empire in the second half of the 19th century. In 1920, following the Russian Revolution of 1917, it was declared the Bukharan People's Soviet Republic. It subsequently became part of the Uzbek Soviet Socialist Republic. World Digital Library.
Gulshan-i rāz (The garden of mystery) is a 20th century text on the Nizari Ismaʻili belief system, written by Nadir Shah Kayani (circa 1897-circa 1971), a leader of the Ismaʻili community in Afghanistan. The title of this work deliberately echoes a celebrated Ismaʻili book of verse of the same name composed by Mahmud Shabistari in 1317. Nadir Shah's work is organized in 14 sections, each of which discusses a philosophical or religious topic such as nafs (the soul) or namaz (prayer). The first section, on tafakkur (the faculty of thought), is written as a commentary on a verse from the original Gulshan-i rāz. Kayani's leadership of the Ismaʻili community coincided with the reign of Muhammad Shah (Aga Khan III, 1877-1957). Much remains to be discovered about the Ismaʻili community of Afghanistan during this period. What is known is that Nadir Shah belonged to a family of Ismaʻili leaders based in the Kayan valley in northern Afghanistan. He was a prolific author who wrote both poetry and philosophical texts. The present work is a manuscript, most likely produced in Afghanistan. The script is nastaʻliq, written in black ink, 11 lines to the page, on a light-cream paper. The "third" in the title probably refers to Shabistari's original work as the first Gulshan-i rāz. The identity of the second Gulshan-i rāz is not clear; it could be a reference to the well-known commentary by Shams al-Din Lahiji, written in 1472-73. World Digital Library. Islamic topics in question and answer form, probabally written during early 20th century.