Journal of Codicology and Manuscript Research (In persian: Pizhūhish/hā-yi nuskhah/shināsī va taṣḥīḥ-i mutūn)

Abstract Mirzā Niʿmat Khān ‘Ālī Shīrāzī was a prominent poet and writer of the Indian style during the Mughal period, active in the latter half of the 11th and the early decades of the 12th century AH (17th–18th century CE). Despite his literary significance, the absence of a critically edited version of his Dīvān has left his poetry largely unexplored in contemporary scholarship. This study aims to provide a codicological overview of his work by introducing and analyzing ten extant manuscripts of his poetry. These manuscripts, housed in libraries across India, Iran, the UK, Tajikistan, and Pakistan, encompass a wide range of poetic forms including ghazals, qasidas, quatrains, chronograms, satires and witticisms, riddles, and enigmata. The analysis focuses on various aspects such as physical features, dates of transcription, textual comprehensiveness, legibility, orthographic accuracy, and intertextual relationships among the manuscripts. The findings identify the manuscript preserved at the Khuda Bakhsh Library in Patna—dated 1110 AH and transcribed during the poet’s lifetime—as the most authoritative extant version, due to its completeness, orthographic precision, appropriate script, clear beginning and ending, and an identified scribe. Nevertheless, some alternative manuscripts offer more accurate or complete readings in certain cases, which are valuable for textual evaluation and comparative analysis. This research lays the groundwork for the recovery and scholarly engagement with this neglected corpus of Persian poetry.

Abstract "Tohfatol-A'azem 'Alam Ara" is a historical-Shiite epic poem written in the second period of Nasir al-Din Shah's reign by a poet with the pen name "Asi" and transcribed by his son with the pen name "Qasir" in Rajab 1282. It is kept in the library of Astan Quds Razavi (Mashhad) with the retrieval number of the copy 12436. This copy has important features in terms of language and calligraphy, which will be examined and introduced in this article in a descriptive-analytical manner."The Great Gifts of the Scholars of the World" is a historical-Shiite epic written in the second period of Nasir al-Din Shah's reign by a poet with the pen name "Asi" and transcribed by his son with the pen name "Qaser" in Rajab 1282. It is kept in the library of Astan Quds Razavi (Mashhad) with the retrieval number of version 12436. This version has important features in terms of language and calligraphy, which will be examined and introduced in this article in a descriptive-analytical manner. The most important features of the text's transcription are: continuous writing of linguistic elements (for example, the vowel "e" (e), the dependent antecedent "an", the verb prefix "mi" (may), and even the conjugation of a compound verb) and separate writing of "به" (to) in the place of the verb prefix, the substitution of the vowel "ِ" for the neuter "-y", the substitution of "-y" for the suffix "ِ", and the substitution of the vowel "ُ" for the suffix "ِ".

Abstract Mystical Tazkirahs, known throughout their historical evolution by various titles such as Tabaqat al-Sufiyya, Vali-namah, and Awliya-namah, are considered one of the most important branches of Sufi literature. The Indian subcontinent, and particularly the region of Kashmir—renowned as "Little Iran" (Iran-e Saghir) due to the prevalence of the Persian language and literature—has been one of the primary centers for the formation and proliferation of this genre. Within this cultural context, the versified Tazkirah Ghawsiyyah, composed by Baha al-Din Mattu (d. 1247 AH), holds special significance as the third volume (daftar) of his Khamsah. This work, written in the Mathnavi (rhyming couplet) form and composed in the poetic meter of Khafīf Musaddas Makhbūn, is dedicated to narrating the lives and miracles (ahval and karamat) of Shaykh Abd al-Qadir Jilani (d. 561 AH), known as 'al-Ghawth al-A'zam' (the Supreme Helper), and his direct and indirect followers, with a particular focus on those who lived in Kashmir. Employing a descriptive-analytical methodology and based on the manuscript held at the Ganj Bakhsh Library in Islamabad (MS no. 8319), the present study conducts a codicological analysis of this work. Furthermore, within the framework of Tazkirah genology, it examines the work's formal and contextual aspects, compares it with other mystical tazkirahs composed in the Indian subcontinent by elucidating their similarities and differences, and thereby establishes the position of Ghawsiyyah as an example of a regional, versified mystical Tazkirah.

Abstract Seyyed Sharif Horufi (8th-9th centuries AH) was a prominent poet and mystic of the Horufi order. Despite leaving behind a considerable body of work, he has received scant attention in primary sources of Persian literary history. This research, employing a descriptive - analytical method and based on library studies, examines two manuscripts of his Divan (collected poems). The first manuscript (No . FY152 , Istanbul University Library), which is complete and meticulously corrected with a transcription date of 1124 AH, is considered an authoritative source. It contains 156 ghazals, 28 qasidas, 19 quatrains, 2 tarji'-bands, 1 tarkib-band, 1 musammat, and 1 pieces . Given its volume and diversity of poetic forms, it constitutes a significant resource for researching this poet's work. The second manuscript (No . FY130 , Istanbul University Library), which has lost its initial pages and lacks a date, shows substantial content differences compared to the first. It shares only two qasidas with the complete version and lacks quatrains and tarkib-bands. However, it contains 99 additional ghazals and 4 extra pieces not present in the first manuscript. These quantitative and qualitative differences make the second manuscript an important source for comparative studies and investigating the evolution of Seyyed Sharif's poetry.

Abstract Astaraabad and Gorgan, due to their association with the Qajar tribe, have alwayss held great significance during the Qajar period. It was expected that the Qajars would pay special attention to the economic conditions and the development of the region. However, an examination and analysis of the revenue and expenditure ledgers does not support this expectation. This study focuses on the transcription and re-examination of the revenue and expenditure manual of Astaraabad and Gorgan, alongside a statistical analysis of It, to explore not only the developments In the Astaraabad and Gorgan region during the governorship of Vahid-Allah Mirza but also shed light on some aspects of the economic history of the Qajar period. The research method In this paper Is descriptive-analytical, based on document-based and library research. The findings of this study indicate that during the Qajar era, most of the taxes collected from the provinces and regions, including Astaraabad and Gorgan, were allocated to governmental expenses, military costs, Salaries of civil servants, and royal princes, with very little being spent on the region itself. This practice not only hindered the local economic growth but also contributed to the minimal amount of tax revenue reaching the central treasury. his practice not only hindered the local economic growth but also contributed to the minimal amount of tax revenue reaching the central treasury.

Abstract Abstract
Purpose: The purpose of this study is to identify the criteria for manuscripts appraisal .

Methodology: The present research employs a mixed qualitative–quantitative approach, including (1) documentary and library research, and (2) content analysis. The study was conducted through open and semi-structured interviews with 10 experts . Participants were selected purposefully based on their expertise.

Findings: The findings obtained from documentary studies, expert interviews, and thematic analysis reveal that the appraisal of manuscripts can be categorized into three main areas—codicology, bibliography, and other factors.

1. Codicological factors: Variable information of each manuscript; illuminations, ornamentation ; miniature ; types and quality of calligraphy and so on.

2. Bibliographical factors: Fixed information of each manuscript; title; subject; language ; beginning and end of the text; date and place of composition, etc.

3. Other factors: Ownership ; whether unique or part of a collection; the number of existing copies in libraries and the impact of rarity or dispersion nationally or internationally.

Conclusion: The identified components—comprising one hundred extracted criteria with comprehensive coverage of the topic—should be taken into account when appraising manuscripts. Neglecting any of these factors could seriously undermine the accuracy and reliability of the appraisal. It is therefore recommended that these components be compiled into a checklist for appraisers to ensure no criteria are overlooked, to promote consistency and consensus in manuscript valuation.
Keywords: Manuscripts; National Library and Archives of Iran; Evaluation; Appraisal; Valuation Criteria

Abstract The Manichaean manuscripts and the Abbasid Qur'an are among the most prominent examples of book art in the Manichaean and Islamic religious traditions. Manichaean manuscripts, rooted in the mystical beliefs of Manichaeism, exhibit a distinctive structure in writing and decoration. These texts showcase visual and spiritual creativity through the use of alternating red and black scripts to distinguish paragraphs, unique punctuation marks (such as dots at the beginning and end of sentences), intricate floral motifs, elaborate marginal decorations, and the application of gold to symbolize the concepts of light and darkness. In contrast, the Chester Beatty Qur'an, a distinguished example from the Abbasid period, embodies the characteristics of Islamic art with its angular Kufic calligraphy, geometric and floral illuminations, and emphasis on the majesty of the divine word. The research questions are as follows: What was the writing structure of Manichaean manuscripts, and which elements were used for decoration and to what purpose? The findings reveal that Manichaean manuscripts adhere to specific writing conventions, including the use of alternating scripts, consistent punctuation, and rich decorations such as floral motifs, multilayered marginal designs, and gold to emphasize mystical concepts. A comparative analysis with the Abbasid Qur'an demonstrates shared elements, including the use of gold, floral motifs, intricate marginal decorations, elongated script, and certain punctuation marks. These commonalities, particularly in floral illuminations and the symbolic use of gold, indicate the influence of the Manichaean tradition on the development of Islamic book.

Abstract This article examines and analyzes a little-known work from the late ninth century AH entitled Badīʿ al-Zamān fī Qiṣṣat Ḥayy ibn Yaqẓān by Fazlallah ibn Ruzbihan Khunji. The text was composed within the tradition of the philosophical tale of Ḥayy ibn Yaqẓān; however, its position among earlier versions has not been clearly determined. The principal question of the study is whether Khunji’s narrative is primarily based on the Arabic account of Avicenna or that of Ibn Tufayl, and what philosophical and stylistic approach the author adopted in his rewriting. The aim is to clarify the textual source of the narrative, to analyze the author’s intellectual orientation, and to evaluate the stylistic features of the work within the context of ninth-century Persian prose. The research employs a descriptive-analytical method with a comparative approach, based on the examination of manuscript copies, codicological description and collation, and comparison of narrative structure and philosophical concepts with earlier versions. The findings indicate that, in terms of narrative structure and sequence of events, Khunji’s account aligns more closely with Ibn Tufayl’s version, although in its theoretical framework it tends toward the Peripatetic philosophical tradition. By incorporating Qurʾānic verses, hadiths, poetry, rhymed prose, and other rhetorical devices, Khunji sought to demonstrate his mastery of ornate and technical prose. The study concludes that the work is not merely an abridgment of earlier narratives, but a conscious re-creation adapted to the intellectual horizon and literary taste of its time, representing an important link in the development of the philosophical

Abstract Manuscripts are buried treasures. By examining the works of past scholars, one can access their valuable scientific and literary heritage and learn the foundations upon which today's specialized knowledge is built, particularly in the field of literary criticism. Muzaffar ibn Fadl al-Alawi has authored an innovative work in Arabic. This research focuses on two manuscripts housed in the Astan-e Razavi Library and the National Library of Iran. This study was conducted using a descriptive-analytical and documentary approach, through a library review of two manuscripts housed in the Astan-e Razavi Library and the National Library. The manuscript begins with a description of a debate between al-Mutanabbi and Hatim and continues with a statement of the accusations of plagiarism leveled against al-Mutanabbi. In addition to providing a further explanation of the famous Arab poet Al-Mutanabbi, this research contributes significantly to the dissemination of verses, anecdotes, and the names of unknown or forgotten figures mentioned for the first time. Furthermore, given the prevalence of the "plagiarism" perspective and its challenges, this study not only serves as a comprehensive source in this field but also confirms that Al-Mutanabbi has been a subject of great interest throughout all ages. The main objective of this study is to present these two manuscripts. This research aims to answer the following questions by studying the existing copies and the characteristics of each: Who is the author of this work? What are the visual and content characteristics of the surviving manuscripts? And what is the importance of correcting and

Abstract Two distinct recensions of Bahr al-Ḥaqāʾiq, the Arabic mystical tafsīr by Najm al-Dīn Rāzī, have come down to us. The first is a longer and older version, fragmentary and marked by numerous textual lacunae. The second is a shorter, more coherent recension, widely preserved across manuscript collections worldwide. The extended version is densely interwoven with quotations from earlier exegeses—particularly al-Thaʿlabī’s al-Kashf wa-l-Bayān—and reflects the formative stage of Rāzī’s interpretive voice. In contrast, the concise version offers a more refined and independent commentary, presenting the author’s mystical insights directly, continuing up to Sūrat al-Najm.

Significant differences among manuscripts—including in prefaces, sūra arrangement, terminology, and style—alongside the existence of abridgments by later mystics such as ʿAlāʾ al-Dawla al-Simnānī and Shams al-Dīn Sāwajī, necessitate thorough codicological investigation. This study analyzes selected manuscripts and internal textual features to argue that Shams al-Dīn Muḥammad b. Ḥasan al-Sāwajī, a close disciple of Rāzī, prepared a revised and abridged version of the original tafsīr in Shushtar, likely under his teacher’s supervision. Most later copies appear to derive from this version. Thus, al-Sāwajī emerges not merely as a transmitter, but as a textual architect whose editorial intervention played a decisive role in shaping the final authoritative recension of Bahr al-Ḥaqāʾiq.