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0FOLIO FROM MANUSCRIPT A DIVAN OF MIR "ALI SHIR NAVAI "IN SILK ROAD INTERNATIONAL UNIVERSITY TOURISM AND CULTURAL HERITAGE (ARTISTIC STUDY AND TO BE PUBLISHED FOR THE FIRST TIME) Heba EL sayed Ahmed EL amir
Inspector of archaeology, master from university sohag ,Egypt , (MA) silk road international
university
https://doi.org/10.5281/zenodo.11101461
Abstract. Diwan Al-Nawa'i or Ali Shir Navai ( 16 century) one of the most famous manuscripts dating back to Alisher Nawai and one of the most famous literary manuscripts in East Asia. Many libraries have copies of this Divan, This research is unique in publishing copy a manuscript paper from this Diwan preserved at the International Silk Road University, And studying it, as well as introducing the manuscript, the Diwan, and its author, Alishir al-Nawawi, who is considered the founder of Turkish (ancient Uzbek) literature and the first to set its rules, so scholars followed his approach, using his vocabulary and words. And studying the various artistic elements that appeared in this manuscript and the various influences. - this research is important for the archaeological dimension in studyig the manuscript in the authors copyfrom the archaeological point nof view ,considering that is in itself an inscribed artefact.
This research will show the archaeologial indicators and features of manuscript ,saved in the silk road international university subject of study ,In the context of what was mentioned in the sources about the methodology from copying books .
Identifying a new version and its importance, highlighting the artistic elements it contains artistic and aesthetic values and learning about the design that uses colours drawings, etc
Keywords: Manuscript, Diwan Al-Nawa'I,Divan ali shir navai, Altemurin, Herat, Motifs.
-Definition the Folio from Manuscript a Divan of Mir "Ali Shir Navai:-
This element will address the definition of the source of the manuscript paper - the subject of the study -Its author, his career, his most important works, his copyist, and the collection from which this manuscript was copied - the subject of the study.
Manuscript title Divan of Mir "Ali Shir Nava Or Diwan Al-Nawa'i
Author Name Ali Shir Nava
Copy date unknown
Copy place Maybe Bukhara
Manuscript classification Literature
Place of the saved Silk Road International University
Paper shape and color White tends to yellow
The language of the written text Turkish (Old Uzbek)
Manuscript lines 13 lines
Font used Nasta'liq
Ink color Black, blue and gilding and red
The general form of the manuscript Verygood
The author Ali Shir Navai (1441-1501AD
He was born in the city of Herat during the reign of Shahrukh, son of Prince Timur. He was known as "Nizam al-Din Mir Alisher." He belonged to a wealthy family, as his father was one of the employees of the Timurid palace. For this reason, he grew up in the royal palace and received his education in the city of Herat in Khorasan during the period Timurid, and studied under Hasan Ardashir And the famous Persian poet Jamei, and began to show his talent in reciting poetry at the age of ten. He was also a study classmate of "Hussein Bayqar," who became sultan
and ruler of the country in the year (1469-1506 AD), and because the friendship between him and Alisher held several positions in the Royal Court, during his political life, such as 'Mehr Dari' assuming responsibility for the Emirate of the Supreme Court, the Herat government, and the Astrabad government.
He was also a minister and advisor to Sultan Hassan Bayqara. Alisher worked tirelessly to strengthen the government of Sultan Hussein Bayqara. He played a major role in building, developing, and prospering the country. He carried out many initiatives, as he supervised the construction of public facilities in the country. On the personal side, he was interested in art and architecture. Miniatures, teachers, calligraphy, and music. He was a lover of science. He gave students and teachers lucrative salaries, and he was interested in building schools and scientific centers. Despite that, those around Sultan 'Hasan Bayqara' spoiled their relationship, so he sent him as governor to Astrabad in the year 1487 AD. He stayed there for two years, then the Sultan Hussein allowed him returned to Herat and was offered a government position, but he refused and decided to devote himself to literary works and his writings.
-The most important works of Alisher Navoi: -
He produced more than 30 works over 30 years, including:
--Diwan Navai
-khamsa or Hamsa
- Lisan Altayr(Bird's tongue)
- Logic of the Bird TO Sheikh Farid al-Din al-Attar (Mantiq Altayer )
- Siraj Al-Muslimeen - Manzumat Alarbieayn - Nazam Aljawhar
-Mahbub Alqulub - Tarikh Alianbia - Khamsat Almutajirin
-Muhakamat Allughatayn - Mizaj Bilhwan - Dawlat Alsayid Hasan Ardshir
- Almufradat faa tiqniat allughz
And many other books Due to ALisher .
-The development of language by Alishir:-
Ali Elishir is considered the founder of Turkish classical literature, "Old Uzrbek." Many scholars mention that Ali Alishir was the one who spread the language and set its rules, at a time when the Persian language was the most important in that era.
Whereas, during the second half of the fifteenth century AD, the "old Uzbek" Turkish language took a turning point, and Turkish "Uzbek" literature reached its peak at that time. Although Alishir Fully adept at using of writing in Arabic, Uzbek, and Persian, and He left works in these "Turkish "Old Uzbek," and Persian languages, they called him the "two-tongued" poet, but in most of his works he used the Turkish (Old Uzbek) language to confirm that he was not In any way it is inferior to the Persian language, as he revealed a rich vocabulary in the Turkish language with concrete examples. He mentioned more than a hundred verbs that are not in the Persian language, and his development of the language is similar to the "Al-Fardousi" development of the Persian language, as he gave it content and form through the use of clean and delicate words and the addition of new terms To the language.
As the researcher previously pointed out, the literature in the state language at that time was mainly Persian, but Alishir chose to write in the Turkish language, "old Uzbek," and this is due to two reasons:
First:He wants all his books to be read by the general public,and the largest possible number of citizens, so that there can be a social, political, and cultural impact through his writings.
Second: Strengthening the state of Hasan Bayqara and increasing its importance, and he expresses his satisfaction with the teaching of the "old Uzbek" Turkish language. For this reason, Alishir's works gained great fame, and his books reached the homeland in a short time, and today he is called the father of Turkish literature"Uzbek old ".
-Copyist Or the calligrapher :-
Although there is no written text indicating the copyist or even the patron of the art on the manuscript, it is through the rapid implementation of the artistic elements within the manuscript and their meanings, Concerning the artist who was able, through a few decorative elements and specific colors, to produce a wonderful picture full of this momentum, as well as his great ability to use the Nastaliq script, all of this indicates that he is a copyist with high skill and a high ability to create the calligraphy.
Diwan Nawai or Navia :-
We find that the study paper was copied from the Diwan Naway, or in Persian, "Fani" There are two copies of this Diwan, one of which is located in Herat in the National Council in Tehran, and the second copy is located in the Research Institute for Manuscripts at the Al-Biruni Institute. This Diwan consists of four parts, the first part "gharayib alsighar" Wonders of childhood" and the second part "Navadir-al-shabab" and the third part 'Bada'i al waset' "curiosities of middle age "and the fourth part "fawayid alkibar" " benefits of old age" Some parts of it contain very wonderful miniatures,This collection consists of 50,000 verses of poetry, each of its parts describing a person's life at different periods of his life. In his poetic style, Alisher Nawani used sonnets (which consist of meter and rhyme), ghazals, quatrains, pentameters, and monologues. The poem was not included in it, as the author hoped to create a "separate volume" about it.
As for the history of this collection, we do not know a specific date for it because there is no history on it, but it is mentioned that Alishir al-Nawawi began compiling his Diwan when Husayn Baqarah assumed the throne in the year (873-1468 AD) after Hussein advised him to do so, and Alishir also referred to the Diwan In the manuscript of Khams or Hamsa He divided the Diwan into four parts and mentioned their names. He also referred to this collection in the introduction to the manuscript "Lisan al-Tair," which dates back to (954-1499 AD).
After research and review, the researcher concluded that this study paper was copied from the first part of the collection gharayib alsighar" Wonders of childhood"
The Descriptive study to Folio from Manuscript a Divan of Mir "Ali Shir Navai :-
We find that this manuscript consists of double-frontispiece, Each page occupies a large rectangle. This rectangle is divided into 13 rectangles, the largest and widest of which is the rectangle in the middle. Each rectangle is divided into two parts: one part is occupied by a floral decoration, and the other is occupied by writing, as in the first rectangle of the page, where we see the first part is a rectangle with a drawing of half a hexagonal rosette inside it. The petals are colored white, while the navel of the flower is colored yellow or gold. As for the second part of the rectangle, it is the largest space, and the artist allocated it to writing the first verse of his poetic verses in black, and in Nastaliq script.
Next is the second rectangle, which is also divided into two parts, the first part of which is occupied by writing, and the second part is a floral decoration that does not differ from the flower found in the first rectangle, and the artist continues to use the same decoration and writing in the rest of the other rectangles. As for the middle of this rectangle, as we said before, it is the largest of the rectangles in size. The artist divided it into three horizontal rows. The first row is occupied by writing in Nasta'liq script. The second row is a plant branch consisting of plant leaves colored
green, interspersed with half-flowers colored white and the petals colored yellow. The third row is allocated by the artist for writing, and the three rows end with a rectangle occupied Large, fully formed flower and plant branches. Colored green and white.
This rectangle is surrounded on the left side by a decoration of a Byzantine cross (Russian cross), consisting of four equal sides, each side ending with three lobes, and each side is occupied by a flower decoration from which plant branches emerge, colored yellow (gold) on a blue background, A thin red line emerges from the head of the cross, and connects in a Rhombus shape to the inside of a yellow flower decoration, from which plant branches and leaflets emerge. We can see the same decoration founded at the bottom of the cross.
At the top of the rectangle, we find a decoration consisting of a three-lobed flower, occupied from the inside by a vase decoration from which plant branches and leaflets come out The head of the flower ends with a thin red thread, connected in a Rhombus shape with a floral decoration in yellow. Below the rectangle, we find the same previous decoration for the three-season flower, filled with rosettes and plant branches connected in a specific way with a thin red line. The ground surrounding the rectangle was filled with decorations of plant branches, tree leaves, and flowers, painted in gold, interspersed with small blue dots.
As for the second page of the study paper, it has the same decoration as the first page, and there is no difference in it. These two pages are surrounded by a wide circle occupied by blue zigzag Bars
-The Writings in this manuscript;-
We find that the writings that filled the manuscript were in the Turkish language (ancient Uzbek), which is Sufi poetry, and when I called on experts to communicate and translate these words, they came as follows:
Uj^J^lxU (jl ^jjjjj£ Uj^jl J.'
jLajL ^jjj_& Uj^j^j _u —c'
UJ" ljlj^.jl ¿Mf. ^jl^ J^l U^*^ J
jL^jlj iij olj^J Mm^j
^ jjj« ' "
i ' ^JJ ul*_J ^ U1«J
jjjjljjj Uj^ljjS Jjjl^j jj^ U^J^J.
jjjjl jjU**^ K**^ ^l Jjl j^j -1 ^j» ^jIjjj
jj" ^j jl^ jjulj —^ ' _J ^^Jj JJ^ UJ^
jjjjl jj^ M^ Jj^ Jj ^jI^Jj. AJJJ^Ij Uj^jl ^^^^
jj jjj ul^J^ ^j^l^ UJ-* Mj A^JJ
jjjjl jj—^ ^ jJ Uj^jjj^ jljjj ^JJ Jjl 'LjjjjS jil£jj _^^jjjjjl UJ^
jjjjl jj«^" ^^J lijjJ jl ^^J Uj^jjl Uj^jj
l_jjS l^j_j ^ jv1j j^j
jjjjl jjMr*^ Ul^^jl j^-^ Uj^jl -ja ^^j ljJ
jj^ A^jjj ^jl A«jjj Ul.' Mjjj ijj
jjjjl l^jl jl uI^IS V _S
jjj M^jl UJ^^j j^ J4«JJ ^jJjJ^
jj Jjl jJ^jj Ul^"Jjl A^ jj^ *^ ', ¿Jj jjj yjlla ''*Jjl l^ j^jj^j j1j jjj ' ^jlj' A-ljJ -J^- Vjfl A£ jl^jl
i^Lnljj 4-iiil ^jlj ^ iij« ^jjj Ajli. jj^ jjj jl ^JIJJ Ajl^l^ ¿s^lj jj^ ^'nljJjjj^ Ь jjS ^jjijjj U ^nj ^j^jj^
jjj ^jJla j| jljjj ^jl-J JS J-л Jjj
^lSa.1 jjnK ^JL J_J Jjl
jjj ' jl» J_slj_J j J_J JJ Ijl ^jb -j^
The translation of the text into the Uzbek language is as follows:
Х,ар кавкаб учин гардун ниш этти шу онидин, Гам шоми вафо аклин х,ар нав керак санчар Санчилгон ажал хори, ишк учраса билгайсен Ким жонга бало нишин хджр узгачарок санчар. Жисмин чу Навоийнинг пайкони темур килди, Билмонки, синон эмди багрига нетак санчар? Х,ар каён боксам кузумга ул куёшдин нур эрур, Х,ар сари килсам назар, ул ой манга манзур эрур. Чун масал булди сочинг зулм ичра, ёшурмок не суд Мушк исин яшурса булмас, бу масал машхур эрур. Телбарабмен то ани курман, ажойибдур буким, Ул парий девона кузидин даги мастур эрур. Чун мудом эрнинг майи кошиндадур кофир кузунг, Недин эркинким, даме усрук, даме махмур эрур. Дилраболар доги жоним сафхдсида гуйиё Дард эли ишким учун мух,р айлаган маншур эрур. Пар уруб бошингга тутма авжким, х,ар неча мур Ким, канотлангай качон учмок анга макдур эрур. Гар Навоий сиймбарлар васфин айлаб курса ранж, Йук ажаб невчунки хом эткан тамаъ ранжур эрур Ёр бордию кунглумда анинг нози колибтур, Андогки кулогим тула овози колибтур. Куз хонасини килди барандохта бу ашк, Куз борди, вале хонабарандози колибтур. Кунглум куши то сунбулунгуз домига тушти, Булбул киби х,ар гул сори парвози колибтур. Ул куш сафар айлаб, не тараб гулбунин очкай, Ким бог аро бир сарви сарафрози колибтур -The translation of the text into English is as follows: Each star has drawn a circle around itself from that very moment, The grief of the evening of loyalty pierces the mind anew.
The thorn of destiny is pierced, if love is encountered, you will know That the sting of separation is more painful to the soul.
When Navoi's body was pierced by the arrows of iron, I don't know how the spearhead now pierces his heart.
Wherever I look, the light from that sun is visible to me, Wherever I turn my gaze, that moon is dear to me.
Since your hair has become a parable in cruelty, what is the use of hiding it? The fragrance of musk cannot be hidden, this parable is well-known.
I am mad until I see her, it is amazing
That the fairy-like beauty is still hidden from the eyes of the insane.
Since the wine of your lips is always on your eyebrows, O infidel, Why is it that sometimes you are intoxicated, and sometimes sober?
The heart-captivators are as if they have stamped a decree On the page of my soul for the land of my love.
Do not raise your head in pride, even though an ant May someday have the power to fly.
If Navoi tries to describe the praises of the silver-bodied ones, it is no wonder That the greedy one has become weary.
The beloved is there, and her coquetry remains in my heart, Just as her voice remains in my ears.
This tear has made the house of the eye empty,
The eye has gone, but the one who emptied the house remains.
The bird of my heart, until it fell into the snare of your curls,
Like a nightingale, it has remained in the flight towards every flower.
That bird has flown away, how can it open the rose garden with joy,
When a majestic cypress remains in the garden.
-Analytical study to Folio from Manuscript a Divan of Mir "Ali Shir Navai:-
The analytical study will revolve around the artistic characteristics of this paper, the artistic elements that appeared in it, and the artistic influences that appeared on the study paper.
-The influence of the Arab school:-
The influence of the Arab school in the manuscript of the study appears in the use of the Arabic script in general and the Nastaliq script in particular. Arabic calligraphy at the beginning of Islam was not very precise and proficient, and Muslims were not the first to use writing in the decoration of antiquities, buildings, and other artistic monuments. The people of the Far East preceded them in doing so, and there was no calligraphy that was used in decoration to the extent of Islamic art. So, with the exception of Chinese writing, - It is a stand-alone type - we do not find a line more suitable for decoration than the Arabic calligraphy. Its letters are more suitable for decoration than others, including straightness, curvature, and flatness. The vertical and horizontal
lines in these letters are easy to connect to other decorative drawings, and beauty and creativity are evident in them. Arabic calligraphy has spread more widely than Any other writing, whether written or printed, is widely used in Central and East Asia.
We find that the manuscript of the study used the Nasta'liq script, which is developed from the Naskh script and was called Naskh -Ta'liq because it is a combination of the Ta'liq and Naskh script. The Nasta'liq script is characterized by the inclination of the letters from right to left. This script flourished in the Timurid era, and the princes took an interest in it. It is said that he was the first to establish the rules of this script. The Nasta'liq script was written by the calligrapher Mir Ali Tabrizi, 8th century AH/14th AD. The Nasta'liq script was widely used in the countries of Central Asia . It was used by scholars in writing their practical records and transactions. It was also used on buildings and tombstones. It was also used in literary writings, especially poetry collections. It was called This font is the bride of fonts.
We find that one of the characteristics of this script appeared in the manuscript of the study, as it was devoid of diacritics, with the exception of the second page, which contains a diacritic mark, which is "damma," found on two words, "" csjIj jj^ ' cSJjtj "".
The lines of writing are also distinguished by their ability to accommodate the largest amount of words, due to their flexible ability to shorten and extend between letters and words.
We also notice that this font accommodates the largest amount of letters, as well as the possibility of placing some parts of words on top of others, as on the first page in the seventh line at the word "uj^Ijj5"
We notice the equality between the lines of writing, and that the writing does not depart from the rectangular frame specified for it, except for the first page, line number 12, as the copyist resorted to this because of the large number of words in this line and the lack of sufficient space to complete the rest of the writing.
-Geometric decorations:-
The arts that preceded Islam knew many types of geometric decorations, but they quickly developed at the hands of the Muslim artist, who pledged to change and develop and even created new forms that did not exist before. Under the Islamic arts, geometric decorations took on a special importance and a unique character that is unparalleled in any other civilization in the forms. The shapes of geometric decoration that appeared in the manuscript of the study include the rectangle and the rhombus.(,,,,,,)
-Byzantine Cross (Russian Cross):
It is a cross that was widespread in Russian art, and it consists of four equal sides, each side or arm ending in Trilobed shape. It appeared on the manuscript of the study in a more advanced form than its use in Russian art. See ()
-Floral motifs:
It is considered one of the most important types of decorations used in the arts of pre-Islamic civilization, But the growing role of these decorations is unprecedented in the Islamic era, and plant decorations took on characteristics that were unique to them among the arts in terms of their design and production. It appeared on the manuscript of the study (>>>>>_)
Figure 1 : Folio from Manuscript a Divan of Mir "Ali Shir Navai "in
Silk Road International University tourism and cultural heritage, Published for the first time.
Figure 2: First page of the study manuscript " Diwan Al-Nawa'I"
Figure 4: Geometric Figure 5: Detailed floral
decoration in the form of a decoration
cross
Figure 6: Decoration for a flower
Figure 7: Decoration of a floral ribbon interspersed with flowers
Figure 8: Transcribing the writings that appeared on the study manuscript, Researcher's work
Figure 9: Transcribing of another part of the writings that appeared on the study manuscript , Researcher's work
Figute 10: A transcription of a floral decoration that appeared on the manuscript of the study, Researcher's work
Figure 11: A transcription of a cross-shaped decoration that appeared on the manuscript of the study, Researcher's work
Figure 12: Shapes of the Byzantine cross , according to, https://en.wikipedia.org/wiki/Christian_cross_variants
I
¡1 " 7
IggoQI
II _____- _ __. ^
Figure 13: A transcription of a floral decoration that appeared on the manuscript of the study, Researcher's work
