Staatsbibliothek zu Berlin

Born in Stuttgart in 1883, Oskar Rescher was a prolific Orientalist of the
20th century. He spent his life between Germany and Istanbul from 1909
to 1925 and settled down in Turkey in 1925. He studied many manuscripts found in private collections, libraries, and second-hand bookstores and sold thousands of manuscripts to various libraries and second-hand bookstores in Europe and America. Although the details have not been uncovered, Rescher’s manuscript sales are still being voiced in certain circles; however, his manuscript trade has not been the subject of any study until ours.
This article constitutes the second phase of a series of studies. The first article, titled “Oskar Rescher – Biographical Finds around Manuscripts, Books, and Libraries” and the product of a collaborative effort, focused on Rescher’s life and his trade activities with the Berlin State Library. The current study draws attention to two issues. The first involves the 1,722 volumes sold to the Berlin State Library after Rescher’s death. According to our determinations, these manuscripts did not belong to Rescher. The second issue involves the manuscripts Rescher sold to the Berlin State Library between 1913-1936. This article provides a detailed list of these manuscripts after mentioning the sales process. Thus, this study intends to direct attention to the 1,192 manuscripts one Orientalist scholar had personally selected, studied, and sold.
The title, author name, and language are specified for each work on the list that has been organized with respect to the date and identification order by which the manuscripts were recorded in the acquisition journal at the library; this includes majmuas, and the manuscripts’ shelf numbers are also given. The list additionally includes the catalogue reference where detailed information about the related manuscript can be found; manuscripts not yet catalogued have been also noted.

Bu çalışmada Berlin Devlet Kütüphanesi’ndeki kataloglanmamış Türkçe yazmalar üzerine yapılan araştırmalar neticesinde elde edilen bulgular ilim âleminin dikkatine sunulmaktadır. Almanya’nın en büyük devlet kütüphanesi olan Berlin Devlet Kütüphanesi (Staatsbibliothek zu Berlin), 11 milyondan fazla basılı materyale ve 10 milyonun üzerinde mikrofilme sahiptir. Buna ek olarak kütüphanede yazmalar, haritalar ve tarihî gazeteler dâhil olmak üzere iki milyonun üzerinde malzeme bulunmaktadır. Kütüphanenin Şarkiyat Bölümü’nde 3300 civarında Türkçe yazma mevcuttur. 1889 ile 1981 yılları arasında hazırlanan altı farklı cilt ile bu yazmaların 1977’si kataloglanmıştır. Geriye kalan Türkçe yazmalar hakkında, eser ve müellif adları dâhil olmak üzere herhangi bir tespit yapılmamıştır. Bu çalışmada, İstanbul Medeniyet Üniversitesi Bilimsel Araştırma Projeleri kapsamında, Berlin Devlet Kütüphanesi Şarkiyat Bölümü’nde yürütülen “Berlin Devlet Kütüphanesi’nde Bulunan Kayıtsız Türkçe Yazmaların Tespiti” adlı proje çalışmaları esnasında tamamı görülen ve temel girdi alanları tespit edilen kataloglanmamış Türkçe yazmalar hakkında öne çıkan hususlar değerlendirilmiş, kayda değer görülen yazmalar bilim dünyasının dikkatine sunulmuştur.

‘Nîsâbûrî’nin (Sa’lebî) ‘Kısas-ı Enbiyâ’ Adlı Eserindeki Minyatürlerde
Melek Figürü Ve Özgün Tasarımlar’ başlıklı Sanatta Yeterlik Tezi kapsamında
Peygamber Hikâyeleri olarak tercüme edilen Kısas-ı Enbiyâ adlı (Kitābu’ara’isu’lmecālis
fį ķıśaśu’l Enbiyâ) yazma eserin 16. yüzyılda Sâfevi devleti hâkimiyetinde olan
Kazvin ve Şiraz şehirlerinde istinsah edilmiş nüshaları incelenmiştir. Eserin orijinal
nüshası Nîsâbûrî (Sa’lebî) tarafından 11. yüzyılda Nişabur’da yazılmıştır. Eserde, Âdem
ve Havva’dan başlamak üzere Kur’an-ı Kerim’de geçen 25 peygamber ve önemli dini
kişilerin mucizelerine ait hikâyeler resimlenerek anlatılmıştır. Bu çalışma kapsamında
eserin günümüzde uluslararası koleksiyonlarda bulunan 6 istinsah nüshasındaki 49
melek figürlü minyatür incelenmiştir. Bu nüshalar, ‘Staatsbibliothek zu Berlin (SBB),
1577 tarihli Diez Fol A.3’; ‘Bibliothèque Nationale De France (BnF), 1581 tarihli
Persan 54’; ‘Bibliothèque Nationale De France (BnF), 1595 tarihli Persan 1313’; ‘The
New York Public Library (NYPL), 1577 tarihli Spencer Persian 1’; ‘The New York
Public Library (NYPL), 1580 tarihli Spencer Persian 46’ ve ‘Dallas Museum Of Art
(DMA), 1570/1580 tarihli Keir 3’te bulunan yazma eserlerdir. Bu yazmalar arasında
‘Meleklerin Hz. Âdem’e Secde Etmesi’, ‘Hz. Âdem ve Havva’nın Cennetten
Kovuluşu’, ‘Hz. İdris’in Öğrencileri ile Cennet Bahçesinde Sohbeti’, ‘Hz. İbrahim’in
Ateşe Atılması’, ‘Hz. Eyyûb ve Eşi Rahime’, ‘Hz. Musa’ya Cebrail’in Kutsal Kitabı
Getirmesi’, ‘Hz. Süleyman ve Kraliçe Belkıs’, ‘Hz. Süleyman’ın Ölümü’, ‘Hz.
Muhammed’in Mi’rac’a Yükselmesi’, ‘Peygamberlerin Cennet Bahçesinde Sohbeti’ vb.
konulardaki minyatürlerdeki melek figürleri incelenmiştir. Her bir Melek figürünün
mürekkep ve fırça ile aydınger kâğıda eskizleri çizilerek, biçim ve hareket özellikleri
daha anlaşılır hale getirilmiştir. Bu sayede meleklerin kompozisyonda bulunduğu yer ve
görevleri; tasarım özellikleri, genel fiziksel özellikleri, simaları, saç modelleri, giysi
tasarımları, başlıkları ve kanatları ayrı detaylar halinde analiz edilmiştir. Bu çalışmanın
amacı, incelenen yazmalar çerçevesinde, minyatürlü yazmalarda görülen melek
figürlerine ilişkin bir biçim, renk ve üslûp derlemesi yaparak, melek figürünün
geçmişteki anlam ve simgesel özelliklerini de göz önüne alarak günümüz sanat anlayışı
içinde değerlendirilmesine zemin oluşturmaktır.
ABSTRACT  The copied versions of Qisas Al-Anbiya (Kitābu'ara'isu'l-majālis fįiśaśu'l
Enbiyâ) which were written in the cities of Qazvin and Shiraz dominated by the Safavid
state in the 16th century were examined within the scope of the proficiency in art thesis
entitled ‘The Angel figure in the Illustrations of Nîsâbûrî’s (Sa’lebî) Qisas al-Anbiya
and Unique Designs’ which was translated as stories of the prophet. The original copy
of the work was written by Nishaburi (Sa’lebî) in Nisabur in the 11th century. In that
work, stories about the miracles of twenty-five prophets and significant religious people
in the Qur'an, commencing with Adam and Eve, are narrated with illustrations. As part
of this study, forty-nine angel-figure miniatures in six copies of the work, which are
currently in international collections, were examined. These copies, ' Staatsbibliothek zu
Berlin (SBB), Diez Fol A.3 dated 1577 '’ 'Bibliothèque Nationale De France (BnF),
Persan 54 dated 1581; 'Bibliothèque Nationale De France (BnF), Persan 1313 dated
1595'’’the New York Public Library (NYPL), Spencer Persian 1 dated 1577'; ’ The New
York Public Library (NYPL), Spencer Persian 46 dated 1580 ‘and ' Dallas Museum of
Art (DMA) are the manuscripts found in Keir 3 dated 1570/1580. Among these
manuscripts, angel figures in miniatures with the theme of ‘the Prostration of the Angels
To Prophet Adam’, ‘The expulsion of Adam and Eve from Heaven‘, ‘Idris’
Conversation with his disciples in the Garden of Eden', 'The story of Abraham Thrown
Into The Fire’, 'Abraham's Ascension', ‘Queen Belkis‘, 'Death Of Solomon’, '
Muhammad's Ascension to Miraj’, and ‘The Conversation of the Prophets in the Garden
of Eden’ were examined. By drawing sketches of each angel figure on tracing paper
with ink and brush, the shape and movement characteristics have been made more clear.
In this way, the place and duties of the Angels in the composition; design
characteristics, general physical characteristics, faces, hairstyles, clothing designs,
headdresses and wings were analysed in separate details. The aim of this study, within
the framework of the studied manuscripts, is to create the basis for the evaluation of the
angel figure in today's understanding of art by making a form, colour and style
compilation of the angel figures seen in illustrated manuscripts and by taking into
account the meaning and symbolic features of the past.

In Swahili poetry, praising God through blessings and salutations finds aesthetic expression in a plethora of genres, particularly mashairi, utendi and takhmis. In this article, I will draw attention to a lesser-known rhymed poetic genre known as gungu "songs," in shairi verse form, dating to the turn of the nineteenth century. Different from other well-known, fully devotional Swahili compositions such as Sayyid Aidarus's Hamziyya or al-Būṣīrī's Qasida Burda, the texts that will be analysed are a selected group of short devotional quatrains belonging to a vast manuscript that otherwise chiefly comprises war poetry as well as dance and wedding songs. While, on the one hand, the presence of devotional lyrics in this extensive poetry collection attests to the legitimacy of religious subject matter in popular lyric poems, the verses also offer an opportunity to reflect on literary prayer (dua) and its architecture, lyrical tone and imagery, in comparison with longer classical Swahili religious compositions, where dua is also interpolated. Is there a set of shared Swahili or Arabic formulas for naming, praying to and praising God that can be found in all of these genres? Can the Qur'an be considered as the sub-text the poets drew on in making their texts speak of the divine? A stylistic analysis, looking at patterns, formulaic dua and devotional speech acts of these yet-unedited short devotional lyrics, will provide the criteria by which I will compare excerpts from other Swahili poetic genres, inquiring how Islamic prayer is woven in between their lines.

Introduzione di Mario Piantoni. Traduzione, con testo a fronte, di 5 testi di Adolf von Harnack, direttore della biblioteca reale (ora Staatsbibliothek) di Berlino. Seguono la traduzione di un testo del figlio Axel sul padre e due saggi sulla concezione biblioteconomica di Harnack.

"Alexander Humboldt was essential to the reconstruction and gathering of the pieces that once were part of the Boturini collection. This idea came about not only because he collected some of the dispersed material by himself, but also because he led the way for others, particularly Waldeck, Aubin, Nebel and Udhe, who contributed by transporting pieces of the aforementioned collection to Europe. Humboldt not only highlighted the relevance of the material but also portrayed the situation of the documents in Mexico as terrible; underestimated, badly preserved and in the hands of people willing to sell them. Indeed, the authorities from New Spain had stopped Boturini from extracting the documents but were not able to keep them together and within the borders. Hence, Humboldt wrote about Mexico as a rich source of manuscripts, artifacts, and ruins that awaited to be discovered, studied, and properly safeguarded. The paper reconstructs the history of the Boturini collection up to the current day, focusing on the documents taken to Europe by Humboldt and by other men that followed his footsteps. This chapter is illustrated with wonderful images that make patent
the beauty and relevance of the documents belonging to the collection and held in Berlin and Paris. It makes us wonder what would have happened if Humboldt had not displayed any interest in Boturini collectionand the codices. Would other travelers and collectors have esteemed them highly? Would the Mexican government have implemented policies to stop their exportation and to preserve them? Would we know their whereabouts today?" (From introduction by the volume editors).

Facsimile. Also see full text / Estdudio at https://www.academia.edu/28957804/Codice_Humboldt_Fragmento_1_Ms._amer._2_y_Codice_Azoyu_2_Reverso_Estudio_de_la_Nomina_de_Tributos_de_Tlapa_y_su_Provincia_al_Imperio_Mexicano.
Edition by Gerardo Gutiérrez/Viola König/Baltazar Brito: Códice Humboldt Fragmento 1 (Ms. amer. 2) y Códice Azoyú 2 (Reverso). Nómina de tributos de Tlapa y su provincia al Imperio Mexicano. Bilingual Edition. Buch und Faksimilie. Berlin: Stiftung Preußischer Kulturbesitz, México: Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS).

Kulturbesitz (SBBPK) wird eine große Anzahl wertvoller Briefe von und an den Archäologen O. Puchstein (1856-1911) aufbewahrt 1 . Zusammen mit dem wissenschaftlichen Nachlass im Archiv des Deutschen Archäologischen Instituts Berlin und dem persönlichen Nachlass im Besitz der noch lebenden Nachfolger Puchsteins bildet diese Korrespondenz das äußerst reiche schriftliche Erbe des Archäologen 2 . Die ein-und ausgegangenen Briefe Puchsteins in der Staatsbibliothek Berlin stellen eine weltweit aufgebaute Korrespondenz mit den führenden Archäologen, Philologen und anderen Gelehrten verschiedener Wissenschaftsdisziplinen des späten 19. und frühen 20. Jahrhunderts dar. Diese Briefe sind von herausragender Bedeutung für die Wissenschaftsgeschichte, vor allem für die der Archäologie. Der vorliegende Beitrag stellt den Gesamtkatalog der aus-und eingegangenen Briefe Puchsteins in der Handschriftenabteilung der Staatsbibliothek Berlin -Preußischer Kulturbesitz vor. Die Korrespondenz umfasst insgesamt 631 Briefdokumente wissenschaftlichen Inhalts, Telegramme und Sonstiges. Insgesamt sind 142 an Puchstein adressierte Briefe, Post-und Briefkarten erhalten, von Puchsteins Seite insgesamt 489 Briefe, Post-und Briefkarten. Es sind die folgenden Korrespondenten aufgeführt: als Adressaten: A. Conze,

The new version of this paper offers musical transcriptions and a detailed analysis of nine insertion arias sung by Maria Marchetti Fantozzi and Domenico Bedini at Genoa's Teatro S. Agostino during the Carnival season of 1789. Marchetti's personal version of Angelo Tarchi's Rondò "Nel lasciar l'amato bene" is analyzed and transcribed, based on the Berlin score Mus. ms. 21263 and the Milan score. The second part of the paper concentrates on short scores from the Fondo Antico in the Conservatorio Niccolò Paganini in Genoa. They contain arias inserted by Marchetti and Bedini into Guglielmi's opera "Enea e Lavinia" and the Pasticcio ´"Attalo re di Bitinia". Both opera productions are reconstructed in detail, and the short scores are described concerning the arrangement practices and the repertoire of the two famous Mozart singers Marchetti and Bedini: their choice of insertion arias, the textual and musical arrangements, the cuts in the ensembles, embellishments and other strategies, last but not least the impact of the insertions on the dramaturgy of Guglielmi's most famous opera seria. Finally, those arias reveal a number of parallels to Mozart's music written for Marchetti and Bedini in "La clemenza di Tito". Especially Tarchi's Rondò "Nel lasciar l'amato bene" and Cimarosa's aria "Teneri dolci affetti" from "Attalo" can be seen as forerunners of Mozart's aria and Rondò for Vitellia.

The article is devoted to one of the lute music manuscript which comes from the lute tablatures collection of Krzeszów (Grüssau) Cistercians from the 18th century. It is kept now at the National Library in Warsaw (call number: PL-Wn Mus. 396 Cim.) but until World War II it was placed in the Schaffgotsch’s library collection in Cieplice Śląskie (Bad Warmbrunn). There it was made available for the public as a lute tablature with the call number K. 44. This manuscript aroused interest of, among others, a famous bibliophile, lute music lover and researcher Wilhelm Tappert (19.02.1830 – 27.10.1907). He was of the Silesian origin because he was born in Tomaszów Bolesławiecki (Thomaswaldau) in the Lower Silesia. During his research on this manuscript since July 10th, 1895 until April 8th, 1900 he stayed in neighboring Agnieszków (Agnetendorf) — since 1998 a district of Jelenia Góra city (Hirschberg). He placed his own remarks, notes, transcriptions, copy of pieces and printed brochures in his notebook which now functions as a manuscript in the „Nachlaß Tappert” collection preserved in the Staatsbibliothek Berlin – Preussischer Kulturbesitz under call number D-B Mus. ms. 40277. This manuscript has not been a subject of a detailed research until now. It has been only mentioned by researchers that it exists in general. The research has shown that the manuscript D-B Mus. ms. 40277 does not contain a copy of all pieces from the lute tablature of the 18th century. There are only 46 works, moreover, the vast majority of their genres are minuets (13). The copy of the Silesian manuscript was also a pretext to reach for Wilhelm Tappert’s collection, what allowed to pay attention to his broad journalistic, scientific, artistic and especially bibliophile activity. Nachlaß Tappert is a collection which contains not only information which present a huge spectrum of Wilhelm Tappert’s work, but it is also an extremely valuable information source for doing research on the history of lute music. While making many copies of handwriting and printed sources Tappert used the collections which are unavailable now. His huge heritage appears to be a priceless information source about the lute music history and also about the musical culture of Silesia together with folk music.

The history of the collection of zoological and botanical watercolours known as Libri Picturati A 16–31 is a long and complex one. Scholars have mainly focused on its origin and vicissitudes during the sixteenth century. Daniel Weiman (originally Weimann), Chancellor of Kleve, was possibly the third known owner of the 16-volume collection, but so far little attention has been paid to the vital role he played in the compilation of Libri Picturati A 16–31. This paper sets out to analyse the importance of Daniel Weiman and to chart the history of the volumes during the seventeenth century, when the collection assumed its final shape.

From the current vantage point of the transformation of books and libraries, Mani presents a historical account of world literature. By locating translation, publication, and circulation along routes of "bibliomigrancy"--the physical and virtual movement of books--Mani narrates how world literature is coded and recoded as literary works find new homes on faraway bookshelves.

Mani argues that the proliferation of world literature in a society is the function of a nation's relationship with print culture--a Faustian pact with books. Moving from early Orientalist collections, to the Nazi magazine Weltliteratur, to the European Digital Library, Mani reveals the political foundations for a history of world literature that is at once a philosophical ideal, a process of exchange, a mode of reading, and a system of classification.

Shifting current scholarship's focus from the academic to the general reader, from the university to the public sphere, Recoding World Literature argues that world literature is culturally determined, historically conditioned, and politically charged.