Farfel Notebook 05: Leaves 317-396

This curious work represents Christ + Satan variance over the subject of the Redemption of Man, the whole proceedings being in the form of an action in a court of law, Solomon acting as judge. The Latin original of this work was 1st printed 1472 Augsburg + the present French translation by P. Ferget in 1481, Lyon, Martin Huss also translated Glenville, Fasciculus Temporum, Rodericus Zamorensis + other works) -- The Belial narrates c all possible legal phraseology the progress of an action brought by Satan against Christ, and tried first before Solomon, afterwards on appeal before Moses, for infringing his rights by redeeming souls which deserved damnation. → d. 1522. (from Mainz) Neumeister BMC VIII p 269 Lyon (4th press) partly c Michel Topié - earliest production at Lyons is taken to be an unsigned ed. of a French translation of J. de Teramo's Belial dated 3 March 1483 which may indicate 1483/4. His next known book is the signed Lyons Missal of 1487 followed by a Vienne Breviary of 24 Jan 1489 + a Psalterium of 15 Feb 1489/90, both signed. The last book bearing his name is the Uzis Missal of 5 Aug. 1495 produced in partenership c Topié, but he is known to have been living until 1522. -- Le nom de Neumeister ne figure plus sur aucun volume apnes 1495. BMC VI p 599 Foligno - 1pt press - with Aemilianus de Orfinis etc. 20 miles SE of Perugia (1470) April 1472 Dante ? 1st ed. BMC VIII p. 351 Neumeister's name is not known to occur between 1472 when he left Foligno + 1483 when he is mentioned in the Tax register of Lyons; but he is accepted as having printed a Tuneaemata, Meditationes in 1479 at Mainz (2) + the same text in teh ed. c the imprint of Albi (3) date \17 Nov. 1481. The French Belial printed c the BMC. I p. 43 same type but without imprint may also have been completed by him at Albi before his removal to Lyons. Belial - a work of Christian theology - the culmination of a tradition at least a century old by the time it was written in 1382 by J. de Teramo (Abp.)

(333 Feb. '92 G.B. Manesck Hanover, N.H. Book Fair LA $90.00

Qur'an - Arabic manuscript in a black Naskhī script, the sacred text is on a special paper, sized c albumin + polished c an agate polisher. The paper was made by a special guild. The text was written in Constantinople by the noted calligrapher, Osman Nuri bin el Haj, and finished 1860. This is a particularly fine example of sacred calligraphy. The calligrapher's work is considered excellent + is represented in museums. The gold work is particularly good c extensive dimpling. This leaf is a lovely example of the calligraphers skill during later Ottoman times. Marginal decoration in left margin. -- Surah XVII. The Israelites. (Bani-Israel). 111 Verses. (11 x 17.5 cm.) 15 lines to the page, gold discs between verses, margins ruled in red + gold, illuminated device in margin, catchword in margin, vowel prints in black. -- Surah heading across top, followed by the bosmllah. Opening line of Sura → In the Name of Allah ([arabic]), the Beneficent, the Merciful.

Ottoman or 'Osmanli' Turks. Turkey + Asia Minor → Capital from 1326 Bursa, from 1453 Istanbul; in control of Egypt 1517-1805. -- output of elaborately decorated octavo Qur'ans produced in + around Istanbul for court families of the Subliem Porte in the 18 + 19th C. The date places it in the reign of the egalitarian Sultan Abdu'l-Majid I. (1839-61) who enacted the political reform of legislative equality for both Moslems + non-Moslems. He also reformed the educational system, + patronage of the arts was singled out for attention.

bosmalah - the expression 'bi-sm Allāh ar-Rahmān ar-Rahīm,' "in the name of God, the Compassionate, the Merciful", which appears at the head of every sūrah of the Qur'ān c the exception of Sūrah IX, at-Towbah.

Calligraphy is the most pervasive element in Islamic art. It has always been regarded as the noblest form of art due to its connection t the Koran. As Islam spread from Arabia to Egypt, Iran, Spain, Turkey + India so too was Arabic writing brought to these lands. Other languages used within the Islamic commonwealth + written in Arabic such as Persian, Turkish + Urdu also demonstrate the prominence of calligraphy.

334

Dawson ; Los Angeles ; February '92 ; $15.00

Sō - Ban. Sōgenhōshu - Kyō , Volume 3 Sung dynasty (10th-13th century).

[Chinese language character] ban [Chinese language character] kyō

30x11.3 cm - single page from accordian binding. 6 columns of 17 characters. Single border. (11.3x24.7 cm)

All of the editions of the Buddhist Canon were monumental undertakings, the production of which spanned many years. Their magnitude was an extraordinary expression of religious zeal & the belief in the benefits & blessings to be derived from reproducing sacred texts.

- It is altogether possible that the use of the term ban (woodblock) in early writings may be in reference to the printing surface rather than the actual physical wood block.

- The size, format, & the binding of continuous folded leaves use characteristic features of sutras of this period (Song).

Sacred Buddhist texts. [right arrow] Sanek^ sûtra Japanese kyotên or kyô Chinese fojing.

- T^ipitaka (printed 4 times during the Sung era) Japanese sanzô - kyô or zokyô

Japanese [?Encyclopedia?] - Sō family - Daimyō family of the island of Tsushima situated between northern Kyūshū & Korea. Military governors under the Kamakura shogunate (1192-1323).

Kyō - a sutra

ban - size, format of a book - folio = [Asian language character with 2+ strokes : looks like curved 7]

Sō [Chinese language character with 5-8 strokes] Sung

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