![]() Search in Google Scholarįorster, Regula / Müller Juliane (2020), “The Identity, Life and Works of the Alchemist Ibn Arfaʿ Raʾs (Identidad, vida y obra del alquimista Ibn Arfaʿ Raʾs)”. Search in Google Scholarįorster, Regula (2019): “Jābir b. Search in Google Scholarįlood, Finbarr B. Search in Google Scholarĭolgusheva, Svetlana (ed., forthcoming): Edition, Übersetzung und Kommentar zu Ibn Arfaʿ Raʾs’ Šuḏūr aḏ-ḏahab. Search in Google Scholarĭirāyatī, Muṣṭafā (2018): Muʿjam al-makhṭūṭāt al-ʿirāqiyya (The Union Catalogue of Iraq Manuscripts). Search in Google Scholarĭirāyatī, Muṣṭafā (2012–2015): Fihristgān-i nuskhahā-i khaṭṭī-i Īrān (fankhā) (Union Catalogue of Iran Manuscripts). Search in Google Scholarĭapsens, Marion (2021): “The alchemical work of Khālid b. 10.1515/asia-2020-0033 Search in Google Scholarīrockelmann, Carl (1937): Geschichte der arabischen Litteratur. Search in Google Scholarīraun, Christopher / Forster, Regula (2021): “The Alchemist’s work: Ibn Arfaʿ Raʾs and the reception of his collection of alchemical poems Shudhūr al-dhahab”. Search in Google Scholarīerlekamp, Persis (2003): “Painting as Persuasion: A Visual Defense of Alchemy in an Islamic Manuscript of the Mongol Period”. ![]() Search in Google ScholarĪrtun, Tuna (2013): Hearts of Gold and Silver: Production of Alchemical Knowledge in the Early Modern Ottoman World. Research funding: Swiss National Science Foundation (SNSF).Īnonymous (s.d.): Summary List of Manuscripts in the Museum of the History of Science, Oxford. Furthermore, I am grateful to the Swiss National Science Foundation (SNSF) for funding the research for this article, and to all libraries that provided manuscript copies and authorised the publication of their illustrations. I wish to thank Svetlana Dolgusheva, Bink Hallum, Tobias Heinzelmann, Malihe Karbassian, and Mohammad Karimi Zanjani Asl for their help with the acquisition and consultation of manuscript copies, as well as Christopher Braun, Regula Forster, Isabel Garrood, and the anonymous reviewers of Asiatische Studien for their helpful comments. This paper presents the manuscript tradition of Mirʾāt al-ʿajāʾib and analyses the diverging imagery of the symbols and their meanings in the different manuscripts. The nine crabs ( al-saraṭānāt al-tisʿa) with the dog descending into the water ( al-kalb al-nāzil fī l-māʾ) and 9. The black circle ( al- dāʾira al-sawdāʾ) 3. The two figures embracing each other ( al-shakhṣān al-muʿtaniqān) 2. The nine alchemical symbols of the mirror are: 1. ![]() Most manuscripts contain a coloured illustration of the mirror and its symbols, with a large scope of variation in their visual design. They prove the remarkable popularity of “The Mirror of Wonders” throughout the Islamicate world, even in modern times. ![]() This work of unsettled authorship, which was composed between the 12th and 16th centuries, has got a rich manuscript tradition with more than 45 extant copies dating from the 16th to the 20th centuries, including translations into Turkish and Persian and various short versions of the text. “The Mirror of Wonders” ( Mirʾāt al-ʿajāʾib) is an illustrated Arabic treatise about a mysterious mirror that displays different alchemical symbols.
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