Konzervacija i restauracija orijentalnog rukopisa Al-Qāmūs Al-Muḥīṭ u Nacionalnoj i univerzitetskoj biblioteci Bosne i Hercegovine

1. Uvod

Specijalne zbirke Nacionalne i univerzitetske bibli­oteke Bosne i Hercegovine (NUBBiH) osnovane su 1951. godine i prvobitno su se sastojale od samo dvije podzbirke. Tokom ratnih razaranja u periodu 1992–1996. godine, veliki dio zbirki je nepovratno uništen, dok su se nakon premještanja Nacionalne i univerzitetske biblioteke Bosne i Hercegovine u nove prostorije od preostalih fondova formirale nove podzbirke. Danas se razlikuje pet podzbirki: Rukopisna zbirka i arhiv, zbirka Stare i rijetke knji­ge, Kartografska zbirka, Grafička zbirka i Muzička zbirka. Među njima su zbirka Raritet, Rukopisna zbirka i Kartografska zbirka 2020. godine proglaše­ne nacionalnim spomenicima Bosne i Hercegovine. S obzirom na svoj jezik i sadržaj, rukopis Al-Qāmūs al-Muḥīṭ pripada zbirci orijentalnih rukopisa, koja obuhvata 840 jedinica na arapskom, turskom i per­zijskom jeziku, pretežno iz oblasti islamskog prava, poezije i proze (Nacionalna i univerzitetska bibli­oteka, 2024; Zbornik radova. Međunarodni naučni skup Stare i rijetke rukopisne knjige – gdje su i koli­ko učimo i koristimo stoljetno knjižno blago, 2019). Al-Qāmūs al-Muḥīṭ je jedan od najpoznatijih rječ­nika arapske leksikografije i djelo je Muḥammada b. Ya‘qūba b. Ibrāhīma al-Fīrūzābādīja aš-Šīrāzīja (umro 817/1415), poznatog kao Abū Ṭāhir. Ovo djelo je nastalo krajem 14. stoljeća u Mekki i na­zvano je Al-Qāmūs al-Muḥīṭ (“Sveobuhvatni oke- an”) te predstavlja prerađenu ili skraćenu verziju Ğawharījevog rječnika. Značaj djela bio je toliki da je riječ qāmūs postala sinonim za rječnik u arapskom jeziku. Abū Naṣr Ismāʻīl b. Ḥammād al-Ğawharī al- Fārābī (u. 393/1002) smatra se prvim autorom koji je napisao jednostavan rječnik redanja riječi prema alfabetu zadnjih konsonanata. Skraćene preradbe Ğawharījevog rječnika bile su znatno raširenije, čime su trajno potvrdile važnu ulogu i značaj ovog autora i njegovog djela u leksikografskoj tradiciji. Rukopisni primjerak rječnika Al-Qāmūs al-Muḥīṭ iz NUBBiH datira iz 15. stoljeća.

1. Introduction

The Special Collections of the National and Univer­sity Library of Bosnia and Herzegovina (NUBBIH) were established in 1951 and initially consisted of only two sub-collections. During the wartime de­struction between 1992 and 1996, a large part of the collections was irreversibly lost. However, after the relocation of NUBBIH to new premises, new sub­collections were formed from the remaining hold­ings. Today, five sub-collections can be distinguished: the Manuscript and Archive Collection, the Rare and Old Book Collection, the Cartographic Collection, the Graphic Collection, and the Music Collection. In 2020, the Rare Collection, Manuscript Collection, and Cartographic Collection were declared national treasures of Bosnia and Herzegovina. Considering its language and content, the manuscript Al-Qāmūs al- Muḥīṭ belongs to the Oriental Manuscript Collection, which comprises 840 units in Arabic, Turkish, and Persian, primarily covering Islamic law, poetry, and prose (Nacionalna i univerzitetska biblioteka, 2024; Zbornik radova. Međunarodni naučni skup Stare i rijetke rukopisne knjige – gdje su i koliko učimo i koristimo stoljetno knjižno blago, 2019).

Al-Qāmūs al-Muḥīṭ is one of the most acclaimed dictionaries in Arabic lexicography and is the work of Muḥammad b. Ya‘qūb b. Ibrāhīm al-Fīrūzābādī al-Shīrāzī (d. 817/1415), also known as Abū Ṭāhir. This work originated at the end of the 14th century in Mecca and is titled Al-Qāmūs al-Muḥīṭ (“The Comprehensive Ocean”). It represents a revised or summarized version of Al-Ğawharī’s dictionary. The importance of this work was so profound that the term qāmūs came to be synonymous with “dic­tionary” in the Arabic language. Abū Naṣr Ismāʻīl b. Ḥammād al-Ğawharī al-Fārābī (d. 393/1002) is considered the first author to compile a methodical dictionary arranging words according to the alpha­bet order of the final consonants. The summarized versions of Al-Ğawharī’s dictionary were far more widespread, thus firmly establishing the lasting im-

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2. Tehničke karakteristike i zatečeno stanje rukopisa

Al-Qāmūs al-Muḥīṭ je rukopisno djelo autora Muḥammada b. Ya‘qūba al-Fīrūzābādīja (Abū Ṭāhir), napisano na arapskom jeziku i arapskim pi­smom. Djelo ima dimenzije 180 x 260 x 50 mm. Ovo leksikografsko djelo karakteriše pažljivo ispi­san tekst s naglašenim elementima u crvenoj tinti i pozlati, čime se dodatno ističu važni pojmovi unu­tar rukopisa.

Klasični orijentalni uvez sastoji se od prednje i za­dnje korice, hrbata, preklopa i klapne. Korice su dimenzionirane tačno prema knjižnom bloku, bez prelaska preko ivica papira, a karakterišu ih sime­trične dekoracije na svim dijelovima. Kod rukopisa Al-Qāmūs al-Muḥīṭ korice su izrađene od smeđe kože, ukrašene slijepim tiskom i floralnim središ­njim medaljonom. Uvez je pohaban i djelimično odvojen od bloka, pri čemu je središnji medaljon na koricama jedva primjetan. Hrbat je oslabljen, s gubitkom kože duž rubova. Preklop je sačuvan, ali vidno oštećen, dok je koža suha, ispucala i ljušti se na rubovima. Desna korica je potpuno odvojena od kartonske osnove. Predlist i zalist su također kožni, s utisnutim suhim žigom.

Knjižni blok rukopisa je kompletan, ali pokazuje znakove značajnog fizičkog propadanja. Na više mjesta vidljive su tamne mrlje nastale djelovanjem vlage, a papir, koji je ručno pravljen i srednje de­bljine, pokazuje različit stepen oštećenja. Njegova struktura je oslabljena – djeluje porozno, gotovo po­put upijača, te se lako ljušti pri najmanjem kontak­tu s vlagom. Posebno je zabrinjavajuća prisutnost aktivne plijesni, najizraženija na prvim stranicama, kao i duž unutarnjih margina središnjih formi. Poje­dini listovi su ranije reparirani bijelim papirnim tra­kama, što svjedoči o pokušajima očuvanja. Predlist i zalist izrađeni su od kože. Oštećenja nastala dje­lovanjem insekata su minimalna, ali ipak prisutna, uglavnom duž margina.

Glavni tekst rukopisa ispisan je crnom, dok su na­glašene riječi označene crvenom tintom, a povre­meno i detaljima u pozlati, što doprinosi vizuelnoj dinamici i estetskoj vrijednosti rukopisa. Tinte su na pojedinim dijelovima, posebno onima ošteće­nim vlagom, primjetno izblijedile. Ipak, nije uoče­na značajna korozija tinte, što ukazuje na upotre­bu kvalitetnih pigmenata. Svaka stranica sadrži po 25 redova pažljivo ispisanog teksta, što svjedoči o standardizaciji i urednosti pisanja.

portance and significance of both the author and his work in the lexicographical tradition. The transcript of the dictionary Al-Qāmūs al-Muḥīṭ from NUB- BIH dates back to the 15th century.

2. Technical Specifications and Present State of the Manuscript

Al-Qāmūs al-Muḥīṭ is a manuscript transcript writ­ten in Arabic language by Muḥammad b. Ya‘qūb al- Fīrūzābādī (Abū Ṭāhir). The work measures 180 x 260 x 50 mm. This lexicographical work is charac­terized by carefully inscribed text with highlighted elements in red ink and gilding, which further em­phasize important terms within the manuscript.

The traditional Oriental binding consists of a front cover, back cover, spine, for-edge flap and enve­lope flap. The covers are precisely sized to fit the book block without overlapping the edges of the paper, and they feature symmetrical decorations on all parts. In the case of the Al-Qāmūs al-Muḥīṭ manuscript, the covers are made of brown leather, decorated with blind tooling and a floral central medallion. The binding is deteriorated and partially detached from the block, with the central medallion on the covers barely visible. The spine is weakened, with leather loss along the edges. The flap is pre­served but visibly damaged, while the leather is dry, cracked and flaking at the edges. The right cover is completely separated from the cardboard base. Both the front and back endpapers are also made of leather, featuring a dry stamp.

The text block of the manuscript is complete but shows signs of significant physical deterioration. Dark stains caused by moisture are visible in sev­eral areas, and the handmade, moderately thick pa­per shows various levels of deterioration. Its struc­ture is weakened—it appears porous, almost like a sponge, and flakes easily upon the slightest contact with moisture. Of particular concern is the presence of active mold, found on the first pages and along the inner margins of the central quires. Some folios have been previously repaired with white paper strips, indicating past conservation efforts. The front and back endpapers are made of leather. Insect damage is minimal but still present, mainly along the margins.

The main text of the manuscript is written in black ink, with emphasized words marked in red ink and occasionally highlighted with gilded details, con­tributing to the visual dynamism and aesthetic value of the manuscript. In certain areas, especially those affected by moisture, the inks have noticeably fad­ed. However, no significant ink corrosion has been observed, indicating the use of high-quality pig-

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Slika 1. Izgled rukopisa prije konzervacije i restauracije: A) Pohabani smeđi kožni uvez, djelomično odvojen od bloka; B) Oštećenja i mrlje od vlage na stranicama rukopisa; C) Fragmenti konca na hrbatu

Figure 1. Appearance of the manuscript before conservation and restoration: A) Worn brown leather binding, par- tially detached from the book block; B) Damage and tidelines on the manuscript pages;

C) Thread fragments on the spine

3. Hemijsko ispitivanje materijala

Hemijske analize provedene na rukopisu Al-Qāmūs al-Muḥīṭ su: UV fluorescencija (UVF), osnovni test s kapljicom vode, “quick-blot” metoda testiranja medija za rastvorljivost te spot testovi.

Prilikom pregleda rukopisa pod ultraljubičastim (UV) zračenjem, evidentirane su vizuelne promje­ne koje ukazuju na prisustvo vlage i potencijalne tragove mikrobiološke kontaminacije (prisustvo plijesni). Dobijeni rezultati pregleda ukazali su na potrebu provođenja fumigacije radi uklanjanja mo­gućih biodeteriogenih agenasa.

Osnovni test s kapljicom vode koristi se za procje­nu stanja papira i njegove reakcije na vlagu. Test se izvodi tako da se kapljica destilirane vode nanese na površinu papira, a zatim se promatra kako papir rea­gira: brzo upijanje, stvaranje mrlja ili promjena boje mogu ukazivati na oštećenje, dok sporije upijanje sugerira veću stabilnost. Osnovni test s kapljicom vode proveden je u skladu sa standardom TAPPI T 432 (2013). Utvrđeno je da se kapljica destilirane vode apsorbira u papir u vremenu kraćem od 1 se­kunde. Dobijeni rezultat ukazuje na povećanu po- roznost i oslabljenu strukturu celuloznih vlakana, što potvrđuje da je proces degradacije papira već započeo.

ments. Each page contains 25 carefully inscribed lines of text, reflecting a high level of standardiza­tion and writing precision.

The chemical analyses conducted on the manu­script Al-Qāmūs al-Muḥīṭ included: UV fluores­cence (UVF), a basic water-drop test, the quick-blot method for testing media solubility, and spot tests.

During the examination of the manuscript under ul­traviolet (UV) light, visual changes were observed indicating the presence of water damage and poten­tial signs of microbiological contamination (pres­ence of mold). The results of the examination high­lighted the need for fumigation to eliminate pos­sible biodeteriogenic agents.

The basic water-drop test is used to assess the con­dition of the paper and its reaction to moisture. The test is performed by applying a drop of distilled water onto the papers’ surface and observing the reaction: rapid absorption, stain formation or color change may indicate damage, while slower absorp­tion suggests better stability of paper. The basic wa­ter-drop test was conducted in accordance with the TAPPI T 432 (2013) standard. It was determined that the drop of distilled water was absorbed into the paper in less than one second. This result indi­cates increased porosity and weakened cellulose fi­ber structure, confirming that the paper degradation process has already begun.

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Metoda “Quick-Blot” služi za mjerenje brzine ko­jom mediji poput tinte, boje ili ljepila reagiraju na vlagu. U slučaju rukopisnih dokumenata, kap destilirane vode se nanosi na površinu papira po­moću kapaljke, a odmah potom se tekućina upija upijačem. Praćenjem promjena u mediju uzrokova­nih vlagom može se procijeniti koliko je taj medij osjetljiv na vodu i koliko brzo dolazi do otapanja (TAPPI, 2011a). Rezultati testa pokazali su da su i crna i crvena tinta vodotopive, što znači da se pod utjecajem vlage lako otapaju i razmazuju. Dobijeni rezultati direktno su utjecali na konzervatorsku od­luku da se ne primjenjuje postupak mokrog čišćenja vodenim otapalima, budući da bi takva intervencija mogla povećati rizik od otapanja i trajnog oštećenja tinte.

Spot testovi su preliminarna metoda za identifikaci­ju prisustva metala te organskih i anorganskih kom­ponenti u materijalima, a zasnivaju se na hemijskim reakcijama koje proizvode karakteristična oboje- nja (Stuart, 2007). Spot testovi se provode izravno na površini predmeta i podrazumijevaju primjenu male količine hemijskih reagenasa. Reakcije daju karakteristična obojenja koja pomažu u prepozna­vanju prisutnih materijala. Rezultati mikrohemij- skih testova posmatraju se optičkim ili digitalnim mikroskopom.

The Quick-Blot method is used to measure the rate at which media such as ink, paint, or adhesive react to moisture. In the case of manuscript documents, a drop of distilled water is applied to the paper sur­face using a pipette, and the droplet is immediately absorbed with blot paper. By tracking the effects of moisture on the media, it is possible to evaluate its sensitivity to water and how quickly it dissolves (TAPPI, 2011a). The test results showed that both black and red inks are water-soluble, meaning they smear and easily dissolve when exposed to mois­ture. These results directly influenced the conserva­tion decision to avoid wet cleaning with aqueous solutions, as such intervention could increase the risk of ink dissolution and permanent damage.

Spot tests are a preliminary method for identifying the presence of metals, as well as organic and inor­ganic components in materials, based on chemical reactions that produce characteristic color changes (Stuart, 2007). Spot tests are performed directly on the surface of the object and involve the application of small amounts of chemical reagents. The reac­tions result in specific color changes that assist in detecting the materials present. The results of mi­crochemical tests are observed using optical or digi­tal microscopy.

Tabela 1. Rezultati prisustva komponenti u pulpi kroz mikrohemijske testove Table 1. Detection of components in the pulp via microchemical testing

Prisustvo lignina u papiru može se dokazati upo­trebom otopine fluoroglucinola, koji pri pozitivnoj reakciji razvija karakterističnu magenta boju. Jačina ove boje proporcionalna je količini lignina prisut­nog u pulpi (Konstadinovska & Spirovska, 2015; Kropf & Baker, 2013). Fluoroglucinol je specifičan reagens koji omogućava detekciju lignina u sastavu

The presence of lignin in paper can be detected using a solution of phloroglucinol, which, upon a positive reaction, develops a characteristic magenta color. The intensity of this color is proportional to the amount of lignin present in the pulp (Konstadi- novska & Spirovska, 2015; Kropf & Baker, 2013). Phloroglucinol is a specific reagent that enables the

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papira, a pripravak otopine urađen je prema origi­nalnoj recepturi (TAPPI, 2015). Pozitivna reakcija s fluoroglucinolom (magenta boja) ukazuje na prisu­stvo lignina, što je neočekivano s obzirom na to da se do 19. stoljeća papir izrađivao isključivo ručno, od čistih celuloznih vlakana poput lana, konoplje i pamuka – materijala koji prirodno ne sadrže lignin. Iako se općenito smatra da se historijski papir (do 19. stoljeća) pravio od čistih celuloznih vlakana (lan, konoplja), ovaj nalaz pokazuje da je u nekim slučajevima korišten i materijal koji sadrži lignin, poput slame. Slama se kao biljni materijal koji sadr­ži i celulozu i lignin veoma rijetko i eksperimentalno koristila u ranoj proizvodnji papira, pa bi se na taj način moglo opravdati prisustvo lignina (Ferrer & Sistach, 2005). Za detaljnije analize, bilo bi potreb­no analizirati vlakna papira koja u ove svrhe nisu izvršena. Drugi mogući razlog prisustva lignina u papiru jeste migracija kiselih komponenti iz mate­rijala za pohranu ili restauraciju (npr. drvenih ploča, kartonskih kutija, kiselih omota i ljepila) u strukturu papira, posebno ako je dokument bio u dugotraj­nom direktnom kontaktu s tim materijalima. Takva migracija mogla je značajno uticati na sniženje pH vrijednosti papira, posebno u uslovima neadekvatne mikroklime – odnosno pri povišenoj relativnoj vlaž­nosti i temperaturnim oscilacijama – što dodatno ubrzava degradacijske procese (Novak et al., 2024).

Škrob se dodavao u pulpu tokom proizvodnje radi poboljšavanja čvrstoće i otpornosti na vlagu ili po­slije prerade, kao preparacija, gdje bi nakon glačanja papir bio spreman za ispisivanje teksta. Lugolovom otopinom dokazuje se prisustvo škroba u sastavu papira (TAPPI, 2011b). Receptura korištena u svrhu mikrohemijskih testova u ovom radu je: rastvoreno je 1,25 g I₂ u rastvoru od 2,5 g KI u 25 ml destilova- ne vode. Ovaj test je vrlo osjetljiv i daje pozitivnu reakciju i pri vrlo niskim koncentracijama škroba. Pozitivna Lugolova reakcija ukazuje na prisutnost škroba karakterističnom tamnoplavo-ljubičastom bojom, koja može varirati do gotovo crne. Dekstri- ni, kao produkti razgradnje škroba, daju crvenu do crveno-ljubičastu boju (Kraigher-Hozo, 2007). Te­stirani uzorak papira pokazao je tamnoplavu boju, što potvrđuje prisustvo škroba korištenog za prepa- raciju površine papira, s ciljem poboljšanja glatko­će, nepropusnosti i pripreme za pisanje.

detection of lignin in paper composition, and the so­lution was prepared according to the original recipe (TAPPI, 2015). A positive reaction with phloroglu­cinol (magenta color) in the paper sample indicates the presence of lignin, which is unexpected consid­ering that until the 19th century paper was made exclusively by hand from pure cellulose fibers such as flax, hemp, and cotton—materials that naturally do not contain lignin. Although it is generally be­lieved that historical paper (until the 19th century) was made from pure cellulose fibers (flax, hemp), this finding shows that in some cases materials con­taining lignin, such as straw, were also used. Straw, as a plant material containing both cellulose and lignin, was very rarely and experimentally used in early paper production, which could explain the presence of lignin (Ferrer & Sistach, 2005). For further analyses, it would be necessary to examine the paper fibers, which has not been done for this purpose. Another possible reason for the presence of lignin in paper is the migration of acidic com­ponents from storage or restoration materials (e.g., wooden boards, cardboard boxes, acidic covers and adhesives) into the paper structure, especially if the document was in prolonged direct contact with these materials. Such migration could have signifi­cantly contributed to the lowering of the papers’ pH value, particularly under inadequate microclimate conditions—that is, elevated relative humidity and temperature fluctuations—which further acceler­ates degradation processes. (Novak et al., 2024).

During production, starch was added to the pulp to enhance strength and water resistance, or it was applied as a sizing agent after processing to pre­pare the paper for writing. The presence of starch in the paper composition is detected using Lugol’s solution (TAPPI, 2011b). The reagent used for mi­crochemical tests in this study was prepared by dissolving 1.25 g of I₂ in a solution of 2.5 g KI in 25 ml of distilled water. This test is very sensitive and produces a positive reaction even at very low starch concentrations. A positive Lugol’s reaction indicates the presence of starch by a characteristic dark bluish-purple color, which can range to almost black. Dextrins, as degradation products of starch, give a red to reddish-purple color (Kraigher-Hozo, 2007). The tested paper sample revealed a dark blue color, confirming the presence of starch used for surface treatment of the paper to improve smooth­ness, impermeability, and preparation for writing.

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Test ninhidrinom služi za detekciju prisustva pro­teina i aminokiselina, što omogućava identifikaci­ju proteinskih ljepila (kao što su želatin i kazein) u uzorcima. Receptura koju su naveli Afifi i Ciliberto (2021), a koja je korištena za mikrohemijske testo­ve u ovom istraživanju, sastoji se od 0,2 g ninhidri- na rastvorenog u 100 ml etanola visoke čistoće. Po­zitivna reakcija s ninhidrinom očitovala se pojavom roze-ljubičaste mrlje duž rubova papira, što upućuje na prisustvo proteinskih ostataka. Pretpostavlja se da papir, odnosno njegova površinska preparacija, sadrži proteine poput želatina ili bjelanjka jajeta, koji su se tradicionalno koristili u arapskoj tehnici pripreme papira (Hadžimejlić, 2011). Iako je trag preparacije vidljiv i golim okom, zbog degradacije papira proteinske komponente prisutne su u trago­vima.

Test aluminonom je mikrohemijski test koji služi za dokazivanje prisustva stipse u preparaciji papi­ra. Prema opisu u radu Kostadinovska i sar. (2019), koristi se rastvor aluminona pripremljen prema standardnoj proceduri za ovaj test. Prisustvo stip­se nije potvrđeno mikrohemijskim testom alumi- nonom, budući da je rezultat bio bezbojna mrlja. To ukazuje na odsustvo aluminijskih iona, koji bi u prisustvu aluminona dali karakterističnu crvenu ili ružičastu obojenost (Konstadinovska & Spirov- ska, 2015). Odsustvo stipse, uz prisustvo škroba i proteina u tragovima, ukazuje na to da je papir pre­pariran organskim materijalima – najvjerovatnije bjelancetom jajeta ili želatinom. Budući da je test na stipsu bio negativan, a proteini prisutni samo u tragovima, pretpostavlja se da je korišteno bjelan­ce jajeta. Međutim, prisustvo škroba također otvara mogućnost da je papir bio prepariran kombinacijom bjelanca i škrobnog ljepila. Takva kombinacija nije neuobičajena, jer škrob povećava nepropusnost i ravnotežu upijanja, dok bjelance daje dodatnu čvr­stoću i sjaj površini. Dakle, u nedostatku stipse i s ograničenom količinom proteina, najvjerovatnije je primijenjena upravo takva dvokomponentna prepa- racija od bjelanceta i škroba (Vizárová et al., 2012; Mahmoud et al., 2023).

Mjerenje pH vrijednosti papira ključno je za određi­vanje njegove trajnosti, jer brzina razgradnje papira ovisi o njegovoj kiselosti ili alkalnosti. Degradacija papira često počinje hidrolizom, koja razbija mo­lekule celuloze i uzrokuje da papir postane krhak

The ninhydrin test is used to detect the presence of proteins and amino acids, enabling the identifica­tion of protein-based adhesives (such as gelatin and casein) in samples. The formulation reported by Afifi and Ciliberto (2021), which was used for the microchemical tests in this study, consists of 0.2 g of ninhydrin dissolved in 100 ml of high-purity eth­anol. A positive ninhydrin reaction was observed as a pinkish-purple stain along the edges of the paper, indicating the presence of protein residues. It is as­sumed that the paper, or its surface treatment, con­tains proteins such as gelatin or egg white, which were traditionally used in the Arabic technique of paper sizing (Hadžimejlić, 2011). Although traces of the sizing treatment are visible to the naked eye, due to paper degradation, the protein components are present only in traces.

The aluminon test is a microchemical test used to detect the presence of alum in paper sizing. An aluminon solution was prepared according to the standard protocol described by Kostadinovska et al. (2019) and used for this test. The presence of alum was not confirmed by the aluminon micro­chemical test, as the result showed a colorless spot. This indicates the absence of aluminum ions, which would produce a characteristic red or pink coloration in the presence of aluminon (Konstadi- novska & Spirovska, 2015). The absence of alum, along with the presence of starch and trace amounts of proteins, suggests that the paper was sized with organic materials—most likely egg white or gela­tin. Since the test for alum was negative and pro­teins were present only in minimal quantities, it is presumed that egg white was used. However, the presence of starch also opens the possibility that the paper was sized with a combination of egg white and starch-based adhesive. Such a combination is not uncommon, as starch enhances impermeability and absorption balance, while egg white adds sur­face strength and gloss. Therefore, in the absence of alum and with limited protein content, the most likely scenario is that a dual-component sizing of egg white and starch was applied (Vizárová et al., 2012; Mahmoud et al., 2023).

3.5. pH value of paper

Assessing paper pH is fundamental to evaluating its stability, as its chemical composition significantly af­fects the rate of degradation. Paper degradation often

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i lomljiv (Carter, 2007). Za određivanje pH vrijed­nosti papira u konzervatorskoj praksi najčešće se upotrebljava pH-metar, koji omogućuje kvantitativ­no mjerenje, dok pH-indikatorske trakice pružaju brzu i jednostavnu procjenu površinskog pH, što je korisno za preliminarna ispitivanja ili u situacijama kada nije moguće koristiti instrument.

Mjerenje pH vrijednosti papira rukopisa Al-Qāmūs al-Muḥīṭ izvršeno je pomoću Crison 507 pH-metra s ravnom elektrodom. Rezultati mjerenja pH uzo­raka papira pokazali su kiselu sredinu. Kroz šest mjerenja dobiveni su rezultati pH vrijednosti izme­đu 4,6 i 4,9. Papir korišten za izradu ovog rukopisa izrađivan je najvjerovatnije od prirodnih vlakana, prije početka industrijske proizvodnje papira i pre- paracije sa želatinom (Area & Cheradame, 2011; Vizárová et al., 2012; Mahmoud et al., 2023). Dobi­veni rezultati mjerenja pH su na granici s kritičnom tačkom kiselosti papira koja iznosi < 4,5, pri kojoj se očekuje ubrzana degradacija.

Margine i unutrašnji dio papira, u području uveza rukopisa, bili su potpuno izloženi vlažnom okruže­nju. To se očitovalo pojavom vodenih mrlja, nasta- lih uslijed kretanja vode kroz papir sve do mjesta isparavanja. Ti dijelovi su vrlo krhki i na dodir se pretvaraju u prašinu, pa će zbog toga biti ojačani u procesu restauracije tankim japanskim papirom Tosa Tengujo, 1,6 g/m², 100% Kozo vlakna.

Fumigacija je konzervatorski postupak kojim se ru­kopisi zatvaraju u hermetičku komoru, gdje hlaplji- ve supstance isparavaju i tokom tog procesa djeluju na sprečavanje aktivnosti spora, plijesni i štetočina bez direktnog kontakta s papirom (Sequeira et al., 2012; 2016). Zbog sumnjivih mrlja i mogućeg pri­sustva spora preventivno je provedena fumigacija butanolom (80–96%), koji sporije isparava i dugo­trajnije djeluje u odnosu na etanol (Karbowska-Be- rent et al., 2016). Tradicionalno su za slične svrhe korišteni i etanol ili metanol, no butanol se pokazao efikasnijim zbog dužeg vremena djelovanja i sma­njenog rizika od direktnog oštećenja papira (Seque­ira et al., 2012). Knjiga je rastavljena na dvolisnice radi ravnomjernog djelovanja, a proces je trajao 48 sati po seriji, uz kontrolu mikroklime nakon tretma­na. Butanol pri isparavanju učinkovito uništava spo­re i gljivice pri 25°C (Sequeira et al., 2012).

begins with hydrolysis, which breaks down cellulose molecules and causes the paper to become brittle and fragile (Carter, 2007). In conservation practice, a pH- meter is most commonly used for measuring pH, as it allows for quantitative results, while pH indicator strips provide a quick and simple assessment of sur­face pH, which is useful for preliminary testing or when instrumentation is not available.

The pH measurements of the paper from the manu­script Al-Qāmūs al-Muḥīṭ were conducted using a Crison 507 pH-meter with a flat electrode. The re­sults indicated an acidic environment. A series of six readings indicated a pH range between 4.6 and 4.9. The paper used in this manuscript was most likely made from natural fibers, before the appearance of industrial paper production and sizing with gelatin (Area & Cheradame, 2011; Vizárová et al., 2012; Mahmoud et al., 2023). The obtained pH values are near the critical acidity threshold of < 4.5, below which accelerated degradation is expected.

The margins and inner parts of the paper, particu­larly in the binding area, had been fully exposed to a humid environment. This is concluded by the ap­pearance of tidelines resulting from the movement of moisture through the paper to the point of evapo­ration. These areas are extremely fragile and disinte­grate into dust upon contact, which is why they will be reinforced during the restoration process using thin Japanese paper Tosa Tengujo, 1.6 g/m², 100% Kozo fiber.

Fumigation is a conservation procedure in which manuscripts are placed in a hermetically sealed chamber, where volatile substances evaporate and act to inhibit the activity of spores, mold and pests without direct contact with the paper (Sequeira et al., 2012; 2016). Due to suspicious stains and the potential presence of spores, preventive fumiga­tion was carried out using butanol (80–96%), which evaporates more slowly and provides longer-lasting effects compared to ethanol (Karbowska-Berent et al., 2016). Traditionally, ethanol or methanol has been used for similar purposes, but butanol has proven to be more effective due to its prolonged ac­tion time and reduced risk of directly damaging the paper (Sequeira et al., 2012). Manuscript was dis- bound into bifolios to allow for even exposure and the process lasted 48 hours per quire, followed by post-treatment microclimate control. Upon evapo­ration, butanol effectively destroys spores and fungi at 25°C (Sequeira et al., 2012).

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Deacidifikacija je postupak kojim se nastoji smanjiti kiselost papira povećavanjem njegove pH vrijedno­sti pomoću kalcijevog bikarbonata (Ca(HCO₃)₂) ili kalcijevog hidroksida (Ca(OH)₂). Postupak deacidi- fikacije papira implicirao bi povećanje pH vrijed­nosti papira. Penetracija karbonata u papiru stvara alkalne rezerve koje sprečavaju apsorpciju kiselina iz okoliša. Budući da je papir već kiseo, bilo je ne­ophodno izvršiti neutralizaciju i alkalizaciju kiseli­na. Uzimajući u obzir da su na rukopisu korištene vodotopive tinte, papir je bilo potrebno tretirati ra­stvorom koji umjesto vode kao rastvarača koristi neki od organskih rastvarača poput acetona, eta- nola, toluena i sl. Takav rastvor najčešće se nanosi prskanjem, premazivanjem četkama ili potapanjem. U ovom slučaju, zbog izuzetno niske pH vrijednosti papira, pojedinačne dvolisnice rukopisa tretirane su prskanjem ravnomjerno po površini papira i potapa­njem (samo nekoliko najugroženijih listova) u Bo­okkeeper rastvor, koji sadrži magnezijev metoksid rastvoren u metanolu. Vrijednost pH papira nakon neutralizacije i alkalizacije kiselina na rukopisu Al- Qāmūs al-Muḥīṭ iznosila je 7,7, što upućuje na to da je ovim tretmanom efikasno smanjena kiselost, a time se i povećala stabilnost papira. Pri potapa­nju, pH vrijednost papira mjerena je do maksimalno 7,7, kako bi se izbjegle previsoke alkalne vrijedno­sti koje mogu dovesti do alkalne depolimerizacije (Hubbe et al., 2017; He et al., 2019; Chen et al., 2025).

Mehaničko čišćenje rukopisa Al-Qāmūs al-Muḥīṭ obuhvatilo je uklanjanje površinske prljavštine i prašine. Nakon numeracije stranica i rastavljanja rukopisa na pojedinačne forme, izvršeno je detaljno usisavanje pomoću aparata s HEPA filterima, koji uklanjaju do 99,97% čestica veličine 0,3 μm, uklju­čujući spore plijesni, prašinu i biološke agense. Tvr­di ostaci, poput izmeta insekata, uklonjeni su skal­pelom i mikrospatulom, dok je prljavština očišćena vulkaniziranom spužvom. Po potrebi su uklonjena i stara ljepila te tragovi prethodnih reparacija.

Deacidification is a process aimed at reducing the acidity of paper by increasing its pH value using calcium bicarbonate (Ca(HCO₃)₂) or calcium hy­droxide (Ca(OH)₂). The deacidification treatment implies raising the papers’ pH. Carbonates penetrate the paper, forming alkaline reserves that inhibit acid absorption from the surroundings. Since the paper was already acidic, neutralization and alkalization of the acids were necessary. Considering the use of water-soluble inks in the manuscript, the paper needed to be treated with a solution that uses or­ganic solvents instead of water as a medium, such as acetone, ethanol, toluene, etc. Such solutions are typically applied by spraying, brushing, or immer­sion. In this case, due to the extremely low pH of the paper, individual bifolia of the manuscript were treated by spraying evenly over the paper surface and immersion (only a few of the most damaged leaves) in a Bookkeeper solution, which contains magnesium methoxide dissolved in methanol. Af­ter neutralization and alkalization of the acids, the pH value of the paper in the Al-Qāmūs al-Muḥīṭ manuscript reached 7.7, indicating that this treat­ment effectively reduced acidity and thus increased the paper’s stability. During immersion, the papers’ pH was measured up to a maximum of 7.7 to avoid excessively high alkaline values that could lead to alkaline depolymerization (Hubbe et al., 2017; He et al., 2019; Chen et al., 2025).

Mechanical cleaning of the Al-Qāmūs al-Muḥīṭ manuscript involved the removal of surface dirt and dust. After numbering the pages and disbind- ing the manuscript into individual quires, a thor­ough vacuuming was carried out using equipment with HEPA filters, which remove up to 99.97% of particles as small as 0.3 μm, including mold spores, dust, and biological agents. Solid residues, such as insect excretions, were removed with a scalpel and microspatula, while dirt was cleaned using a vulca­nized sponge. As required, old adhesives and traces of previous repairs were also removed.

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Slika 2. Mehaničko čišćenje papira rukopisa: A) Usisavanje dvolisnica pomoću usisivača s HEPA filterima; B) Čišćenje inkrustrirane prljavštine vulkaniziranom spužvom; C) Uklanjanje rezidua prethodnih reparacija skalpelom Figure 2. Mechanical cleaning of the paper in the manuscript: A) Vacuuming of bifolio with a HEPA-filter vacuum cleaner; B) Removal of encrusted dirt using a vulcanized sponge; C) Mechanical removal of previous repair residues with a scalpel

Nakon mehaničkog čišćenja rukopisa i uklanjanja starih traka i neadekvatnih reparacija, sprovedena je impregnacija papira radi stabilizacije oslabljenih vlakana. Impregnaciju je veoma važno izvršiti radi stabilizacije papira nakon pranja i alkalizacije, jer se time smanjuje njegova krhkost. Izvedena je lo­kalna impregnacija 2% metilcelulozom koja pobolj­šava mehaničku stabilnost bez utjecaja na optička svojstva papira (Borges et al., 2018; Müller et al., 2022). Škrob, koji se tradicionalno koristio kao im- pregnant, podložan je biološkoj razgradnji i može poticati rast mikroorganizama, dok je metilceluloza hemijski stabilnija, reverzibilna i otpornija na de­gradaciju, čime predstavlja sigurniju i učinkovitiju alternativu za očuvanje vrijednih rukopisa (Borges et al., 2018; Müller et al., 2022).

Dopunjavanje oštećenih dijelova, spajanje poci­jepanih listova i povezivanje singlica ključni su konzervatorsko-restauratorski zahvati za vraćanje funkcionalnosti i estetske cjelovitosti rukopisa. Ko­rišteno je škrobno ljepilo i ručno izrađeni japanski papir Kinugawa ivory (22 g/m², 100% Kozo vla­kna), identične debljine i boje kao izvorni papir. Japanski papir oblikovan je pomoću vodenog kista na svijetlećem stolu kako bi se precizno ispratile konture. Lijepljen je s obje strane lista, a zbog svo­je čvrstoće i adekvatnog izbora boje papira, dopune su neprimjetne (Artal-Isbrand, 2018). Kako bi se ojačali dijelovi papira koji su oslabili uslijed dje­lovanja vlage, korišten je Tosa Tengujo NAJ (1,6 g/ m², 100% Kozo), najtanji japanski papir, koji, iako neprimjetan, pruža dodatno ojačanje papiru. Nakon restauracije, listovi su spojeni u dvolisnice, složeni u “sendvič” od holiteksa i upijača te sušeni pod pri-

After the mechanical cleaning of the manuscript and the removal of old tapes and inadequate repairs, pa­per resizing was carried out to stabilize weakened fibers. Resizing is essential after washing and alka­lization, as it reduces the brittleness of the paper. Localized resizing was performed using 2% meth­ylcellulose, which improves mechanical stability without affecting the optical properties of the paper (Borges et al., 2018; Müller et al., 2022). Starch, tra­ditionally used as an impregnating agent, is suscep­tible to biological degradation and may promote mi­crobial growth, whereas methylcellulose is chemi­cally more stable, reversible, and more resistant to degradation—making it a safer and more effective alternative for the preservation of valuable manu­scripts (Borges et al., 2018; Müller et al., 2022).

The infilling of missing areas, the repair of torn bifo­lios, and the reintegration of single leaves are essen­tial conservation-restoration interventions designed to restore both the functionality and aesthetic integ­rity of the manuscript. Starch paste and handmade Japanese paper Kinugawa Ivory (22 g/m², 100% Kozo fibers), matching the original paper in thick­ness and color were used. The Japanese paper was shaped using a water brush on a light table to pre­cisely follow the contours. It was applied on both sides of the leaf and due to its strength and the ap­propriate color match, the infills are nearly invisible (Artal-Isbrand, 2018). To reinforce areas of the paper weakened by moisture, Tosa Tengujo NAJ (1.6 g/m², 100% Kozo), the thinnest Japanese paper, was used. Though barely visible, it provides additional support to the original material. After restoration, the single leaves were joined into bifolios, placed between

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tiskom u knjigoveškoj presi. Višak papira je ručno odstranjen bez mijenjanja dimenzija, a listovi slože­ni prema originalnoj paginaciji.

layers of Holitex and blotting paper (“sandwich” structure) and dried under pressure in a bookbinding press. Excess paper was manually trimmed without altering the original dimensions so the leaves can be arranged according to the original pagination.

Slika 3. Dopuna nedostajućih dijelova izvornog papira rukopisa: A) Dvolisnica prije dopune japanskim papirom; B) Oblikovanje kontura nedostajućeg dijela vodenim kistom; C) Izgled japanskog papira za nadopunu

Figure 3. Infilling of missing areas of the manuscript’s original paper: A) Bifolio prior to Japanese paper infill; B) Con- touring the missing part with a water brush; C) Visual aspect of the Japanese paper for infilling

Ušivanje formi u knjižni blok ključno je za dugo­trajnu stabilnost knjige. Islamski rukopisi koriste različite formate uveza, uključujući nevezane, što pokazuje fleksibilnost očuvanja (Scheper, 2023). Orijentalni stil ušivanja razlikuje se od zapadnog time što se izvodi bez užadi, što omogućava ravan hrbat bez prostora između korica, dok zaobljeni hr­bat dodatno povećava fleksibilnost i trajnost. Forme su ušivene tehnikom link-stitch svilenim, voštanim koncem i šavovima koji oblikuju znak “X” u sre­dini, kao i oblik lanca na krajevima. Hrbat je oja­čan s dva sloja tankog japanskog papira i jednim slojem organtina, pružajući stabilnost i fleksibilnost (Ljubuškić, 2023; Scheper, 2023; Ganović, 2025). Predlist i zalist zalijepljeni su mješavinom škrobnog i PVA ljepila, koristeći Hahnemühle Bugra papir (130 g/m², antique boja). Nova kapitalna traka nije ušivana, budući da rukopis izvorno nije posjedovao kapitalnu traku, te se njen izvorni izgled ne može pouzdano utvrditi.

Sewing the quires into the text block is crucial for the long-term stability of the book. Islamic manuscripts employ various binding formats, including unsup­ported bindings, which demonstrate conservation flexibility (Scheper, 2023). The Oriental sewing style differs from the Western one in that it is executed without cords, allowing for a flat spine without gaps between the covers, while a rounded spine further enhances flexibility and durability. The quires were sewn using the link-stitch technique with silk waxed thread and stitches forming an “X” shape in the cen­ter, as well as chain-like stitches at the ends. The spine was reinforced with two layers of thin Japanese paper and one layer of mull, providing both stabil­ity and flexibility (Ljubuškić, 2023; Scheper, 2023; Ganović, 2025). The front and back endpapers were adhered with a mixture of starch and PVA glue, using Hahnemühle Bugra paper (130 g/m², antique color). The new endband was not sewn, as the manuscript originally did not have one, and its original appear­ance cannot be reliably determined.

Slika 4. A) Izgled knjižnog bloka prije konzervatorsko-restauratorskih zahvata; B) Knjižni blok nakon zahvata i šivanja Figure 4. A) Appearance of the book block prior to conservation and restoration interventions; B) Text block post-restoration and stitching

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5. Konzervacija i restauracija originalnih korica

Mehaničko čišćenje obuhvatilo je usisavanje usi­sivačem s HEPA filterom i uklanjanje mrlja vulka- niziranom spužvom, dok je mokro čišćenje rađeno mješavinom destilirane vode i etanola (3 ml/100 ml). Prilikom konzervatorskih radova identificirana je originalna koža ispod sekundarnog sloja, s očuva­nim elementima slijepog tiska i pozlate. Sekundarne korice su pažljivo odvojene od originalnih mikro- restauratorskom špatulom nakon kratkog potapanja u rastvor vode i etanola, a originalni predlist i za- list sušeni su u knjigoveškoj presi 24 sata. Nedo­statak hrpta, preklopa i klapne na originalnoj koži ukazuje na to da je novi sloj kože zalijepljen radi nadomještanja oštećenja ili namjernog prekrivanja pozlaćenih korica. Originalna koža impregnirana je 2% rastvorom Klucel G u etanolu radi očuvanja stabilnosti i fleksibilnosti. Klucel G prodire u mate­rijal bez stvaranja filma, čuvajući prirodnu teksturu i elastičnost (Kite & Thomson, 2020).

6. Conservation and Restoration of the Original Covers

Surface cleaning included vacuuming with a HEPA filter and stain removal using a vulcanized sponge, while wet cleaning was performed with a mixture of distilled water and ethanol (3 ml/100 ml). During the conservation work, the original leather beneath the secondary layer was identified, with preserved elements of blind tooling and gilding. The second­ary covers were carefully separated from the origi­nal ones using a micro-spatula after brief immersion in a water and ethanol solution. The original leather front and back endpaper were dried in a bookbind­ing press for 24 hours. The absence of the spine, turn-ins, and flap on the original leather indicates that the new leather layer was adhered to compen­sate for damage or to deliberately cover the gilded covers. The original leather was impregnated with a 2% Klucel G solution in ethanol to preserve its sta­bility and flexibility. Klucel G penetrates the mate­rial without leaving a coating, preserving the natural texture and elasticity (Kite & Thomson, 2020).

Slika 5. A) Izgled korica rukopisa prije konzervatorsko-restauratorskih zahvata; B) Identifikacija originalne kože ispod sekundarnog sloja; C) Primarni sloj kože korica prije čišćenja; D) Primarni sloj kože korica nakon mehaničkog čišćenja, presovanja i ravnanja

Figure 5. A) Condition of the manuscript covers prior to conservation and restoration interventions; B) Recognition of the original leather beneath the secondary covering; C) Original leather layer of the book covers prior to cleaning; D) Primary leather layer of the covers after mechanical cleaning, pressing, and flattening

Nova koža, tamnosmeđa goveđa, ručno stanjena na 0,2 mm, korištena je isključivo za nadomještanje dijelova na kojima je izvorna koža nedostajala – po­put hrbata, preklopa i klapne na licu korica. Zalije­pljena je mješavinom škrobnog i PVA ljepila na kar-

Exclusively for replacing missing sections like the spine, turn-ins, and fore-edge on the front of the cov­ers, new dark brown cowhide leather, hand-thinned to 0.2 mm, was employed. It was adhered with a mixture of starch and PVA glue onto 2 mm thick

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ton debljine 2 mm. Rubovi su pažljivo presavijeni, a korice su sušene u ručnoj presi 24 sata. Originalna (primarna) koža je reintegrirana na korice, a sekun­darni sloj je nakon stabilizacije pohranjen u beski- selinsku kutiju radi trajnog čuvanja i dokumentaci­je. Nakon završetka uvezivanja, originalni predlist i zalist pažljivo su vraćeni na svoje mjesto. Rukopis je potom smješten u beskiselinsku zaštitnu kutiju s jasno istaknutom oznakom, u svrhu dugoročne za­štite i lakše identifikacije. Prema Kite i Thomson, (2020), završno premazivanje kože u svrhu zaštite se više ne preporučuje, jer su mnogi takvi tretmani na starim kožnim koricama uzrokovali oksidaciju, gubitak fleksibilnosti, kao i ljuštenja kože, te pove­ćali osjetljivost kože na plijesan. Stoga je odlučeno da se koža neće dodatno tretirati, već će se održavati redovnim čišćenjem i nježnom njegom.

board. The edges were carefully folded and the cov­ers were dried in a bookbinding press for 24 hours. The original leather was reintegrated onto the covers and the secondary leather was stored in an acid-free box for long-term preservation and documentation after stabilization. After the binding was finalized, the original leather endpapers at the front and back were carefully restored to their original positions. Finally, the manuscript was placed inside an acid- free box with a clearly visible label to provide long­term protection and simplify identification. Ac­cording to Kite and Thomson (2020), final leather coatings for protection are no longer recommended, as many such treatments on old leather covers have caused oxidation, loss of flexibility and peeling, as well as increased sensitivity to mold. Consequently, no additional treatments were applied to the leather, with regular cleaning and careful care chosen as the preferred approach.

Slika 6. Rukopis nakon konzervatorsko-restauratorskih zahvata: A) Korice rukopisa s dodatom i originalnom kožom; B) Naličje preklopa i klapne s izvornom kožom; C) Izgled originalnog, kožnog predlista rukopisa

Figure 6. Manuscript after conservation-restoration treatments: A) Manuscript covers with added and original leather; B) Reverse side of the fore-edge and envelope flap showing original leather; C) Appearance of the original leather front endpaper of the manuscript

7. Preporuke za dugoročno očuvanje rukopisa

Za dugoročno očuvanje rukopisa preporučuje se čuvanje u prostoriji sa stabilnim mikroklimatskim uslovima: konstantna temperatura između 17 i 19°C i relativna vlaga između 40% i 55%, bez velikih oscilacija. Kako je rukopis digitalizovan, fizički primjerak više nije izložen čestom rukovanju ni di­rektnom uticaju svjetlosti, što značajno doprinosi njegovoj zaštiti. Ukoliko dođe do izlaganja, neop­hodno je izbjegavati izlaganje rukopisa direktnoj IC i UV svjetlosti, a intenzitet vidljive svjetlosti treba biti manji od 50 luksa. Rukopis zahtijeva kontinui­ranu stručnu brigu – preporučuje se godišnji pregled uveza i mehaničko čišćenje.

8. Recommendations for the Long-Term Preservation of the Manuscript

For the long-term preservation of the manuscript, it is recommended to store it in an environment with stable microclimatic conditions: a constant temper­ature between 17 and 19°C and relative humidity between 40% and 55%, without significant fluctua­tions. Since the manuscript has been digitized, the physical transcript is no longer subjected to frequent handling or direct light exposure, which greatly contributes to its protection. If exposure does oc­cur, it is essential to avoid direct infrared (IR) and ultraviolet (UV) light and the intensity of visible light should remain below 50 lux. The manuscript requires continuous professional care—an annual inspection of the binding and mechanical cleaning are recommended.

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9. Zaključak

Rukopis Al-Qāmūs al-Muḥīṭ iz zbirke Nacionalne i univerzitetske biblioteke Bosne i Hercegovine pred­stavlja vrijedan dio orijentalne kulturne baštine ne samo Bosne i Hercegovine već i regije.

Ispitivanja mikrohemijskim testovima i detaljna analiza materijala papira rukopisa Al-Qāmūs al- Muḥīṭ otkrila su složenost i raznovrsnost tradici­onalnih tehnika izrade i obrade papira. Prisutnost lignina, tragova škroba i proteinskih materijala uka­zuje na upotrebu različitih organskih komponenti u pripremi papira, što je u skladu s arapskom tradici­jom i varijacijama u historijskoj proizvodnji papira. Proces konzervacije i restauracije obuhvatio je pa­žljivo mehaničko čišćenje, lokalnu impregnaciju metilcelulozom, kao i preciznu dopunu i ojačanje oštećenih dijelova japanskim papirom, što je zna­čajno doprinijelo očuvanju strukturalne i estetske cjelovitosti rukopisa. Konzervacija i restauracija korica, uključujući odvajanje slojeva primarne i sekundarne kože, konzervaciju originalne kože i njeno vraćanje na rukopis, provedeni su u skladu sa savremenim konzervatorsko-restauratorskim stan­dardima, čime je osigurana dugotrajna stabilnost i očuvanje historijske vrijednosti dokumenta.

Primijenjene konzervatorsko-restauratorske metode i materijali pokazali su se efikasnim i prikladnim za očuvanje osjetljivih rukopisnih predmeta. Poseban značaj dat je pažljivoj identifikaciji originalnih gra- divnih materijala, čija je identifikacija omogućila prilagođenu primjenu modernih impregnacijskih sredstava. Ovakav multidisciplinarni pristup omo­gućava očuvanje kulturnog naslijeđa uz poštivanje njegove izvornosti i autentičnosti te predstavlja vri­jedan primjer konzervatorsko-restauratorske prakse u području zaštite vrijednih islamskih rukopisa.

7. Conclusion

The manuscript Al-Qāmūs al-Muḥīṭ from the col­lection of the National and University Library of Bosnia and Herzegovina represents a valuable part of the Oriental cultural heritage not only of Bosnia and Herzegovina but of the entire region.

Microchemical testing and detailed material analy­sis of the paper in the Al-Qāmūs al-Muḥīṭ manu­script revealed the complexity and diversity of tra­ditional paper-making and processing techniques. The presence of lignin, traces of starch, and protein­aceous materials indicates the use of various organ­ic components in paper preparation, consistent with Arabic traditions and historical variations in paper production.

The conservation and restoration process included careful surface cleaning, localized resizing with methylcellulose, precise infilling and reinforcement of damaged areas using Japanese paper. These inter­ventions significantly contributed to the preserva­tion of the manuscripts’ structural and aesthetic in­tegrity. Conservation and restoration of the covers, including the separation of primary and secondary leather layers, conservation of the original leather, and its reattachment to the manuscript, were car­ried out following modern conservation-restoration standards, ensuring long-term stability and preser­vation of the manuscripts’ historical value.

Applied conservation-restoration methods and ma­terials proved effective and appropriate for the pres­ervation of delicate manuscript items. Particular importance was given to the careful identification of original constituent materials, which enabled the tailored use of modern impregnation agents. This multidisciplinary approach enabels the preservation of cultural heritage while respecting its originality and authenticity, representing a valuable example of conservation-restoration practice in the field of safeguarding precious Islamic manuscripts.

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Ganović

Bibliografija / Bibliography

Borges, I. da S., Casimiro, M. H., Macedo, M. F., & Se­queira, S. O. (2018). Adhesives used in paper con­servation: Chemical stability and fungal biorecep­tivity. Journal of Cultural Heritage 33, 113-121.https://doi.org/10.1016/j.culher.2018.03.027

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https://doi.org/10.37083/bosn.2023.28.96

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Heritage Science 12, 24.https://doi.org/10.1186/ s40494-024-01137-0

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