The Divani script occupies a distinctive position within the history of Ottoman administrative writing. Developed in the early centuries of the empire and standardized in the sixteenth century, Divani served primarily within the imperial chancery.

This early 15th-century manuscript contains an incomplete copy of Nizämi's Khamsah. Present are small sections of Makhzan al-asrär, most of Layli va Majnin, approximately half of Khusraw va Shirin, and the first third of Haft Paykar; the Iskandarnämah is absent. The manuscript includes 24 miniature paintings, some unfinished, and features elaborate illuminated pages. It was copied by Hasan al-Hafiz, likely in the workshop of either Iskandar Sultän or Ibrähim Sultãn.

The scene often titled Europeans Refreshing Themselves on a Balcony offers a striking entry point into the social world of early modern Goa. The painting, produced by an anonymous artist of the Indian School and dated to the late Mughal or Deccan period, follows a visual language that blends South Asian artistic conventions with European subjects.

Between the fifteenth and eighteenth centuries, manuscript production across the Islamic and Indian worlds constituted a sophisticated, multi-stage craft tradition integrating material technologies, artisanal specialization, and aesthetic theorization. This short essay outlines the principal stages of manuscript manufacture from paper production, preparation of inks and pigments, calligraphy, illumination, binding, and circulation. 

The stability of human knowledge has always depended upon fragile substrates. For most of recorded history, texts circulated not as abstract digital entities but material objects such as codices, scrolls, scripts are vulnerable to the entropic forces of time. Among the most persistent threats to this material heritage is the activity of so-called bookworms, a colloquial umbrella term for a variety of insects whose feeding or burrowing damages books.