Latest news with #Kufic
Spectator
07-07-2025
- Entertainment
- Spectator
Did you know the world's oldest Quran is in Birmingham?
Tashkent, Uzbekistan I am in Tashkent, the capital of Uzbekistan. I am standing in a historic complex of madrasas and mosques, courtyards and dusty roses, and I am staring at the 'oldest Quran in the world'. It is a strange and enormous thing: written in bold Kufic script on deerskin parchment; it was supposedly compiled by Uthman ibn Affan, the third Caliph of Islam, who was murdered while reading it. And so it is, as I linger here and reverently regard the Book, while scrolling my phone for more fascinating info, that I discover the world's oldest Quran is actually in Birmingham. Yes, that's right, Birmingham, England. It's probably in some obscure library, lodged between a dissertation on post-colonial emojis and a flyer for Falafel Night. I can't help feeling Birmingham should make more of this – maybe to distract tourists from Birmingham. In other words, the Uzbek claim is a fib. Or at least a fabulation, an exaggeration, a concoction. But that, in a way, sums up this remarkable country, with its history of illusions and cruelties, Islam and Marxism, terrifying materialism and lyrical mysticism. It is a place of dreams and deceptions – and all of it alongside some of the most beautiful cities on earth. Tashkent, however, isn't one of them. Designed as something of a showpiece city for communism in Central Asia, it has big wide boulevards, bragging monuments, impressive metro stations and an awful lot of concrete. Nonetheless, there are raisins of prettiness amid the stodgy architectural plov (plov is the national dish around here – a kind of meaty, slow-cooked paella: it's an acquired taste). One of these occasional beauties is Tashkent's theatre, built in Islamo-Uzbek style and designed by the man who did Lenin's mausoleum in Red Square. It's as if the Alhambra mated with a coke dealer's palace. Try and catch a performance if you can. And now, the stomach stirs. You can do an awful lot of walking in sprawling Tashkent. And when you're hungry, there is only one place to go: Chorsu Bazaar, with its concrete UFO-ish dome protecting a compelling warren of cafés, pop-ups and fruit shacks, selling pickles and plov and cumin and steaming 'Uzbek lasagne'. There are sun-god bread-wheels and sliced fresh baklava, warm spicy samosas and fresh pomegranate juice – marvellously tart and refreshing on a hot sunny day, of which there are lots. There is a sheltered hall right by the market stalls where you can eat your food washed down with Coca-Cola or tamarind squash, or maybe a cold beer from the nearest booze-friendly corner shop. There's been a market here since the 2nd century, and it's likely changed a bit – e.g. they no longer trade Circassian slaves with the Tibetans – but it still thunders along merrily. Uzbeks say a good market is like your mother and father. If so, this family is particularly welcoming – albeit very noisy. Onward to Samarkand via – I am not joking – high-speed train. Even as Britain struggles to build 200 yards of cart track in West Bromwich, the Uzbeks have linked all their main cities with high-speed rail, including the tourist honeypots of Samarkand and Bukhara, and, very soon, Khiva. The trains are clean, fast, efficient. They are also incredibly cheap – like everything in Uzbekistan – and decidedly popular. What to say of Samarkand that has not been said before? Let me have a go. The historic sites are marvellous – from the extraordinary 15th-century Ulugh Beg Observatory, which includes a huge underground sextant like the buried curving rib of a god-giant, to the 7th-century pre-Islamic murals of Afrasiab, the city under Samarkand. These intoxicating murals, now in their own museum, depict a wildly cosmopolitan, almost psychedelic vision of a lost Silk Road world – where Chinese princesses ride elephants, Koreans in fur hats bring tribute, and Indian dignitaries wave incense at Central Asian deities. Even as Britain struggles to build 200 yards of cart track in West Bromwich, the Uzbeks have linked all their main cities with high-speed rail And then there's central Samarkand. And the Registan. If you've ever seen photos of Samarkand, this is what you will have seen. By day, the Registan must be one of the most beautiful public spaces in the world. It rivals St Mark's in Venice. Harmonious with its echoing arches and minarets, its ochres, cobalts and turquoise, the three madrasas and mosques are lavishly decorated with dancing lions and spinning stars – like a trio of wonky Taj Mahals dunked in a tub of Isfahan blue paint and decorated by Van Gogh in his starry night phase. By night, the Registan is even lovelier. The Uzbeks have mastered the art of nocturnal lighting. The square becomes a swooning dreamscape, with the Sher-Dor Madrasa lit in dusty yellow and pomegranate red – shimmery and sad-sweet, even as kids play beneath the spotlights, overseen by indulgent parents licking purple ice creams. Before you leave Samarkand, there is one other place you ought to visit: the Tomb of Tamerlane, the fearsome warlord who conquered half of Asia in one hell of a life. The gilded, golden-tiled interior of the crypt rivals anything at the Registan. The great man lies forever under a slab of nephrite jade, beneath a dome of lapis. Our last stop is Bukhara – which is only fitting as this is where old Uzbekistan finally fell. The city is like the Central Asian Cambridge to Samarkand's Oxford. Softer, more delicate, perhaps sadder, more ethereal. In the centre, you'll find a mini Registan and also some excellent poolside cafés for shish kebabs and tolerable wine. From here, mazy lanes extend into the old Jewish town, full of rumours, all the way back to the Ark. But my favourite spot, it turns out, is on the outskirts – at the summer palace of Amir al-Mu'minin. The Commander of the Faithful, Khan of the Manghit Dynasty, Shadow of God on Earth, Sultan of the Faithful and Sword of Islam. And the last Emir of Bukhara. In this quixotic palace – half Islamic, half European – the very last Emir lived a quite ridiculous life. He was surrounded by eunuchs, mystics, torturers, gramophones and a harem rumoured to number in the hundreds. He believed in djinn, held séances, smoked opium and consulted astrologers before making policy. He also wrote decorous Persian poetry and kept a wind-up automaton that bowed on command. In 1920, the Bolsheviks came for him, and he fled into the deserts of Afghanistan with trunks of gold, carriages of terrified dancers and prayer books coated with poison. It is said he died in Kabul in 1944, writing poignant verses for his lost Bukhara – even as he drank English gin in total silence. Like the Emir, my time here is almost done. So I retreat to the shady side of the last Emir's last harem. Once I would have been thrown in the infamous pit of vipers and spiders for my effrontery. These days it's a charming café, beside the mulberry trees. I recommend the excellent cakes. Cox & Kings offers a 12-day tour of Uzbekistan from £2,745 per person.
Kuwait Times
03-07-2025
- General
- Kuwait Times
Lines of legacy
Saudi calligrapher Aref Al-Ameer explores the origins, evolution and beauty of nArabic script — urging humility, innovation and preservation of a sacred art Aref Al-Ameer, a Saudi calligrapher, is deeply passionate about the art of Arabic calligraphy. In this series, he begins by walking us through the history and evolution of the script. 'It is considered one of the most beautiful forms of writing on the face of the earth without dispute,' he says. 'It is the script in which the Holy Quran was written — a true visual delight.' Inscriptions resembling the script were used in the Hijaz region and the early Kufic script. Al-Ameer explained that Arabic calligraphy follows highly precise rules and proportions, particularly in Thuluth, Naskh and Persian scripts. 'There are different views about the origins of Arabic calligraphy, but the most likely theory is that it originated in the Nabataean Kingdom, whose capital was Petra. The Nabataeans were Arabs,' he said, pointing to an ancient stone. Arabic writing continued to evolve and improve, he noted, particularly after the spread of Islam, which emphasized high-quality and beautiful writing. 'The Prophet (PBUH) paid special attention to writing, especially for the Quran, and prophetic narrations highlight the importance of quality calligraphy.' Calligraphy saw major development during the caliphate of Imam Ali (RA), Al-Ameer said. It was during this period that the Kufic script was formalized, named after the city of Kufa, the then capital of the caliphate. Under the Umayyads, the calligrapher Qutbah Al-Muharrir introduced a softer style, departing from the angular rigidity of Kufic. His work paved the way for the development of Naskh and Thuluth scripts by later masters like Ibn Qafla and Ibn Al-Bawwab. Later, during the Abbasid Caliphate, Yaqut Al-Musta'simi emerged as a towering figure in the art form. His style inspired Ottoman calligraphers, especially Mustafa Raqim, who elevated Thuluth to its highest level of beauty and power. 'The Turks invented new scripts such as Ruqa'ah, Diwani, Jali Diwani and Taghraa',' Al-Ameer said. 'The Persians, influenced by earlier Islamic scripts, developed Ta'leeq, the Persian script, and Shakasteh (a broken, fluid line).' Al-Ameer explained that Arabic calligraphy encompasses a rich array of styles, each with distinct traits and historical roles. Kufic, the oldest form, is known for its geometric lines. Thuluth, often seen in mosque decorations and Quranic texts, is intricate and highly esteemed. Naskh is favored for its clarity and readability, making it ideal for manuscript transcription. Ijaza, or 'signature' script, blends Naskh and Thuluth and was used in official correspondence. Persian styles like Ta'leeq and Nastaliq are highly ornamental and often used in poetry, earning the title 'bride of scripts.' Ruqa'ah, on the other hand, is simple and commonly used in official and public writings. The Ottoman Empire popularized Diwani script for state use, including variants like Ottoman, Egyptia and Baghdadi styles. Diwani Jali is a more elaborate branch with overlapping, interlaced letters. Taghraa' is used for ornate signatures, often circular and curved, while the Taj script — commissioned by King Fuad I of Egypt — blends Naskh and Ruqa'ah with a crown-like motif. 'Other notable scripts include Sunbuli, recognized for its small, wave-like letters; Saqat, developed by Turks for confidential political use; and Mu'alla, a modern creation by the calligrapher Al-Mualla,' he said. 'Each style reflects the evolution and versatility of Arabic calligraphy across different regions and time periods.' Al-Ameer said he is working on creating new styles based on traditional scripts, including decorative variations, a practice he believes all calligraphers should pursue. 'I hope these new forms will be a valuable artistic contribution to Arabic and Islamic art.' He advised aspiring calligraphers to constantly train and replicate the works of great masters. 'Humility is essential — never be vain or self-satisfied, even at the peak of skill. That's the only way to preserve artistic and moral integrity. I want to help sustain the excellence of Arabic calligraphy by following in the footsteps of the old masters,' he said. 'And I believe in the value of live competitions — writing directly on paper in front of an audience. That is the true test of a calligrapher's skill.'
The Sun
03-07-2025
- Politics
- The Sun
JAKIM ready to assist Melaka in verifying calligraphy in mosques, surau
KUALA LUMPUR: The Department of Islamic Development Malaysia (JAKIM) is ready to work with the Islamic religious authorities in Melaka to assist in reviewing and verifying calligraphy in mosques and surau in the state, following claims of spelling errors in the Kufic script for the word 'Allah'. Minister in the Prime Minister's Department (Religious Affairs) Datuk Mohd Na'im Mokhtar said the move was aimed at ensuring that every calligraphy bearing the holy word displayed in mosques and surau was accurate and in line with Islamic teachings. 'I was made to understand that State Education, Higher Education and Religious Affairs Committee chairman Datuk Rahmad Mariman has instructed all mosques and surau in the state to review their existing calligraphy. 'We are ready to cooperate with the Melaka Islamic Religious Department and the Melaka Islamic Religious Council in this matter,' he told reporters after officiating the Layar Dakwah programme organised by Yayasan Dakwah Islamiah Malaysia (YADIM) here today. At the same time, he advised all mosque and surau committees nationwide to carefully review any calligraphy intended for decoration to ensure it complies with syariah requirements. Mohd Na'im also welcomed the community's concern regarding the issue but hoped that any reprimand would be made in a prudent and constructive manner. 'Do not use words that insult or belittle others. I would like to thank the community for their concern in pointing out the matter. If the khat or calligraphy is inaccurate, we will rectify it,' he said. Yesterday, Rahmad was reported to have said that the Melaka government was investigating allegations of errors in the Kufic script for the word 'Allah' at a mosque in the state. Earlier, a social media influencer had claimed there was an error in the Kufic script at a mosque in Melaka, sparking various reactions from netizens.
Daily Tribune
21-03-2025
- General
- Daily Tribune
Bahrain's Mosque Numbers Rise by 130 in Just Six Years
A new statistic released on the Government Data Platform has revealed a significant increase in the number of mosques in the Kingdom of Bahrain over the past six years. The number of mosques and prayer halls has risen by 130, growing from 1,206 to approximately 1,336 across all governorates of the Kingdom. The data also shows a notable increase in the number of muezzins and imams. In 2023, the number of muezzins reached 875, compared to 821 the previous year, marking a rise of 54 muezzins within a single year. The number of imams also grew by 29, reaching 566 in 2023, up from 537 in 2022. The number of Eid prayer halls has doubled, reaching 378 in 2023, compared to just 189 in 2022. The number of preachers and muezzins has seen notable changes over the past few years. In 2018, there were 103 preachers and 790 muezzins. By 2020, the number of preachers increased to 116, reaching 126 in 2021, and 132 in 2023. As for muezzins, their number in 2019 was 797, followed by 805 in 2020, 813 in 2021, 821 in 2022, and finally, 875 in 2023. According to the data, there are approximately 15 religious event halls associated with the Sunni Endowments in Bahrain. The doubling of the number of mosques and prayer halls in the Kingdom reflects Bahrain's commitment to implementing projects for the construction and development of places of worship. This growth is in line with the visionary developmental journey led by His Majesty the King, which focuses on fulfilling the religious needs of all members of society and achieving spiritual and religious fulfillment for all worshippers. Religious places, whether historical or archaeological, hold significant value in Bahraini society as part of its cultural and human heritage. Mosques and prayer halls in Bahrain are renowned for their exquisite architectural designs and intricate Islamic decorations. The Kingdom's cities and villages are home to numerous grand and historic mosques, which have become landmarks due to their size, capacity, and remarkable architectural beauty. The largest mosque in Bahrain is the Al-Fateh Islamic Center, which can accommodate over 7,000 worshippers and features the world's largest fiberglass dome, adorned with beautiful Kufic calligraphy. The large number of mosques and prayer halls in all governorates, along with the noticeable rise in the construction of new mosques and the restoration of old ones, highlights the Kingdom's commitment to supporting the development and construction of places of worship. This effort ensures that mosques continue to serve their noble purpose in society by spreading awareness of the correct moderate religious values and reinforcing national unity, cooperation, solidarity, and community building.
The National
18-02-2025
- General
- The National
Pyxis of Al-Mughira: On loan to Louvre Abu Dhabi, the 10th century Muslim kingdom's symbol of Andalusian art
The Pyxis of Al-Mughira at Louvre Abu Dhabi is currently on loan from the museum's counterpart in France, having arrived in November last year. The artefact comes as a striking example of the royal ivory-carving tradition of Al-Andalus, the Muslim kingdom that ruled areas of the Iberian Peninsula at various times between the 8th and 15th centuries. The cylindrical Andalusian box, which will remain in the Louvre Abu Dhabi until November 2026, was made in the 10th century, in the royal workshops of Madinat al-Zahra, the palace city near modern-day Cordoba. It is crafted from a single piece of elephant tusk. Scenes reflecting the might and agency of the Umayyads, the dynasty who ruled the area at the time, have been intricately engraved on the container. These include figures on thrones, lions attacking bulls, horsemen picking dates, and those removing falcon eggs from nests. The forms are minutely carved. The spaces between them are engraved to a thickness of just a few millimeters, letting light pass through and giving the humans, animals and flora on the pyxis a three-dimensional quality. The pyxis is small enough to be held with one hand. Yet, its "importance exceeds far larger than its physical size," says Fakhera Alkindi, senior curatorial assistant at Louvre Abu Dhabi. An aspect of this importance is the craftsmanship of the artefact, and the "remarkable mastery" required to produce something so intricate on a material as delicate as ivory. 'Certain areas are engraved to a thickness of only three millimeters, which allowed for an effective translucency once light is projected through the object,' Alkindi says. The iconography, she adds, has gone through several scholarly interpretations from contexts that range from political to astrological. As such, some mystery still surrounds the pyxis. However, one thing is certain and that is the artefact's original recipient. An inscription crowning the pyxis in a Kufic script wishes a happy destiny to Prince Al-Mughira, half-brother of Caliph al-Hakam II, the second Umayyad caliph of Cordoba, who ruled from the years 961 to 976. The inscription also bares the date of manufacturing. 'It was made in the year 968,' Alkindi says. 'The precious box was presented as a gift to the Prince Al-Mughira and represents an important moment within the history of the Umayyads of Spain and the larger Islamic history. "It stands as a material testimony to the cultural prosperity and technical virtuosity of this period in Al-Andalus, particularly within the commercial and cultural hub of Madinat al-Zahra, which hosted a flourishing environment of artistic and architectural production.' Several considerations were taken when thinking about how the pyxis would be presented at Louvre Abu Dhabi, Alkindi says. The artefact has been given its own space within the permanent galleries. Multimedia elements accentuate the intricacies of the its craftsmanship, zooming into its medallions and engravings. 'This masterpiece of Islamic art, carrying a lot of historical, aesthetic and technical importance, required a special display,' Alkindi says. 'The pyxis takes centre stage within a dedicated gallery. The material quality and the virtuosity of its craftsmanship is further highlighted by a near 180 degree monumental projection screen surrounding both the visitor and the artwork.' Four marble capitals produced around the same time period are also displayed around the box. The capitals, which once crowned lofty columns in Al-Andalus, feature splaying floral and geometric designs that echo the engravings on the Pyxis. They were likewise crafted in Madinat al-Zahra, Alkindi says, explaining that "they evoke the context in which the Pyxis was produced'. The scenography is further enhanced with the sound of oud. The musical element, composed by Iraqi composer Naseer Shamma, takes several cues from the culture of Al-Andalus and is inspired from the works of the ninth-century musician Ziryab. 'We wished to mediate many aspects of the pyxis,' Alkindi says. 'From the historical context, the cultural context, the technical developments that allowed for such an object to come to life, and the vibrant cultural centre of Madinat al-Zahra.' The Pyxis of Al-Mughira is on display at Louvre Abu Dhabi until November 2026.
