The mysterious, ancient Nine Domes Mosque of northern Afghanistan

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In this photo taken on November 8, 2017 shows the gate of the ninth-century mosque Masjid-e Haji Piyada (mosque of the walking pilgrim) in Balkh Province. (AFP)
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In this photo taken on November 8, 2017 shows scaffolding for the ongoing conservation work at the ninth-century mosque Masjid-e Haji Piyada (mosque of the walking pilgrim) in Balkh Province. (AFP)
Updated 06 January 2018
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The mysterious, ancient Nine Domes Mosque of northern Afghanistan

BALKH, Afghanistan: In the white dusty plains of northern Afghanistan, archaeologists are seeking to unravel the secrets of one of the oldest mosques in the world, whose structure is still standing after a thousand years of solitude.
The Nine Domes Mosque, named for the cupolas that once crowned its intricately decorated columns, glimmers with remnants of the blue lapis lazuli stones that encrusted it.
Carbon dating in early 2017 suggests the ancient structure in Balkh province was built in the eighth century, soon after Islam swept into Central Asia — but exactly when, and who by, remains a mystery.
The very survival of this modest square of just 20 by 20 meters (65 foot by 65 feet) has beguiled experts.
“It’s a miracle it’s still standing despite time and erosion,” said Italian architect Ugo Tonietti, from the University of Florence, who specializes in heritage conservation.
The mosque, which has weathered the centuries partly due to the arid climate of the region, is one of the best preserved Islamic buildings of its age in the world and is “highly valuable and highly vulnerable,” he said.
Time has washed most of the color from its columns, but the mosque was once a dazzling spectacle.
“This is a masterpiece. You have to imagine how it looked like, fully decorated with lapis, some parts in red, it was all covered and painted: it was like a garden of paradise inside, with a sky above, the domes with white and blue decoration,” he said.
The delicate vine leaves etched onto the pillars resemble those seen at Samarra, Tonietti said, referring to the powerful ninth century Islamic capital city that ruled the Abbasid Empire extending from present day Tunisia to Pakistan.
But the mosque at Balkh could be even older, with the carbon dating and historical sources suggesting it could have been built as early as the year 794.
“This means that the mosque of the Abassid Empire has been influenced by Afghanistan, not the other way around,” said Julio Sarmiento-Bendezu, director of the French Archaeological Delegation in Afghanistan, who is leading excavations at the site.

“This mosque is exceptional in its beauty, conservation, decoration and the knowledge it holds,” he said.
But Noh Gonbad, its Persian name, was only rediscovered by chance.
In the late 1960s, an American archaeologist traveling in the region asked local people to take her to a mosque destroyed by Genghis Khan, the Mongol emperor who rampaged across the region in the early 13th century.
Villagers led her to this lonely, half-buried temple some 20 kilometers (12 miles) west of Mazar-i-Sharif.
Once found, however, the building languished once again as war was unleashed on Afghanistan, enveloping the country in decades of bloodshed, and it was not until 2006 that excavations began on the site.
“We thought at first that it was an isolated monument, but as we went on we saw that it was stuck to other older structures,” said Sarmiento-Bendezu.
“At the end of the 8th century, the Buddhist world was in torment in the region. No doubt it was built on the remains of a monastery.”
In July archaeologists unearthed the base of the pillars, at a depth of 1.5 meters (five feet), but surveys suggest even deeper remnants.
“This is a window open to the ancient period, here we can find the base of the next culture to come,” said Arash Boostani, an Iranian architect and engineer from the University of Tehran, who was commissioned by the Aga Khan Trust for Culture (AKTC) to work on the site.
A specialist in conserving historical monuments, he said that some of the flower designs on the mosque are pre-Islamic and have been absorbed from local culture.
The building, which has been protected from the elements by a metal roof, remains vulnerable because its brick and patchwork structure is susceptible to erosion.
Noh Gonbad’s domes were toppled soon after the mosque was built and have lain at the site during the centuries since.
“With the earthquake in 819 most of the mosque collapsed,” Boostani said.
Another earthquake a hundred years later hit the outer walls and most of the 15 arches.
The experts stretched fiberglass nets to support the two main, deeply cracked arches, and injected cement — without altering the gypsum decorations.
“The place has always been occupied,” Sarmiento-Bendezu said. “Monastery and then mosque, abandoned and squatted in — we found fireplaces.
“Pieces of the domes, however heavy, were transported and used to cover nearby tombs: why give yourself this burden if the building did not have strong symbolic value?“
Noh Gonbad remains a place of pilgrimage: the women come to gather on Friday and weep over the tomb of an obscure saint, Hadji Pyada, the walking pilgrim, buried there in the 15th century.
“Like all excavations, those of the Nine Domes Mosque pose more questions than they answer,” says the archaeologist.


Saudi stars shine at Ivana Chubbuck’s Riyadh workshop

Updated 07 January 2025
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Saudi stars shine at Ivana Chubbuck’s Riyadh workshop

DUBAI: Saudi actresses Sumaya Rida, Adwa Bader and Mila Al-Zahrani participated in a workshop hosted by the California-based drama school Ivana Chubbuck Studio in Riyadh. 

The workshop is part of the Ministry of Culture and the Film Commission’s Filmmakers Program, which runs until the end of January.

Rida, known for her breakout television roles in “Another Planet” and “Boxing Girls” as well as her big-screen appearances in “Junoon” and “Roll’em” — among the first films to premiere in the Kingdom after cinemas reopened — took to Instagram to share behind-the-scenes moments from the workshop with her colleagues.

Sumaya Rida (right) took to Instagram to share behind-the-scenes moments from the workshop with Mila Al-Zahrani (left) and Adwa Bader (center). Instagram 

She also shared a clip of herself with Zahrani and later posted an Instagram Story featuring both of them, captioning it, “My scene partner.”

Ivana Chubbuck, founder and director of the studio, is a US acting coach and creator of the widely adopted Chubbuck Technique, known for its role in Oscar-winning and nominated performances. 

She heads the drama school in Los Angeles and conducts acting workshops worldwide.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Adwaء Bader (@adwaxox)

Chubbuck has worked with renowned actors such as Charlize Theron, Brad Pitt, Sylvester Stallone, Terrence Howard, James Franco, Jake Gyllenhaal, Elisabeth Shue, Catherine Keener, Halle Berry, and Jared Leto, among others. 

She is also the author of the best-selling book “The Power of the Actor,” published by Penguin Books’ Gotham division, which has been translated into 20 languages.

Chubbuck’s Riyadh workshop was also attended by Saudi actor and comedian Fahad Albutairi, who shared a carousel of images from the event on Instagram. Among the pictures was a signed note from Chubbuck that read: “Fahad, you are so talented and (I) look forward to continuing our journey together.”

The attendees received a certificate of participation after the workshop, which Albutairi also posted on his Instagram.

The Filmmakers Program collaborates with several international film universities and institutes to provide training opportunities and workshops for both amateur and professional filmmakers in the Kingdom.


Review: Palestinian poet Mosab Abu Toha writes against erasure, destruction

Updated 07 January 2025
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Review: Palestinian poet Mosab Abu Toha writes against erasure, destruction

JEDDAH: “Every child in Gaza is me,” writes Palestinian poet Mosab Abu Toha in the creed-like opening of “Forest of Noise,” setting the tone for the poems to come and establishing his profound connection to his people and Palestine.

The poems within the slim but impactful volume by the Palestine Book Award-winning poet blend personal narratives with the broader documentation of life under Israeli occupation, siege, and bombardment in Gaza.

Released amidst one of the most turbulent periods in recent Palestinian history, Abu Toha uses the art form to not only capture personal memory, but to document Israel’s atrocities committed against Palestinians and the resilience of the people living in a continuous state of emergency.

Written in clear, simple language that often evokes visceral, painful imagery, his poetry oscillates between moments of loss, destruction, and survival, and glimpses of peace that seem fantastical in their rarity.

In “Palestinian Village,” Abu Toha imagines a peaceful scene “where a canary never tires of singing” that feels like a distant memory or a dream in stark contrast to the harrowing reality on the ground. The poem, like others in the collection, is a reminder of the cultural and natural heritage that Palestinians are fighting to preserve amid what Amnesty International, as well as some regional states, have termed a genocide.

In “On Your Knees” he powerfully uses repetition of the line “on your knees!” to document the humiliating and horrifying experience of being abducted by Israeli forces as he attempted to cross the Rafah border with his family in November 2023.

Abu Toha resists physical subjugation with poetry as a form of resistance and memory — asserting the Palestinian self and narrative and highlighting the power of art to fight back against erasure.

In “After Allen Ginsberg,” the Palestinian poet draws from the American’s iconic work “Howl,” writing:

“I saw the best brains of my generation

protruding from their slashed heads.”

By adopting Ginsberg's confrontational style, Abu Toha’s unrestrained voice laments and protests Israel's ongoing assault that has claimed the lives of thousands of children, women, and men. 

The poet’s unwavering voice in “Forest of Noise” challenges readers to see Gaza not as a distant conflict but as a human tragedy that demands attention.


French Algerian actress Sofia Boutella begins year with ‘SAS Rogue Heroes’

Updated 04 January 2025
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French Algerian actress Sofia Boutella begins year with ‘SAS Rogue Heroes’

DUBAI: French Algerian actress Sofia Boutella started the new year on a high note with the premiere of season two of the BBC series “SAS Rogue Heroes.”

“Happy New … SAS season 2 is out … and Happy New Year,” she wrote on Instagram this week, sharing on-set pictures of herself and her co-stars from the military drama, which chronicles the exploits of the British Army’s special forces unit.

Series two, created by Steven Knight (“Peaky Blinders”), picks up with British troops in the spring of 1943 during World War II.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Sofia Boutella (@sofisia7)

Returning for the sequel are actors Jack O’Connell, Connor Swindells, Dominic West and Sofia Boutella, who reprises her role as French intelligence agent Eve Mansour.

Commissioned by the BBC, the show is based on Ben Macintyre’s best-selling book of the same name, with season two having been directed by Stephen Woolfenden.

Boutella most recently starred “The Killer’s Game,” which hit cinemas in September, and Netflix’s “Rebel Moon — Part 2: The Scargiver.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Sofia Boutella (@sofisia7)

In the sci-fi adventure — a sequel to last year’s “Rebel Moon — Part One: A Child of Fire” — a peaceful colony on the edge of a galaxy finds itself threatened by the armies of a tyrannical ruling force.

Kora, played by Boutella, has assembled a small band of warriors — outsiders, insurgents, peasants and orphans of war from different worlds.

Boutella drew on her history as an immigrant. She grew up in Algeria during its civil war and later moved to France and found herself navigating the complexities of adapting to a different culture.

“Having left Algeria young, when I go back there I don’t feel like I belong to Algeria. And then, in France, I don’t feel like I belong to France because I didn’t grow up there,” she told Arab News in a previous interview.

Boutella has learned to embrace her rootlessness, though. “I feel like I belong to this planet. I have the freedom to travel wherever I want, without any limitation,” she said. “But sometimes, I miss the proximity and attachment that people have to their country.”

Kora was not Algiers-born Boutella’s first role as a sword-wielding extraterrestrial. The actress, who at the age of 10 fled to Paris with her family during the Algerian civil war, is known for her breakout performance in the Oscar-nominated film, “Star Trek Beyond,” in which she portrayed the fierce alien warrior, Jaylah.


Iran artist’s vision for culture hub enlivens rustic district

Updated 04 January 2025
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Iran artist’s vision for culture hub enlivens rustic district

  • Arabesque patterns and relief faces carved with intricate details and painted in vivid hues of greens, pinks, blues, and purples now adorn the walls

SHIRAZ, Iran: In the winding alleys of southern Iran, artist Adel Yazdi has taken it upon himself to turn his rustic old neighborhood into a cultural and tourist hub through vibrant paintings and carved relief faces.
Narenjestan, a neighborhood characterized by crumbling, uninhabited houses, is nestled in Shiraz, a southern city celebrated for its historic architecture, lush gardens, and revered poets.
“Most of the dilapidated walls in old Shiraz have no historical value,” said Yazdi, a bushy-bearded, bespectacled 40-year-old artist who has dedicated himself to revitalizing Narenjestan.
Over the years, Yazdi has turned the long-neglected neighborhood walls into a vivid visual tapestry “telling the stories of the people living here,” he said.
Arabesque patterns and relief faces carved with intricate details and painted in vivid hues of greens, pinks, blues, and purples now adorn the walls.
With its striking designs and bright colors, Yazdi’s art can be reminiscent of Surrealism. It often comes across as surprising, showcasing a different side of Iran’s artistic heritage that goes beyond the conventional focus on traditional architecture.
The artwork includes the face of Scheherazade, Yazdi said, referencing the legendary storyteller from the “One Thousand and One Nights” collection of folktales.
Yazdi’s work stands out in Shiraz, where graffiti and murals are rare, and it has become a social media sensation and a tourist attraction.
Yazdi said he drew inspiration from the Pompidou Center in Paris, a cultural hub that transformed the heart of the French capital in the 1970s. He hopes his efforts can turn Shiraz’s alleyways into a more vibrant cultural center.

At his residence, visitors are particularly drawn to what Yazdi calls “the Finger Room.”
Inside, he installed around 14,000 finger sculptures on the ceiling, all pointing downward.
“The room is inspired by the legend of an angel that counts raindrops with thousands of fingers,” he said, referring to a religious fable.
“These fingers constantly remind us that the present moment is precious and that we must seize it.”

 


REVIEW: ‘Squid Game’ enters a holding pattern 

Updated 03 January 2025
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REVIEW: ‘Squid Game’ enters a holding pattern 

  • Second season of the hit Netflix show feels tentative, ahead of its upcoming finale 

LONDON: The success of “Squid Game” in 2021 made a second season an inevitability, rather than a mere possibility proffered by a hopeful epilogue scene. But because this smash-hit show came out of South Korea, there was also an optimistic air to its steadily approaching release — could this addictively bleak dystopian thriller sidestep a lot of the Hollywood pitfalls and deliver a second season that was at least the equal of the first? 

Although it’s a sidestep of its own, the answer is… we’re not sure yet. And that’s because, although it’s billed as season two, these seven new episodes were shot back-to-back with season three (coming in 2025 and confirmed to be the last). So what you’re essentially getting here is the setup for the big finale still to come. That perhaps explains why, though the first season dropped viewers into the murderous titular competition pretty quickly, the actual ‘game’ of the second season of “Squid Game” doesn’t start until midway through the third episode. Before that, we’re reintroduced to main protagonist Seong Gi-hun (Lee Jung-Jae, still far and away the best thing about the show). Having won the first season’s brutal series of children’s games (for which the losers’ penalty is death), Gi-hun is spending his reward money trying to bring down the organizers of the competition, teaming up with season one detective Hwang Jun-ho (Wi Ha-joon) in an attempt to topple the shady cartel that is pressganging cash-strapped Koreans into murdering each other for money. When his plan to catch the game’s Front Man fails, he instead joins the latest intake, intent on helping the contestants escape with their lives. 

It’s an odd choice to spend so long building up to the competition — and even dallying on whether it can be proved it even exists — when that’s what viewers are here for. Once the games get going, “Squid Game” is as breathless and shocking as ever, and with a new cast of characters, there are fresh backstories to mine and some pretty pointed social commentary on greed, capitalism and social care (Korean commentators have suggested that the subtitles miss a few of the nuances of the script, which may be why some of the satire seems a little on the nose). Perhaps acknowledging what audiences will remember, there’s also a few decent twists that deserve to remain a surprise.  

But while season two of “Squid Game” is still great television, there’s no small amount of bloat here — and a sense of treading water for the final round still to come.