KARACHI: It was Friday, July 6, 2012. Ali, a chirographer, was enjoying morning tea on the balcony of his apartment when he spotted a group of men loading a truck with boxes.
This was not an unusual sight since he lived near a warehouse where this was a routine activity. However, Ali realized that something was not right when a worker dropped a box and it broke open: The men were moving ancient artifacts, and the accident had caused a degree of panic among them.
Ali quickly called a friend at Sindh Government’s Culture Department who instructed him to immediately inform the police. The truck had left by the time the police arrived but they managed to chase it down and seize the valuables, which had been illegally transported.
More than five years after the incident, Ali recounted the experience to Arab News. He also recalled how the police had arrested the driver and the owner of the warehouse. However, the area’s current Station House Officer (SHO), Nasir Mahmood, says he does not have any details of the case. An official of the Culture Department told Arab News on condition of anonymity that the warehouse belonged to a former inspector general of police and the consignment was booked by a well-known Lahore-based business figure.
In 2012, the former SHO of the area, Javed Brohi, had told the media that the artifacts were stolen from the historically rich Khyber Pakhtunkhwa (KP) province and were transported to Sialkot. He said that his department had received a tip-off from intelligence agencies, presumably to protect the identity of his real source. But his account had also raised a question: Why were the artifacts brought to Karachi if their real destination was Sialkot, an urban center in the province of Punjab that is relatively closer to KP?
National Museum of Pakistan Director Muhammad Shah Bukhari says that the smugglers might have wanted to transport the relics to Europe via Dubai.
“It is possible that they found it difficult to get clearance at the Karachi port,” he said. “Sialkot has its own dry port, and they might have found someone to help them over there.”
According to an official document obtained by Arab News and authenticated by Dr. Ghani-ur- Rahman, director of Taxila Institute of Asian Civilizations, the number of the relics seized was 319. The museum authorities believed that many of them were excavated from the archaeological sites of Gandhara. Most of these artifacts contained images of Buddhist eschatology. Despite being at the National Museum of Pakistan for more than five years, however, these historical objects are yet to be displayed to the public.
“We are expanding our building,” Bukhari said. “Once it is done, we will dedicate two galleries to KP’s heritage.”
Asked why these relics should not be returned to the province of their origin, he said that the National Museum had the authority to display the heritage of any federating unit.
“Apart from that,” he added, “no one from KP has officially contacted us for them. Once they do that, we will respond with our claim over these artifacts, relics and sculptures.”
When Arab News contacted KP’s Director of Archaeology Dr. Abdul Samad, he claimed that the relics were fake.
“They are not original,” he said. “There is no need for us to fight over fake objects that were made in a Karachi factory. Why should we bring them to KP?”
Samad said that people of Sindh rarely visit the Peshawar Museum. “This will give them a glimpse into our province’s rich heritage,” he said. “Ultimately, our province will get some promotion.”
KP’s former minister for sports, tourism and culture, Aqil Shah, had held a news conference shortly after the relics were seized in Karachi, demanding that Sindh hand back the riches of Pakhtunkhwa to his administration.
“The artifacts belong to KP,” he said while talking to Arab News on telephone, “but the current administration of the province is not willing to do much about it.”
However, Dr. Samad criticized Shah for making such claims. He said that Shah had held the news conference without making verifications.
“Do you think the KP government would have remained silent if these objects were original,” he asked. “Do you think that the museum in Karachi would have kept them out in the open if they were genuine items?”
While the National Museum of Pakistan has displayed some of the seized objects in its lawn, Shah insists that his successor should take up the issue with Sindh’s provincial administration.
Meanwhile, Dr. Ghani-ur-Rehman, an expert in the field, has weighed in with Dr. Samad over the issue.
“Majority of these sculptural pieces seems to be fake,” he said. “The only ones that may be original or copies of originals are the broken ones.”
When Arab News asked the director of Pakistan National Museum why he was interested in displaying counterfeit objects at his facility, he said: “Our experts have confirmed that 161 items are genuine, though a majority of sculptures are not original.”
He added: “The museum wants to display both original and counterfeit objects along with other confiscated artifacts in its galleries. However, we have a system and can never declare a counterfeit object as a genuine relic.”
Real or fake: National Museum of Pakistan plans to display Pakhtunkhwa’s cultural riches
Real or fake: National Museum of Pakistan plans to display Pakhtunkhwa’s cultural riches
UK, Omani princes launch journey across historic Arabian route
- Camel trek first taken by British diplomat Bertram Thomas in 1928 to be retrodden by team of six travellers
- Prince of Wales, crown prince of Oman sponsoring historic coastal journey
LONDON: A group of explorers, backed by royalty, is set to undertake a historic journey, retracing a route across the coast of Oman first trodden by a British diplomat almost a century ago.
The Jewel of Arabia expedition, supported by William, Prince of Wales and Omani Crown Prince Theyazin bin Haitham, will feature six travelers, led by Mark Evans, following in the footsteps of Bertram Thomas, who first made the journey over 42 days in 1928.
Thomas made the trek to document the area and local wildlife, and was congratulated on his achievement by King George V.
The new journey, featuring camels but also modern off-road vehicles, will “raise awareness among young people both in and outside of Oman of the value of Oman’s natural heritage and biodiversity as well as the environmental challenges the country and the wider world face,” The Telegraph reported.
It will also feature podcasts and radio interviews with local stations along the way, meetings with local children and an online tracker so people can view its progress in real time.
Prince William told the modern explorers at the Royal Geographical Society on Monday: “I wish I was able to join you, but will be following very closely.”
He added: “The expedition will walk in the footsteps of British explorer Bertram Thomas and take in the wonderful coastline of Oman.
“They will be able to take in the beauty of Oman, and also see the damage done by climate change.”
Prince William added: “The expedition will not only highlight Oman’s biodiversity and natural heritage, but also symbolize the enduring friendship between our two countries.”
The prince added to guests at the Royal Geographic Society that he would “try and make something happen” regarding a future visit to Oman, teasing: “We’re in the planning process.”
The trek will see daily starts around 5 a.m. local time, and will aim to cross 25-30 kilometers per day. The travelers will sleep under the night sky, surviving in the desert without tents.
Evans, 63, said: “The stars of the show will undoubtedly be the camels.”
He joked that the animals are now in a “camel boot camp” in Oman to prepare for the arduous trek.
Alongside Evans will be Nigel Harling, Ana-Maria Pavalache, Dhirka Al-Mawali, Ibrahim Al-Hasni and Amour Al-Wahibi, all of whom are experienced explorers.
Thomas’ original expedition came at a time when the region was considered one of the world’s most inhospitable, known as Rub Al-Khali, or the “empty quarter.”
He worked for the sultan of Oman, and became the first Westerner to make the journey along the coast, spending much of his spare time exploring the country, navigating harsh terrain and warring local tribes.
Upon completion, he received a congratulatory telegram from George V, and used the experience as the basis for a book, “Arabia Felix,” which contains a foreword by T.E. Lawrence.
Meanwhile, 2025 will also mark 225 years since the signing of a friendship treaty between Britain and Oman.
Made with love — Saudi commission presents works by global artisans
- Northern Ireland, Japan and Mexico among countries represented in International Handicrafts Week
- Through Banan and other initiatives, the Heritage Commission raises awareness about the importance of handicrafts as part of cultural heritage
RIYADH: The second Saudi International Handicrafts Week — known as Banan — is offering a wealth of live music, interactive experiences and artisanal works from around the world in Riyadh this week.
Running until Nov. 29, the event is organized by the Saudi Heritage Commission and features artists and representatives from over 20 countries, exhibiting alongside the Kingdom’s own talent.
Katherine McDonald, director of Crafts Northern Ireland, told Arab News: “I think the craft of any country (paints) a picture about the people, the landscape, the culture … it’s an important part of the identity of a country. That's why it’s important that we can allow craft makers to flourish, to pass on skills, to train new craft makers, because they’re as important as the food, as the economy.”
The collective, exhibiting in Saudi Arabia for the first time, represents artisans in Northern Ireland whose work ranges from textiles and jewelry to ceramics and furniture. Items from 13 of them are on display at Banan.
“We try to have a range of work that's representative of what makers are doing in Northern Ireland,” McDonald said. “We have textiles made from local wool, ceramics ... there’s always something that allows an artist to express themselves and for people to find something they really like that suits their style.”
Award-winning contemporary silversmith Cara Murphy is largely inspired by the environment to create unique pieces such as bowls, clocks, and candle holders. She is the designer behind the past four Randox Grand National awards, often called the world’s greatest steeplechase.
Jakki Trainor crafts clay works that focus on the word “figment” to depict real or imaginative flora, fauna and folklore, while Joel Smyth creates eclectic pieces of jewelry inspired by European minimalist design, multifunctionality and interaction.
McDonald said: “Jewelry is always popular for gifting and for yourself. And we also have glass and some wooden articles as well. So, it’s a range of materials.
“This is what’s so interesting to see, what different countries and different artisans have done with the same materials. There’s such diversity. Everything is unique.”
In addition to the 500 artisans marketing and selling their work, the event features multiple interactive and immersive zones including the handicrafts arts village, a live craft performances pavilion, crafts exhibition and workshops pavilion, a platform for entrepreneurs and craft organizations, and a children’s activities pavilion.
Hailing from Hungary, woodworker Bela Zalai has been honing his craft for over 20 years. For his first visit to the Kingdom, he is exhibiting an array of his work including flutes, bowls, pots, jewelry and chairs.
Carving a flute at his booth, he told Arab News: “In Hungary, handicrafts is a very rich culture … it’s a very popular thing — pottery and leather work and a lot of things. In these times, everything is too modern and fast … handwork is very personal, unique and valuable.”
Zalai works as a zoologist, but since he started his handcrafting journey the day-job has taken second place: “Hand work is much more important for me than biology at the moment,” he said.
Through Banan and other initiatives, the Heritage Commission raises awareness about the importance of handicrafts as part of cultural heritage, ensuring they are preserved and passed on.
Saudi International Handicrafts Week is open to the public from 4 p.m. to 11 p.m., except on Monday and Wednesday when hours are 10 a.m. to 11 p.m.
REVIEW: ‘Dead Rising Deluxe Remaster’ offers reanimated chaos in 4K
LONDON; The “Dead Rising Deluxe Remaster” has arrived, breathing new life into Capcom’s iconic open-world zombie classic.
Almost 20 years after the original’s release, this version strikes a fine balance between a remake and a remaster, modernizing visuals, controls and gameplay while retaining its chaotic charm. With 4K resolution, smoother frame rates and gameplay improvements, “Dead Rising’s” latest iteration has, in a sense, grown up with its audience — although “grown up” might not be the best description for a game where a cactus can be a weapon.
The remaster brings you back to Willamette, Colorado, where you play as the cocky, wise-cracking photojournalist Frank West. His mission? Survive a 72-hour real-time, in-game clock ticking down inside a mall overrun by zombies, with missions to complete, bosses to fight, and absurd items to wield.
The day-night cycle brings shifting challenges and horror-movie ambiance that change the feel of each hour. You’ll often find yourself toggling between planning missions and impulsively grabbing whatever is in sight to fend off the undead. The remaster’s refined graphics and 60fps frame rate make both these approaches more fluid, whether you’re grappling with zombies or sneaking a killer snapshot.
And yes, Frank’s camera skills still matter. In addition to navigating an endless crowd of brain-hungry zombies, the game rewards you for snapping high-quality photos, encouraging you to capture the grotesque and hilarious. This adds an amusing layer of strategy and humor to the game, which doesn’t take itself too seriously. The absurd world of Dead Rising still allows you to dress Frank up in a range of ridiculous costumes, turning him from a somber zombie slayer into a comical hero fighting against the cathedral of consumerism — the mall itself.
As you progress, Frank’s skills evolve, allowing you to transform him into a near-indestructible wrestler, body-slamming zombies and crowd-surfing his way to safety. Missions often involve rescuing NPCs and escorting them to safety, and a roster of larger-than-life “Psychopath” bosses keeps the action intense. Beneath the mindless zombie slaying lies a satirical critique of American consumerism that resonates more with time; the remaster’s updated look adds to the commentary, making the mall’s neon lights and cluttered shelves all the more biting.
Of course, not all issues have been exorcised in this remaster. Some glitches linger, like the odd lift button bug that can render what should be a deadly encounter into an easy escape. Plus, it’s a shame that Capcom didn’t implement a co-op mode — a feature that could have elevated the chaotic fun to new heights.
Ultimately, “Dead Rising Deluxe Remaster” is as humorous as it is brutal, blending laughs with thrilling tension. The game continues to draw players into Frank West’s absurdly dangerous world, now rendered in beautifully gruesome detail. It’s a fantastic journey back to a familiar, zombie-filled playground — ideal for longtime fans and newcomers alike who are ready to face the horde.
Princess Rajwa visits art gallery in Amman with Queen Rania
- Visit marks another public engagement in Princess Rajwa’s calendar
- Naqsh Collective was founded in 2009 by two sisters, Nisreen and Nermeen Abudail
DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein visited Amman-based art gallery Naqsh Collective on her first joint engagement with her mother-in-law Queen Rania, on Sunday.
“Exquisite local designs, handcrafted with love. Had a lovely time with Rajwa at the Naqsh Collective workshop yesterday,” Queen Rania’s team posted on Instagram shortly after the visit.
The pair posted in front of an artwork titled “Wall Runner” at the gallery, which presents design works and artworks.
Naqsh Collective was founded in 2009 by two sisters, Nisreen and Nermeen Abudail. The gallery has participated in national and international events such as Milan Design Week, Amman Design Week, Design Days Dubai, and Saudi Design Week.
The visit marks another public engagement in Princess Rajwa’s calendar. Last week she attended a ceremony marking the inauguration of the first ordinary session of the 20th parliament in Amman, her second public appearance since the birth of her first child this summer.
The royal showed off an elegant black ensemble for the occasion, complete with an oversized belt by Dior and pumps by Chloe. The look was finished off with the Goji mini bag in black by Jill Sander.
Princess Rajwa was photographed alongside Queen Rania, who showed off a red look courtesy of Maison Valentino and Altuzarra.
Princess Rajwa made her first public appearance since the birth of Princess Iman bint Al-Hussein bin Abdullah II at a 2026 FIFA World Cup qualification match in October.
The royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah on Aug. 3.
Jordan’s King Abdullah posted a tribute to his granddaughter on social media to mark the occasion. Translated from Arabic, the post read: “I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.”
Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of Saudi businessman Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif, who died in January this year, and his wife, Azza bint Nayef Abdulaziz Ahmad Al-Sudairi.
Ithra conference in Saudi Arabia shines spotlight on vibrant Islamic arts
- Conference seeks to highlight how traditional crafts can inspire innovative solutions in areas such as design, business and urban development
- Adding to the immersive experience, three specially curated films explore the artistry and history of Islamic crafts
DHAHRAN: The King Abdulaziz Center for World Culture, also known as Ithra, is hosting the second Islamic Art Conference from Nov. 25-30.
In partnership with the Abdullatif Al-Fozan Award for Mosque Architecture, the theme of this year’s event is “In Praise of the Artisan.” Featuring 50 participants from 14 countries, including 27 distinguished speakers, the conference will explore the connection between heritage and innovation in Islamic art.
From panel discussions to live demonstrations, and with a diverse lineup of artists, historians, curators and academics, the program offers attendees an opportunity to engage with the artistry and history of Islamic craftsmanship.
There are thought-provoking lectures, hands-on workshops and interactive demonstrations, all designed to immerse visitors in the beauty and intricacy of Islamic art forms. A central theme this year is the vital role played by artisans in preserving cultural heritage while adapting to contemporary challenges.
Through these discussions, the conference seeks to highlight how traditional crafts can inspire innovative solutions in areas such as design, business and urban development.
Running alongside the event is the “In Praise of the Artisan” exhibition. This display of historical artifacts and contemporary works highlight the timelessness of Islamic artistry through media ranging from ornate wood carvings and luminous textiles to intricately painted ceramics and dazzling metalwork. For those eager to learn skills for themselves, there are workshops on crafts such as embroidery, wood carving and sailboat crafting.
Adding to the immersive experience, three specially curated films explore the artistry and history of Islamic crafts, delving into the lives of artisans and the cultural significance of their work. Each screening is followed by a discussion with the filmmakers.
Beyond the main exhibition, Ithra’s plaza will host eight mini-exhibits in collaboration with institutions such as The Heritage Commission, The Royal Institute of Traditional Arts, and The General Authority for the Care of the Two Holy Mosques. These highlight regional crafts from across the Islamic world, such as Turkey and Egypt, emphasizing the event’s global nature.
Prominent voices such as Dr. Mashary Al-Naim, Dr. Mahmoud Erol Kilic and artist Ahmad Angawi will lead debates on the challenges and opportunities artisans face in preserving their crafts in an era dominated by mass production. Topics will include the integration of craftsmanship into modern business models and the role of artisans in sustainable urban development.
The conference also emphasizes the potential of traditional crafts to drive social change. By fostering collaboration between artisans, designers and cultural institutions, it creates pathways for them to thrive in contemporary markets while maintaining their historical integrity.
One highlight is the work of Dhai Ibrahim Al-Otaibi, a rising star in the art of Naqda embroidery. Known for her innovative approach, Al-Otaibi blends the opulence of traditional silver and gold threads with modern fashion aesthetics.
“Naqda embroidery signifies a critical aspect of Saudi cultural identity, especially in the Eastern and Central regions,” Al-Otaibi told Arab News.
“By reinterpreting these methods, I hope to make this craft more accessible to new generations while preserving its authenticity.”
Al-Otaibi began her journey as an apprentice under the guidance of artisan Sarah Al-Dosari and is one of only 14 of Naqda embroidery practitioners in Saudi Arabia. Her contributions to the exhibition not only show her personal artistry but also underscore the enduring relevance of this centuries-old craft.
“In Praise of the Artisan” will continue at Ithra until December 2027, providing plenty of opportunity to experience the splendor of Islamic arts and their evolving role in a modern world.
