BAGHDAD: At the heart of a Baghdad flea market, nostalgia for Iraq’s royal past is on full display as collectors and investors gather to buy relics from a bygone era.
Inside the Moudallal cafe, Arabic for “pampered,” a hundred men from across the country carefully follow the auction of momentos from the nearly four decades of monarchic rule that ended with a bloody coup in 1958.
“There is a feeling of nostalgia among the customers. Take the banknotes, their manufacture and quality were much better before, that’s why the prices go up,” says 52-year-old auctioneer Ali Hikmat.
With a booming voice, the towering man who has worked in the covered market since 1992 offers his goods up for to the highest bidder.
All sorts of keepsakes are up for grabs: banknotes, coins, stamps and decorations.
Most date back to Iraq’s royal era, but there are also a few items from the early days of the republic that followed after general Abdel Karim Kassem toppled the monarchy.
Nothing is on offer from the decades of dictatorship under Saddam Hussein.
For the Iraqis hunting out their own souvenir of the past, the period of royal rule represents a golden age for their country.
The founding of the Kingdom of Iraq under Faisal I — who fought alongside T.E Lawrence during World War I — marked the emergence of the modern state after the fall of the Ottoman empire.
The country gained independence in 1932 and the monarchy lasted until Faisal II was executed during the coup.
“Of course we are nostalgic for the royal period. All the main structures in this country were built during that period, be it bridges, dams and the rest,” says 53-year-old Ahmad Kamal, who owns a real estate agency in Baghdad.
“The royal era marks the beginning of the Iraqi state,” he says. “If we compare it to today, it was much better before.”
The comparison between the past and present is a potent one — as Iraq recovers from its latest round of devastation and bloodshed following the campaign against the Daesh group.
That violence is just the latest to roil the country that has been through war with Iran, the US-led invasion and a brutal sectarian conflict since the 1980s.
Saad Mohsen, a professor of modern history at the University of Baghdad, insists that back under the constitutional monarchy Iraq was “more democratic and cleaner than today.”
“We were far from the blood and fighting that we have come to know,” he says.
For clothing merchant Hussein Hakim, searching out souvenirs from previous epochs helps him to delve into Iraq’s rich heritage.
“The past fascinates me,” he says.
“I’m interested in the history of my country through the objects I collect from the Ottoman period up until the republic, but it’s the royal era that I prefer most,” the 43-year-old adds, proudly displaying two effigies of King Ghazi and King Faisal II.
The weekly auction in this small cafe is exceptional not only because of the sheer number of items on sale, but also because everything must be sold regardless of the price, allowing a lucky few to do snap up some bargains.
But the desire for all things connected with the era of royalty does not mean Iraqis are looking to bring back the monarch.
Sharif Ali Ben Hussein, who claims to be the legitimate heir to the Iraqi throne, has never managed to get elected to parliament.
In the wake of the 2003 US invasion, he returned to Baghdad after 45 years in exile but his claim that “a clear majority” of people wanted the monarchy back failed to gain traction.
For Adel Karim Sabri, who runs the magazine “My Hobby” specializing in stamps and old bank notes, “the past is always more beautiful because it is made of memories.”
And for many of those shopping at this market of memories, scouring for relics appears to have more to do with financial gain tha historical interest.
“They buy because they have money and it’s a good investment,” the 76-year-old says.
Iraqi enthusiasts search for relics of royal past
Iraqi enthusiasts search for relics of royal past
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.
From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script
- ‘I feel there is a holy light within the letters,’ says Abdulaziz Al-Rashedi
DUBAI: Saudi calligrapher and arts instructor Abdulaziz Al-Rashedi’s first love was the pen. His fascination with writing began in elementary school in the Eighties in his hometown of Madinah.
Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. In the eyes of the calligrapher, writing is an artistic act, like a dance, that has its own kind of magic.
“What I loved about the pen was the way the ink was flowing out of it,” he tells Arab News. “The pen led me to my love of writing Arabic calligraphy.”
But there were challenges imposed by the conservative social environment of the Kingdom in the Eighties and Nineties.
“People didn’t regard art as something important. During that time, people thought that art couldn’t generate money. For them, it was a waste of time,” he says. “In such a depressing environment, I was suffering from people’s lack of interest. They were saying that the writing would distract me from my studies. But actually, it encouraged me to study.”
Not everyone disregarded his interest in pursuing calligraphy, however. Al-Rashedi’s late father was always a supporter.
“He was a believer in writing, and conserving it,” Al-Rashedi says. “He thought I was doing something important with my life, even though others thought it wasn’t important. They likened it to making scribbles. I was literally making art on my own. None of my friends shared this interest with me and there were no calligraphy institutes to encourage this talent. The situation was very difficult.”
But in 1993, Al-Rashedi learned there was, in fact, a master Saudi calligrapher living in Madinah: Ahmad Dia. He kindly agreed to teach Al-Rashedi the basics of Arabic calligraphy. And, perhaps just as importantly, to do so in his home, which Al-Rashedi compares to a school and a museum, as well as a meeting place for calligraphers.
“I was young, but he treated me like a man,” the artist recalls. “For us calligraphers, he was like a spiritual father figure, who planted a seed of determination in us. He always encouraged us and never told us off if our writing wasn’t on point.”
Al-Rashedi remained in contact with his tutor until Dia’s death in 2022 during the COVID pandemic. “When he died, it felt as if the light went off,” Al-Rashedi says.
Al-Rashedi also trained himself by copying the work of another important figure: Hashem Al-Baghdadi, the influential Iraqi calligrapher and educator who published books on the rules of Arabic calligraphy. Al-Rashedi describes the pre-social media era as a “truly dark period” when there were no opportunities to host exhibitions or share his work with others.
“People weren’t communicating with each other. It was a period that lacked (opportunity) and even good materials, such as pens and paper,” he recalls.
But with the advent of social media, most notably Facebook, and the opening of a few art galleries, including Jeddah’s Athr Gallery in 2009, things improved drastically. Today, Al-Rashedi is able to share his work on Instagram and other platforms, displaying the skills he has honed over three decades of practice.
Arabic calligraphy is an internationally respected art form that has existed for thousands of years, exercised in Islamic texts and found on monuments around the world. So, what is its long-lasting secret?
“I often ask myself why the curves of Arabic calligraphy have bewitched people for so long, and I believe it inevitably has something to do with its holiness,” he says. “Allah has been an inspiration for calligraphers and their innovation of writing. I feel there is a holy light within the letters of Arabic calligraphy.”
But Al-Rashedi also believes that, for many years, calligraphy has been stuck in a rut, untouched by modern innovation or creativity.
“Many calligraphers have literally said that Arabic calligraphy has reached its end and no one could add anything new to it,” he says. “Such an idea is incorrect.”
Indeed, Al-Rashedi has invented his own form of Arabic calligraphy, which he calls “3punt.” (He says the name refers to the size of the letters, which are written using three different pens.)
“It depends on the idea of lessening the thickness of the letter. Usually, one pen is used in Arabic calligraphy. But I discovered that the original bulkiness of Arabic scripture and the usage of just one pen prevents Arabic calligraphy from having new forms of writing being added to its system.”
Based on a strict set of rules, Al-Rashedi’s 3punt calligraphy contains 55 “subtypes of writing,” he says. It has its own lightness and elegance, with carefully choreographed flowing lines of slender Arabic script.
Ultimately, Al-Rashedi believes that Arabic calligraphy is about connections.
“If we look at Latin or Chinese scripture, on letters like ‘n,’ ‘e,’ or ‘r,’ they are based on separate components. But with Arabic calligraphy, you can connect six or seven letters in one go,” he says. “Without a doubt, Arabic writing — as an art form — is superior to other types of writing.”
US contemporary artist Brendan Murphy discusses his first show in Riyadh
RIYADH: The American contemporary artist Brendan Murphy brought his solo exhibition “Complete Control” to Ahlam Gallery in Riyadh on Nov. 7. The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo.
The show features a number of Murphy’s iconic “Spaceman” sculptures, with a particular focus on his limited-edition collectible series titled “Magication.”
In an interview with Arab News, Murphy said the main goal of his show is to bring people “into the moment.” He also stressed that he felt a “creative cultural resonance” with the Kingdom, where he believes people have shown “an appetite for creative works.”
He said: “I have a lot of stuff I’m working on, but I’m focused on building a foundation in Riyadh right now. This show is not a one-shot deal, I want to be a part of this renaissance (that’s happening in Saudi Arabia) for the next five to 10 years, at least. I want to be a part of it — I want to lead it if I can.”
Murphy’s body of work includes colorful abstract paintings and sculptures of his signature Spacemen, which explore themes of beauty, power, and the human experience.
As a kid, watching astronauts and space shuttle launches played a major role in Murphy’s life and eventually became one of his main artistic inspirations.
“My spacemen have little to do with space travel,” he explained. “They epitomize embracing the unknown — taking that step — more than somebody that literally is flying into darkness.”
Murphy’s Spacemen come in various sizes and forms, including small collectibles and large-scale installations. This versatility allows them to fit into diverse settings, from private collections to public art displays. The sculptures can be found across the world, including a 13-foot Spaceman in Houston’s Minute Maid Park baseball stadium and a 22-foot Spaceman in Oslo.
Murphy hasn’t always been an artist. He was once a professional basketball player in Europe, and then became a Wall Street trader. “I did not make a full pivot into accepting that I was a creative person until I was maybe 29,” he said. Today, he is one of most financially successful contemporary artists in the world.
In 2021, Brendan created his “Boonji Project” — a collection of his artwork as non-fungible tokens — and launched it on the Ethereum blockchain (which uses the cryptocurrency Ether). It became the largest primary NFT sale in history, producing $15.5 million dollars.
His work has proven popular with both serious collectors and celebrities, including the tennis players Novak Djokovic and Serena Williams, as well as US business mogul Warren Buffett.
Inspired by artists including Jean-Michel Basquiat and Jackson Pollock — famed for their use of color — Murphy’s art aims to encourage the viewer to tune into their emotions and discover the unknown.
“I love color as a means of communicating a feeling,” Murphy said. “When I make something and I get it right, my work creates energy and that’s pretty cool. Color is the easiest way of creating energy; different colors connect with different feelings.”
Murphy said his practice, by choice, demands that he step out of his comfort zone. He utilizes non-traditional methods and rare materials including chrome and diamonds to create conceptual pieces. He has become famous for his extravagant works of art, including “Frozen with Desire,” a sculpture of an astronaut encrusted with 6,200 diamonds, priced at $25 million.
“As an artist, you have to be uncomfortable all the time,” he said. “Find comfort in what you can control, then break it and go where you have no idea what you’re doing.”
Mark Strong plays ‘interesting version’ of all-powerful ruler in ‘Dune: Prophecy’
JEDDAH: The latest big-budget sci-fi series takes fans back to the familiar universe of Frank Herbert’s “Dune,” but 10,000 years before the events of the recent movies starring Zendaya and Timothée Chalamet.
The HBO Max show “Dune: Prophecy” — streaming in the Middle East on OSN+ — follows the rise of the shadowy Bene Gesserit sisterhood. British actor Mark Strong takes on the role of Emperor Javicco Corrino, a man who has become ruler of the galaxy at a tumultuous time.
No stranger to playing characters in powerful positions — most recently, he portrayed the ruthless mob boss Carmine Falcone in another HBO series, “Penguin” — Strong claims that his Emperor Corrino is a little different to the usual screen versions of such men.
“I’m playing a very interesting version of the guy in charge,” Strong tells Arab News. “So, he is the emperor of the universe, which is a great part to play as an actor, obviously, but what’s fascinating about him is his vulnerability — the fact that he is managing a fragile peace.
“So, the guy isn’t what I normally am asked to play, which is people with power who know what they’re doing. He’s very unsure of himself. He doesn’t feel like he’s inherited the ability of his father, he feels a bit of an imposter. He’s trying to deal with a world that he’s not in control of. And I love that juxtaposition of a man that’s supposed to be in charge and supposed to know what he’s doing, and actually he’s very unsure of himself.”
For Strong, the success of the current “Dune” movie and TV franchise is down to the source material.
“The base of the whole thing is these amazing novels that people adore. They are incredibly complicated — really rich. A lot of what we know as modern science fiction, whether it’s ‘Star Trek’ or ‘Star Wars’ or whatever, they come from those books,” he said.
“It’s a world that you want to try and have a go at, because nobody’s done it before. The series, obviously, is set before the movies and in a very different world. And it’s great to have a go at something that that is as fresh as this.”
Princess Rajwa attends parliament session in Jordan
DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein attended a ceremony marking the inauguration of the first ordinary session of the 20th Parliament in Amman on Monday, marking 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.
On August 3, 2024, the royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah.
At her birth, Jordan’s King Abdullah posted a tribute to his granddaughter on social media. 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.
“We ask God to raise her well and protect her for her parents. You have lit up our family.”
Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of late 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.
