Islamic art from museums around the world

The Islamic Arts Museum Malaysia in Kuala Lumpur. (Shutterstock)
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Updated 18 May 2020
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Islamic art from museums around the world

  • To mark International Museum Day, Arab News highlights some of the most-significant artifacts from across the globe

DUBAI: ‘Islamic art’ is a broad term, encompassing delicate sacred folios, stately architectural structures, calligraphy, and paintings — and practiced beyond the geographical borders of Islamic lands — reaching the Far East and Europe — sometimes by non-Muslim artisans. Islamic art, both religious and secular, has proven popular through the ages with many, including royal patrons, archaeologists, artists, art collectors, and curious amateurs.

To mark International Museum Day on May 18, Arab News takes a closer look at some unique objects of Islamic art from leading museum collections around the world, from North America to the Middle East and beyond. 

Bifolium from ‘The Nurse’s Quran’

From New York’s Metropolitan Museum of Art

“The Nurse’s Quran” (Mushaf Al-Hadina in Arabic) is considered one of the most remarkable demonstrations of illustrated Quranic manuscripts. Written in ink and gold on parchment, this bifolio from the early 11th century was made in Tunisia (probably in Qairawan), and consists of five lines from the sixth chapter of the Quran — “Al An’am” (The Cattle). Along with red, blue and green diacritical marks, the ‘new-style’ Kufic calligraphy seen here is striking in its curvy yet contained execution.

The manuscript was reportedly commissioned by a North African female patron named Fatima, who donated it to the Great Mosque of Qairawan. She served as a nursemaid to an unknown Zirid leader from a line of Berbers ruling areas in central North Africa. Maryam Ekhtiar, the museum’s associate curator of Islamic art, writes that this important manuscript “serves as a testament to the generosity, faith, and influence of women patrons at the Zirid court.” 

Persian court carpet

From the Isabella Stewart Gardner Museum, Boston

Speaking of female patrons, the eccentric American art collector Isabella Stewart Gardner was ahead of her time when she unveiled her home and museum to the Bostonian public in 1903. She collected exemplary works by European masters including Rembrandt, Botticelli, and Vermeer. 

But she was also keen on art from the Middle East (Gardner was well-traveled and visited Egypt and Palestine). And in her palazzo-like museum is a fine example of one of the staples of Islamic art — a carpet. This one is from a Persian court, and likely created in the 17th century. 

Gardner purchased the rug in London in 1894, and, according to the museum’s curator, Nat Silver, it acts as “a defining feature of her museum's Titian Room.” Silver told Arab News that the carpet depicts “a two-layer arabesque of palmettes, vines, and curved leaves on a dark maroon ground surrounded by a border of palmettes and flowers on dark blue.” 

Bowl with Kufic calligraphy

From the Brooklyn Museum, New York

This simple yet sublime 10th-century ceramic bowl is believed to have been produced in Nishapur, in northeastern Iran, by an unknown ceramicist. An Arabic proverb decorates the edge of the bowl — written in elegant Kufic calligraphy, one of the oldest Arabic scripts known for its short vertical and elongated horizontal strokes. It reads: "Peace is that which is silent and the inner [thoughts] of the man with faults will only be revealed through his speech." 

An Islamic arts specialist at the museum explained to Arab News who might have owned this type of earthenware: “It is thought that such wares were intended for the Arab elites and merchants living in that region and those who were educated and refined (enough) to appreciate the content — as well as the calligraphic nature — of the decoration.”

Carved oliphant

From the Aga Khan Museum, Toronto

This Fumihiko Maki-designed museum is North America’s first major museum dedicated entirely to the arts of Islamic civilizations. Karen Donaldson, the museum’s collections manager, said that one of its most-prized items is one of the world’s 80 surviving ‘oliphants’ — a horn made from the ivory tusk of an elephant. 

Symbolizing the intersection of Islamic and Christian cultures, this elephant’s tusk, with its intricate imagery, dates back to the 11th or 12th century and was probably carved by Muslim artisans in southern Italy. It would have been used for ceremonial purposes.

“The term ‘oliphant’ was first used in the 12th-century epic poem, ‘Song of Roland,’” explained Donaldson. “In this text, when fighting Arabs in Spain during the Battle of Roncevaux Pass, Roland sounds his horn to recall Charlemagne and his army.”

Enameled jewelry ornament

From the Museum of Islamic Civilization, Sharjah

This small yet vibrant enameled jewelry ornament bears two peacocks, whose unison produces an imposing floral motif. Of the majestic bird’s symbolism, the museum’s organizers said: “In the Islamic world, the peacock was sometimes understood to evoke notions of paradise and eternal life.” 

It was created around the late-18th or early-19th century in Jaipur, Rajasthan, during the Mughal era, which witnessed the spread of Islamic art in South Asia. By the 17th century, Rajasthan was considered a powerhouse of sophisticated enamel craftsmanship. The work produced there typically included studded jewelry pieces, protected with an enameled surface on their front and backside, and embellished with pearls and precious stones. 

Universal astrolabe

From the Benaki Museum, Athens

Astronomy was widely practiced by scientists and scholars across the Arab world. The astrolabe (Greek for ‘star taker’) — shaped like a large clock topped with a rosette — was a scientific tool used to calculate locations and tell the time, among other functions. 

This piece in Athens’ Benaki Museum — founded by Islamic art enthusiast Antonis Benakis in 1930 — is the only known version of an Islamic universal astrolabe. 

The five-plated brass object comes from Syria and was produced by Aleppo-based craftsman and mathematician Ahmad ibn Al-Sarraj in 1328-9 for a patron named Muhammad Al-Tanukhi. Intricately inscribed on the rim of the astrolabe are the names of its four subsequent owners. At least one of them was known as a professional timekeeper (muwaqqit). 

Basin

From the Musée du Louvre, Paris

The Louvre inaugurated its modern and airy two-floor Islamic art galleries, designed by Mario Bellini and Rudy Ricciotti, in 2012. A particularly intriguing masterpiece on display is a large 14th-century metal basin created in either Syria or Egypt during the artistically prolific Mamluk era. It was brought to France by King Louis IX in the early 13th century and was apparently used for many years to baptize the offspring of French royalty, including Napoleon III’s son, Prince Napoléon-Eugène, at the Notre Dame Cathedral in 1856. It was an apt font for the regal babes — richly decorated with its figurines of huntsmen, courtiers, and rulers. It became known as the Baptistère of Saint Louis.

Bronze box

From the Islamic Arts Museum Malaysia, Kuala Lumpur 

This rare bronze-cast brass box was designed some time in the 17th century in China during the Qing Dynasty, the nation’s final imperial dynasty, which dissolved in 1912. Research shows that the Islamic presence in China goes back to the Tang dynasty (618-907) with the arrival of Muslim emissaries. It was not long before Chinese artisans started incorporating Islamic motifs in their designs for foreign buyers. 

At first glance, the box cover’s squiggly lines look illegible, but on closer inspection one can see that the term ‘Allah’ is inscribed on the top left part. In addition, the cover’s rim is decorated with floral motifs, which were common in Chinese art. Rendered in Sini (‘Chinese’ in Arabic) script, this free-flowing style of writing is characterized by its thick and tapered effect lettering. It was developed specifically for Islamic inscriptions found in ceramics, manuscripts and structures. 


Kneecap rapper Mo Chara bailed over terror charge in the UK

Updated 18 June 2025
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Kneecap rapper Mo Chara bailed over terror charge in the UK

LONDON: Fans of the Irish-language hip-hop group Kneecap mobbed sidewalks outside a London court Wednesday as a member of the trio faced a terror-related charge in what he says is a politically motivated effort to silence the band’s support for Palestinians before its appearance at the Glastonbury Festival.

Rapper Mo Chara, whose real name is Liam Og O hAnnaidh, was released on unconditional bail after the hearing at Westminster Magistrates’ Court. His next court appearance is scheduled for Aug. 20.

Irish rap group Kneecap band member, Liam O'Hanna, who performs under the stage name Mo Chara, arrives at Westminster Magistrates' Court in London on June 18, 2025. (AFP)

The single charge against Chara stems from a Nov. 21 concert in north London where he waved a Hezbollah flag in a manner that aroused “reasonable suspicion” he supported the Lebanese militant group, which is banned in Britain as a terrorist organization, the Metropolitan Police Service said in a statement last month.

Prosecutor Michael Bisgrove told the court on Wednesday Chara wasn’t being prosecuted because of his support for the Palestinians or criticism of Israel.

“He’s well within his rights to voice his opinions and solidarity, as is anybody else,’’ Bisgrove said. “The allegation in this case is a wholly different thing and deals with a video recording showing that, in November of last year, Mr. O hAnnaidh wore and displayed the flag of Hezbollah, a proscribed terrorist organization, while saying ‘up Hamas, up Hezbollah.’’’

Kneecap has supported the Palestinian cause throughout the war in Gaza. The band has been the center of controversy in Britain since last year, when the previous government sought to block an arts grant for the band, citing its anti-British politics. That decision was overturned after the Labour Party won last year’s parliamentary election and Prime Minister Keir Starmer took office.

The trio is scheduled to perform at Glastonbury on Saturday, alongside performers including Neil Young and Olivia Rodrigo. The internationally watched music festival is a five-day event that attracts about 200,000 people to a farm outside the small town in western England every summer.

As they entered the courthouse, the three Kneecap members, who hail from Northern Ireland, gave the thumbs up sign to hundreds of supporters who had gathered outside, waving signs reading: “Free Mo Chara” and “Defend Kneecap.”

The group has repeatedly said it doesn’t support Hezbollah or Hamas, nor condone violence.
Before the hearing, the band posted billboards around London bearing the slogan “More Blacks, More Dogs, More Irish, Mo Chara.” The message echoes the signs landlords placed in the windows of some London boarding houses in the 1950s, stating “No Blacks, No Dogs, No Irish.”

“British courts have long charged people from the North of Ireland with ‘terrorism’ for crimes never committed,” Kneecap said in a statement posted on social media. “We will fight them. We will win.”


Amira Al-Zuhair celebrates her birthday 

Updated 18 June 2025
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Amira Al-Zuhair celebrates her birthday 

DUBAI: Birthday tributes poured in for part-Saudi model Amira Al-Zuhair, who celebrated her 24th birthday this week.

From producer Kawther Alrimawi to lifestyle publication Hia Magazine, fashion and entertainment industry insiders took to social media to wish the runway star a happy birthday.

The model wrapped up shooting a campaign for an unnamed brand in Milan when the clock struck midnight. She marked the beginning of her birthday with a candle-topped dessert at a restaurant in the Italian city.

Instagram/ @amiraalzuhair

Al-Zuhair, born in Paris to a French mother and Saudi father, has made her mark on the fashion world and appeared on the runway for an array of renowned fashion houses such as Missoni, Maison Alaia, Brunello Cucinelli, Balmain, Dolce & Gabbana, Giambattista Valli, Giorgio Armani, Elie Saab and many more.

In addition to her runway appearances, Al-Zuhair has featured in campaigns for high-profile brands such as Prada, Chanel and Carolina Herrera.

Al-Zuhair returned to the runway in May when she walked in Louis Vuitton’s high jewelry collection show, held at Bellver Castle on the island of Majorca, Spain.

The show marked her return to the runway after she hit the catwalk at the amfAR gala in Cannes in May, before which she walked for Australian label Zimmermann at Paris Fashion Week in March.  

For Louis Vuitton, the model wore a strapless white gown featuring a fitted bodice and a soft, flowing skirt. The dress was detailed with cascading ruffles outlined in dark trim, which ran down the front and sides.

She also made a statement at the Zimmermann show wearing a burnt-orange ensemble. The sleeveless, fitted dress featured draped, ruched detailing that added movement to the design. The look was finished off with strappy brown leather sandals and gold accessories, including chandelier earrings and bracelets.

In late May, Al-Zuhair also reflected on her recent campaign with Balmain, sharing photos from the Resort 2025 collection shoot. “Had so much fun shooting inside the Eiffel Tower herself!” she wrote in the caption.

It was not Al-Zuhair’s first collaboration with Balmain. She previously walked for the brand during Paris Fashion Week in September.


Toronto Arab Film Festival showcases diverse selection this June

Updated 18 June 2025
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Toronto Arab Film Festival showcases diverse selection this June

DUBAI: The Toronto Arab Film Festival returns for its sixth annual edition with a diverse lineup from June 20 to 29.

“This year, we are screening over 50 films — both features and shorts — which is our largest number to date … it’s fulfilling to watch the development of the Canadian-Arab film industry in real time,” Rolla Tahir, a Sudanese filmmaker and co-founder of TAF, said.

This year’s program reflects the growing diversity and creative evolution of Arab cinema, with some well-known filmmakers participating.

“We’re seeing a notable rise in genre films, especially horror and sci-fi. For example, there’s a horror film from Tunisia and a short program dedicated entirely to sci-fi and horror,” Tahir said.

Participants this year include Lebanese filmmaker Mira Shabib with her film “Arze’” and “Back to Alexandria” by Tamer Ruggli starring Lebanese actress Nadine Labaki.

TAF has also become a valuable platform for professional development, offering networking opportunities for both emerging and established talent.

“This year, we’re introducing an informal industry meet-and-greet — a casual networking event with no structured pitches,” Tahir explained.

The event is designed to create a relaxed environment where Arab filmmakers can connect with industry professionals, ask candid questions, and introduce their projects without the pressure of formal presentations.

The festival’s mission may seem simple — to raise awareness of Arab cinema among Canadian audiences — but achieving that impact requires a deliberate strategy.

It is one that Tahir and her co-founders have refined over the years.

“Each year, we collaborate with other festivals to co-present films and expand outreach beyond Arab audiences,” she said.

For Tahir, the appeal of Arab cinema to non-Arab audiences comes naturally, thanks to the enduring quality and resilience of the work itself.

“What stands out is perseverance. Regardless of what’s happening in our countries or personal lives, Arab filmmakers continue telling their stories.”

It is that very perseverance — expressed through everything from harrowing documentaries to satirical comedies — that gives Arab filmmakers their distinct voice.

“I want people to know we’re still making films — and that we’re making different, bold, and innovative ones,” Tahir said.


Saudi Arabia’s Prince Faisal bin Salman joins King Charles at Royal Ascot opening

Updated 18 June 2025
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Saudi Arabia’s Prince Faisal bin Salman joins King Charles at Royal Ascot opening

DUBAI: Saudi Arabia’s Prince Faisal bin Salman bin Abdulaziz Al-Saud joined the UK’s King Charles III and Queen Camilla at Royal Ascot, one of the most prestigious equestrian racing events in the world.

Prince Faisal appeared alongside the British royals in the lead royal carriage that opened the official procession at the racecourse, just south of Windsor in the UK.  

Lady Sarah Keswick also joined the lead carriage alongside Prince Faisal, King Charles III and Queen Camilla. A close friend of the queen, she is a key member of the Queen’s Companions.

Following the royal procession, Prince Faisal joined the royal enclosure to watch the first day of races. (Getty Images)

Following the royal procession, Prince Faisal, a grandson of King Abdulaziz and son of King Salman, joined members of the British royal family, including Princess Beatrice and Zara Tindall, in the royal enclosure to watch the first day of races.

Royal Ascot remains a major fixture on the British social calendar, drawing global political and royal elites.

Arab royalty has played an increasingly visible role at the event in recent years. In 2024, Prince Salman bin Hamad Al-Khalifa of Bahrain — the crown prince and prime minister — attended the event as a guest of honor, representing Bahrain’s royal family.

Meanwhile, Sheikh Tamim bin Hamad Al-Thani, Emir of Qatar, has become a prominent figure in the racing world through his Wathnan Racing team. 

The organization has achieved notable success at Royal Ascot, including a win in the 2023 Gold Cup. 

Queen Camilla, King Charles III and Prince Saud bin Khalid Abdullah attended day 2 of Royal Ascot 2023 at Ascot Racecourse in Ascot, England. (Getty Images)

Prince Saud bin Khalid — son of the late Prince Khalid bin Abdullah Al-Saud, the legendary Saudi breeder behind Juddmonte Farms — was also seen attending the second day of the Royal Ascot in 2023, alongside King Charles III.


Designer Alina Anwar takes over Times Square

Updated 17 June 2025
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Designer Alina Anwar takes over Times Square

DUBAI: Dubai-based designer Alina Anwar, founder of Alina Anwar Couture, this week appeared on a digital billboard in Times Square, New York.

Well known for dressing celebrities in Hollywood and Bollywood, including Mariah Carey, Toni Braxton, Kareena Kapoor and Idina Menzel, Anwar has expanded her reach internationally with her gowns and suits.

The billboard featured Anwar, who is famous for her structured silhouettes and feminine designs, wearing a red sequined skirt from her own collection, accompanied by her brand’s statement: “My aim is to empower women through powerful dressing and to set them on a path of personal freedom and possibilities.”

In a statement she said: “I created this brand to empower women, to make them feel confident, unstoppable and seen. To have that vision now broadcast in Times Square is surreal, but it’s also just the beginning.”

Anwar’s brand is a luxury eveningwear label that creates gowns and tea-length dresses using contemporary couture techniques and French finishing. The brand’s pieces feature fine fabrics and detailed tailoring, and are made in the UAE.

In 2019, her work gained global attention when US singer Mariah Carey wore one of her designs in a remake of the “All I Want for Christmas Is You” music video, released to mark the song’s 25th anniversary. Carey wore a pine green, fully sequined, long-sleeved cocktail dress with a scooped neckline, designed by Anwar.

“I hope to see more and more Hollywood stars wear my brand and as a Dubai-based fashion label, I am so overwhelmed by the trust that they are giving me. I am here to advocate UAE-made products (that) are world-class,” Anwar said at the time.

Anwar is not the only regional figure to appear on a Times Square billboard.

Several Arab artists have featured in recent years.

Egyptian singer Amr Diab became the first Arab musical artist to appear on a Spotify billboard in Times Square in 2019.

Since then, others have followed, including Palestinian-Chilean singer Elyanna, who was featured in December as part of Spotify Arabia’s “EQUAL” campaign spotlighting female artists from the region.