@museumwnf/with-brush-and-qalam-data 1.0.3 → 1.0.4

This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
Files changed (9) hide show
  1. package/dynasties.json +1 -1
  2. package/exhibition.json +1 -1
  3. package/items.json +1 -1
  4. package/manifest.json +1 -1
  5. package/package.json +1 -5
  6. package/partners.json +1 -1
  7. package/themes.json +1 -1
  8. package/translations/items.ar.json +1 -1
  9. package/translations/items.en.json +1 -1
package/dynasties.json CHANGED
@@ -1 +1 @@
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- [{"id":"4ff94404-b748-5d95-93e3-648f784dd9ba","backward_compatibility":"mwnf3:dynasties:58","from_ah":1053,"to_ah":1330,"from_ad":1644,"to_ad":1912,"image":"https://inventory.metanull.eu/pub/f6fac9b0-f1f9-57f5-a92f-b580ae937468.jpg"}]
1
+ [{"id":"4ff94404-b748-5d95-93e3-648f784dd9ba","backward_compatibility":"mwnf3:dynasties:58","from_ah":1053,"to_ah":1330,"from_ad":1644,"to_ad":1912,"image":"./images/pub/f6fac9b0-f1f9-57f5-a92f-b580ae937468.jpg"}]
package/exhibition.json CHANGED
@@ -1 +1 @@
1
- {"id":"bac76311-0d8c-5065-8693-bc1720e569db","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:50","kind":"exhibition","slug":"with_brush_and_qalam","legacy_host":"https://exhibitions.museumwnf.org","mwnf3_project_id":"EXWIT","project_id":"0ca36c45-f02c-5743-aa86-fe3cce6e8a36","languages":["en"],"languages_enabled":["en"],"titles":{"en":"With Brush and Qalam"},"subtitles":{"en":"Chinese Arabic Calligraphy by Haji Noor Deen"},"headlines":{"en":"Online exhibition curated by the Museum for Islamic Art Berlin, a MWNF co-founding Partner. \n \nHaji Noor Deen is a master of Sini calligraphy, the artistic script of Muslims in China. The exhibition shows a selection of 24 works that blend Arabic and Chinese calligraphy traditions. \n \nBased on the exhibition organised by the Museum for Islamic Art Berlin, on display at the Pergamon Museum, 6 July – 22 October 2023."},"abouts":{},"popup_logos":{"en":"**Welcome to ‘With Brush and Qalam’!**\n\n**This online exhibition offers a new and exciting opportunity for our Partners and visitors to take advantage of the MWNF platform.**\n\n**‘With Brush and Qalam’ was an exhibition organised at the Museum for Islamic Art in Berlin. Thanks to this new online format, the exhibition remains accessible also after the end of its physical display.**\n\n**We hope you will enjoy your visit.**\n\n  **![](https://images.museumwnf.org/full/upload/mceclip3.jpg)  ![](https://images.museumwnf.org/full/upload/mceclip0.jpg)**"},"popup_logo_show":{"en":true},"banner_captions":{"en":"Museum for Islamic Art Berlin, 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- {"377425e8-db47-571b-85e2-27702d394d1d":{"name":"لفة بمناظر لمكة والمدينة","short_description":"يتألف النص من آيات قرآنية وصلوات قصيرة وابتهالات والعديد من تكرارات البسملة والشهادة والأخيرة مرتبة في أشكال تزيينية مثل الزهريات والأزهار ومعبد وذو الفقار وهو سيف ذو شعبين معطى من قبل النبي لعلي. بالإضافة لذلك هناك صور للمسجد الحرام في مكة والمسجد النبوي في المدينة ( حيث يصور القبر ذو القبة في اتجاه خاطئ) واللوحة الأخيرة تحيط بالحلية للنبي محمد.","type":"لفة ، تخطيط ، رسوم ، منظر لمكة ، منظر للمدينة ، حلية","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"أرخت في 1261 هجري / 1745 ميلادي","location":"لندن","dimensions":"402 × 27 سم","method_for_datation":"مكان صنع القطعة وتاريخها يستندان لأسس تحليل الطراز","provenance":"الصين ، موقعة من قبل أيوب","author":"Nahla Nassar","translator":"أحمد باسل رضوان","keywords":["الحج","الحجاز","الشهادة","الصين","الكعبة","المدينة","النبي محمد","الهند","بسملة","دين","ذو الفقار","صلاة","لوحة","مسجد","مكان مقدس","مكة","ورق"],"materials":["ألوان مائية وذهب على ورق","حبر"]},"45b19a0c-0267-54d0-a134-624669d15108":{"name":"اقسام القران","short_description":"يضم هذا الكتاب جزأين من أجزاء القرآن الثلاثين. كان يُعرف باسم الجزء ، وغالبًا ما كان يُباع بشكل منفصل خلال الإسلام في العصور الوسطى ، مع أنماط زهرية وهندسية دقيقة تزين الغلاف البني للكتاب. \n \nتظهر الآية (الآيات) بخط النسخ مقسمة برسوم توضيحية ذهبية لأشكال نباتية بما في ذلك اللوتس والزهور الأخرى المدمجة من التقاليد الصينية والبوذية القديمة. \n \nعلى الرغم من أن معظم المسلمين في الصين لا يتحدثون اللغة العربية ، إلا أن القليل من المصاحف الصينية كانت موجودة خلال عهد أسرة مينغ وتشينغ. منذ انتشار الإسلام وإنشاء المدارس الإسلامية في عهد أسرة يوان ، تم أداء تلاوة الصلوات والخط باللغة العربية. كان للعديد من المسلمين من العالم العربي خلفية تجارية حيث يمثل خط النسخ الكتابة الرسمية. وهكذا أصبحت الأشكال المعدلة من النسخ بما في ذلك المحقق والريحاني هي الأنماط السائدة للمصاحف الصينية المزخرفة بالحبر الذهبي النموذجي","type":"مخطوطات","holder":"متحف الشيخ فيصل بن قاسم ال ثاني","owner":"متحف الشيخ فيصل بن قاسم ال ثاني","dates":"القرن ال 18- 17","location":"الشهنية","dimensions":"طول: 22 سم عرض: 28.5 سم ارتفاع: 3.5 سم","provenance":"الصين","obtention":"الصين","bibliography":"Anvaary, S., \"A Study of the Art of Chinese Quranography from the Sixteenth to the End of the Eighteenth Century\", *Journal of Art and Civilization of the Orient*, 9: 33 (2021): 55–64. \nGhoname, H., *Sini Calligraphy: The Preservation of Chinese Muslims' Cultural Heritage*, Doctoral dissertation, Manoa: University of Hawaii at Manoa, 2012. \nHuaizhong, M. U. Y., \"The four upsurgences of Islamic culture in Chinese history\", *Journal of Muslim Minority Affairs,* 16: 1 (1996): 9–20.","author":"Sarah Schroeder","translator":"Faisal Haddad","materials":["حبر:كتابة يدوية","ورق عجينة الرز"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"طبق","short_description":"طبق كبير من البورسلين الأبيض عليه تزجيج بلون أزرق كوبالتي، في وسطه إطار دائري داخله كتابات، تحيط به أربع دوائر وضعت على مسافات متساوية وتضم نفس النص. توجد علامة من ستة أحرف داخل قاعدة الطبق بالخط الهونجزهاي محصورة داخل دائرة، يحدها خط مزدوج. في الميدالية الوسطى كتبت العبارة التالية: \"سلم تسليما كثيرا كبيرا بفضلك ورحمتك يا أرحم الراحمين\". أما في الميداليات المحيطة بها، فكتبت العبارة التالية: \"لا فتى إلا علي لا سيف إلا ذو الفقرة [الفقار] وعلي هو الحق لا موت أصيب إلا بالأجل\". وأما الكتابات حول حافة الطبق فهي كالتالي: \"ناد عليا مظهر العجائب/ تجده عونا لك في النوائب/المعولي إلى الله حاجت/كل هم وغم سينجلي بنبوتك يا محمد وبولايتك يا علي يا علي يا علي/بحق ذي الملك والملكوت/ اعتصمت بذي العزة والقدرة والجبروت/ وتوكلنا على الذي لا ينام ولا يموت/دخلت في حرم الله وفي حفظ الله من شر البريت [البرية] أجمعين بحق حم بحق كهيعص وعسق لا حول ولا قوت [قوة] إلا بالله العلي العظيم صلى الله على المسطفى [المصطفى] محمد وآله أجمعين.","holder":"دار الآثار الإسلامية","dates":"912-894 هـ \\ 1488-1505 م","location":"مدينة الكويت","provenance":"الصين"},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"مبخرة","short_description":"ترتكز المبخرة الصينية على ثلاثة أرجل وتتزيّن بالخط العربي، حيث تُقرأ عليها الشهادة. خلال عهد أسرة تشينغ كانت هذه القطعة تُستخدم لتعطيرالهواء في مسجد بالصين . \n \nعلى الرغم من أن العديد من المسلمين في المنطقة لم يكن باستطاعتهم كتابة الخط العربي، إلا أن الخط العربي صمد كعنصر للزخرفة، ونظرا لعدم وجود أحرف صينية للتعبيرعن مفهوم الإله الواحد، تُقدّم الكلمات العربية وسيلة فعّالة لإيصال الرسائل الدينية.كما يظهر على الختم الظاهر في قاع المبخرة ابتكر الحرفيّون الخط العربي الصيني للإشارة إلى الملكيّة أوالإنتاج. \n \nاليوم، تسعى الأقلية المسلمة الصينية إلى الحفاظ على تراثها بما في ذلك القطع النادرة مثل المشغولات المعدنية العائدة لفترة حكم أسرة تشينغ، التي إما أنها فُقدت أو دُمّرت بمرور الوقت.","type":"الاثار الدينية","holder":"متحف الشيخ فيصل بن قاسم ال ثاني","owner":"متحف الشيخ فيصل بن قاسم ال ثاني","dates":"القرن ال 17","location":"الشهنية","dimensions":"طول: 18.5 سم عرض: 13 سم","provenance":"الصين","obtention":"شراء","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021). \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019. \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012. \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","author":"Sarah Schroeder","translator":"Faisal Haddad","materials":["برنز : منقوش"]}}
1
+ {"377425e8-db47-571b-85e2-27702d394d1d":{"name":"لفة بمناظر لمكة والمدينة","short_description":"يتألف النص من آيات قرآنية وصلوات قصيرة وابتهالات والعديد من تكرارات البسملة والشهادة والأخيرة مرتبة في أشكال تزيينية مثل الزهريات والأزهار ومعبد وذو الفقار وهو سيف ذو شعبين معطى من قبل النبي لعلي. بالإضافة لذلك هناك صور للمسجد الحرام في مكة والمسجد النبوي في المدينة ( حيث يصور القبر ذو القبة في اتجاه خاطئ) واللوحة الأخيرة تحيط بالحلية للنبي محمد.","type":"لفة ، تخطيط ، رسوم ، منظر لمكة ، منظر للمدينة ، حلية","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"أرخت في 1261 هجري / 1745 ميلادي","location":"لندن","dimensions":"402 × 27 سم","method_for_datation":"مكان صنع القطعة وتاريخها يستندان لأسس تحليل الطراز","provenance":"الصين ، موقعة من قبل أيوب","dynasty":"كينغ","author":"Nahla Nassar","translator":"أحمد باسل رضوان","keywords":["بسملة ، الصين ، الحجاز ، مكان مقدس ، الهند ، الكعبة ، المدينة ، مسجد ، لوحة ، ورق ، الحج ، صلاة ، النبي محمد ، دين ، الشهادة ، مكة ، ذو الفقار"],"materials":["حبر ، ألوان مائية وذهب على ورق"]},"45b19a0c-0267-54d0-a134-624669d15108":{"name":"اقسام القران","short_description":"يضم هذا الكتاب جزأين من أجزاء القرآن الثلاثين. كان يُعرف باسم الجزء ، وغالبًا ما كان يُباع بشكل منفصل خلال الإسلام في العصور الوسطى ، مع أنماط زهرية وهندسية دقيقة تزين الغلاف البني للكتاب. \n \nتظهر الآية (الآيات) بخط النسخ مقسمة برسوم توضيحية ذهبية لأشكال نباتية بما في ذلك اللوتس والزهور الأخرى المدمجة من التقاليد الصينية والبوذية القديمة. \n \nعلى الرغم من أن معظم المسلمين في الصين لا يتحدثون اللغة العربية ، إلا أن القليل من المصاحف الصينية كانت موجودة خلال عهد أسرة مينغ وتشينغ. منذ انتشار الإسلام وإنشاء المدارس الإسلامية في عهد أسرة يوان ، تم أداء تلاوة الصلوات والخط باللغة العربية. كان للعديد من المسلمين من العالم العربي خلفية تجارية حيث يمثل خط النسخ الكتابة الرسمية. وهكذا أصبحت الأشكال المعدلة من النسخ بما في ذلك المحقق والريحاني هي الأنماط السائدة للمصاحف الصينية المزخرفة بالحبر الذهبي النموذجي","type":"مخطوطات","holder":"متحف الشيخ فيصل بن قاسم ال ثاني","owner":"متحف الشيخ فيصل بن قاسم ال ثاني","dates":"القرن ال 18- 17","location":"الشهنية","dimensions":"طول: 22 سم عرض: 28.5 سم ارتفاع: 3.5 سم","provenance":"الصين","obtention":"الصين","bibliography":"Anvaary, S., \"A Study of the Art of Chinese Quranography from the Sixteenth to the End of the Eighteenth Century\", *Journal of Art and Civilization of the Orient*, 9: 33 (2021): 55–64. \nGhoname, H., *Sini Calligraphy: The Preservation of Chinese Muslims' Cultural Heritage*, Doctoral dissertation, Manoa: University of Hawaii at Manoa, 2012. \nHuaizhong, M. U. Y., \"The four upsurgences of Islamic culture in Chinese history\", *Journal of Muslim Minority Affairs,* 16: 1 (1996): 9–20.","dynasty":"السرة التشينغ","author":"سارة شرودر","translator":"فيصل حداد","materials":["ورق عجينة الرز,حبر:كتابة يدوية"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"طبق","short_description":"طبق كبير من البورسلين الأبيض عليه تزجيج بلون أزرق كوبالتي، في وسطه إطار دائري داخله كتابات، تحيط به أربع دوائر وضعت على مسافات متساوية وتضم نفس النص. توجد علامة من ستة أحرف داخل قاعدة الطبق بالخط الهونجزهاي محصورة داخل دائرة، يحدها خط مزدوج. في الميدالية الوسطى كتبت العبارة التالية: \"سلم تسليما كثيرا كبيرا بفضلك ورحمتك يا أرحم الراحمين\". أما في الميداليات المحيطة بها، فكتبت العبارة التالية: \"لا فتى إلا علي لا سيف إلا ذو الفقرة [الفقار] وعلي هو الحق لا موت أصيب إلا بالأجل\". وأما الكتابات حول حافة الطبق فهي كالتالي: \"ناد عليا مظهر العجائب/ تجده عونا لك في النوائب/المعولي إلى الله حاجت/كل هم وغم سينجلي بنبوتك يا محمد وبولايتك يا علي يا علي يا علي/بحق ذي الملك والملكوت/ اعتصمت بذي العزة والقدرة والجبروت/ وتوكلنا على الذي لا ينام ولا يموت/دخلت في حرم الله وفي حفظ الله من شر البريت [البرية] أجمعين بحق حم بحق كهيعص وعسق لا حول ولا قوت [قوة] إلا بالله العلي العظيم صلى الله على المسطفى [المصطفى] محمد وآله أجمعين.","holder":"دار الآثار الإسلامية","dates":"912-894 هـ \\ 1488-1505 م","location":"مدينة الكويت","provenance":"الصين","dynasty":"أسرة هونجزهاي"},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"مبخرة","short_description":"ترتكز المبخرة الصينية على ثلاثة أرجل وتتزيّن بالخط العربي، حيث تُقرأ عليها الشهادة. خلال عهد أسرة تشينغ كانت هذه القطعة تُستخدم لتعطيرالهواء في مسجد بالصين . \n \nعلى الرغم من أن العديد من المسلمين في المنطقة لم يكن باستطاعتهم كتابة الخط العربي، إلا أن الخط العربي صمد كعنصر للزخرفة، ونظرا لعدم وجود أحرف صينية للتعبيرعن مفهوم الإله الواحد، تُقدّم الكلمات العربية وسيلة فعّالة لإيصال الرسائل الدينية.كما يظهر على الختم الظاهر في قاع المبخرة ابتكر الحرفيّون الخط العربي الصيني للإشارة إلى الملكيّة أوالإنتاج. \n \nاليوم، تسعى الأقلية المسلمة الصينية إلى الحفاظ على تراثها بما في ذلك القطع النادرة مثل المشغولات المعدنية العائدة لفترة حكم أسرة تشينغ، التي إما أنها فُقدت أو دُمّرت بمرور الوقت.","type":"الاثار الدينية","holder":"متحف الشيخ فيصل بن قاسم ال ثاني","owner":"متحف الشيخ فيصل بن قاسم ال ثاني","dates":"القرن ال 17","location":"الشهنية","dimensions":"طول: 18.5 سم عرض: 13 سم","provenance":"الصين","obtention":"شراء","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021). \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019. \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012. \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","dynasty":"السرة التشينغ","author":"سارة شرودر","translator":"فيصل حداد","materials":["برنز : منقوش"]}}
package/translations/items.en.json CHANGED
@@ -1 +1 @@
1
- {"112d56d2-756e-5b32-915c-31387a510643":{"name":"Oh Most Gracious!","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This scroll painting is made of dark red patterned silk with mounted calligraphy on paper. The title *Oh Most Gracious!* is a translation of the Arabic phrase *ya Rahman*, which is depicted in broad brushstrokes. The work’s title in black ink as well as three red seals are placed on the lower left.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"209.5cm x 75.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"12f2de8e-9c90-5eb6-a757-3a97d8bb8e5c":{"name":"God Is Sublime","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This scroll is made of patterned dark red silk with mounted calligraphy on paper. The almost opaque Arabic calligraphy in black ink has been executed in broad brushs trokes. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"59cm x 100.3cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"1326e39f-55ad-5c14-b5cc-14c0c3ba914a":{"name":"Variation of the Basmala","description":"This scroll painting is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms an abstract vegetal design. A single shape in its centre has been filled in with gold. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 70cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"153324a8-e519-57d8-9ec7-0ef9e9514731":{"name":"Graphic showing the courses of letters","description":"This graphic demonstrates the courses of the Arabic letters which have been rotated counter-clockwise.","type":"Graphic","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"16f64c35-4b93-51aa-8db9-030e2f96635f":{"name":"Peace Be Upon You","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This painting is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy reading “Peace be upon you” in black ink forms an abstract pattern. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2014","location":"Berlin","dimensions":"55cm x 37.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"240a9072-6ba4-5c4c-a51c-8739e4ee03f9":{"name":"I Take Refuge with God","description":"Scroll painting made of light green silk with mounted calligraphy on paper. The calligraphy reads: ‘I take refuge with God’ and a quote from Qur'an 2:255 in black ink in Chinese-style Arabic letters. The title of the work in black ink is at the bottom with two red seals.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"209,5cm x 75,5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"2d0ab34f-6c97-5be0-adec-c434b7c0d438":{"name":"Variation of the Basmala","description":"This work is made of patterned light blue-gold silk with mounted calligraphy on paper. The Arabic calligraphy in black ink has been arranged to form the root system of a bouquet of seven spikes, which sprout from the letters themselves. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"47cm x 49cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"377425e8-db47-571b-85e2-27702d394d1d":{"name":"Scroll with views of Mecca and Medina","short_description":"The text consists of Qur’anic verses, short prayers, invocations and numerous repetitions of the *basmala* and the *shahada*, the latter arranged into decorative shapes such as vases, flowers, a pagoda and *Dhu’l-faqar*, the bifurcated sword given by the Prophet to ‘Ali. In addition, there are depictions of the Masjid al-Haram at Mecca and the Prophet’s mosque at Medina (where the domed tomb is depicted on the wrong side). The last panel encloses the *hilya* of the Prophet Muhammad.","type":"Scroll; calligraphy; drawings; view of Mecca; view of Medina; *hilya*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1261 / AD 1845","location":"London","dimensions":"402 x 27cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"China; signed by Ayyub","author":"Nahla Nassar","keywords":["Basmala","China","Dhu'l-Faqar","Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","Shahadah"],"materials":["Ink","watercolours and gold on paper"]},"45b19a0c-0267-54d0-a134-624669d15108":{"name":"Qur’an Sections","short_description":"'This book binds two of the thirty parts (*ajza*) of the Qur’an. Known as *juz*, it was often sold separately during medieval Islam, with delicate floral and geometric patterns decorating the brown cover of the book. \n \nThe *ayah* (verses) appear in *naskh* calligraphy sectioned with golden illustrations of vegetal motifs including the lotus and other flowers incorporated from ancient Chinese and Buddhist tradition. \n \nAlthough most Muslims in China did not speak Arabic, a few Chinese Qur’ans existed during the Ming and Qing dynasties. Since the spread of Islam and establishment of Islamic schools during the Yuan dynasty, prayers recitation and calligraphy were performed in Arabic. Many Muslims originating from the Arab world had a merchant background where *naskh* script represented the official writing. Adapted forms of *naskh* including *Muhaqqaq* and *Rihani* thus became the predominant styles for Chinese Qur’ans decorated with the typical gold ink.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th–18th century","location":"Shahaniya","dimensions":"Length: 22cm, Width: 28.5cm, Height: 3.5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","provenance":"China","obtention":"Purchase","bibliography":"Anvaary, S., \"A Study of the Art of Chinese Quranography from the Sixteenth to the End of the Eighteenth Century\", *Journal of Art and Civilization of the Orient*, 9: 33 (2021): 55–64. \nGhoname, H., *Sini Calligraphy: The Preservation of Chinese Muslims' Cultural Heritage*, Doctoral dissertation, Manoa: University of Hawaii at Manoa, 2012. \nHuaizhong, M. U. Y., \"The four upsurgences of Islamic culture in Chinese history\", *Journal of Muslim Minority Affairs,* 16: 1 (1996): 9–20.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","China","Qing Dynasty","Quran"],"materials":["handwriting","Ink","Rice paper"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"Dish","short_description":"Large white porcelain dish with cobalt blue glaze decorated with a central inscribed roundel surrounded by four evenly spaced roundels each filled with an identical inscription. The interior of the foot is a Hongzhi six-character mark withing a a double line roundel. \nIn the central roundel: \"Bestow numerous blessings and great honour upon him for You are the Most Merciful of those who show mercy.\" In the surrounding roundels, a repetition of: \"There is no youth other than \\`Ali There is no sword other than Zulficar And \\`Ali is the Rightful Death will only strike at the appointed time.\" \nAround the rim: \"In the name of God the Compassionate, the Merciful Call unto \\`Ali the paragon of wonders, you shall find him of help in your misfortune. He who is relied upon \\[to intercede\\] before God for all needs All anguish and all sorrow shall disappear, through your Prophethood Oh Muhammad and through your Divine trusteeship, Oh \\`Ali, Oh \\`Ali, Oh \\`Ali By the Divine Truth of The Absolute Sovereign of all things I take refuge in He Who has the glory, the might and the power And we put our trust in He Who slumbers and perishes not I take refuge in God's sanctuary, and in His protection from the evil of all beings By the truth of \"ham\", by the truth of \"kahi\\`us\" and \"\\`asaq\" There is neither power nor strength but in God, The Most High, The Supreme May the blessing of God be upon Muhammad Mustafa (the Chosen) and his family collectively.\"","type":"Vessels & receptacles, porcelain","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 894–912 / AD 1488–1505","location":"Kuwait City","provenance":"China","keywords":["China","Dish","Glaze"]},"4731d4cb-b399-5499-95e0-8992f8ed0c48":{"name":"Square seals","description":"These three seals with the name of the artist are used as signatures. While the first is written in Chinese letters containing the Chinese name of the artist, Mi Guangjiang, the second one reads “Haji Noor Deen” in Arabic letters. The third one reads “Noor Deen”, this time in Chinese letters.","type":"Print","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"4f520570-5e30-5e56-b170-0e080f496fd2":{"name":"Variation of the Basmala","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink has been arranged to form the root system of seven flowers. Five are in full bloom, while two appear with closed blossoms. They are coloured with a light grey wash. The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"47cm x 39.8cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"60a920a8-d327-5399-8518-671641d2e4a8":{"name":"Proclamation of Faith","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink has been executed to form the shape of an eight-petaled flower blossom. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 49cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"65d727fa-f4a0-5ab9-9f61-747c086b56f5":{"name":"God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned light blue-gold silk with mounted calligraphy on paper. The central calligraphy in black ink depicts the word \"God\" in both Chinese and Arabic letters in thick, opaque brush strokes. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 37.3cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"7bb81c6e-f156-5c85-97c7-6d4ff9c72d2f":{"name":"The Messenger of God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This painting is made of patterned, light blue-gold silk with mounted calligraphy on paper. The central calligraphy in black ink depicts the word \"Messenger\" in both Chinese and Arabic letters in thick, opaque brush strokes. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 37.3cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"8217b5c6-5b57-59fe-a372-ac8131ed56b8":{"name":"And We Did Not Send You But as a Mercy of All Beings","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned teal silk with mounted calligraphy on paper. The Arabic calligraphy with the 21st sura of the Qur'an is contained by a thin, circular golden line. The words are arranged in such a way that they seem to spin outwards from a 10-armed spiral. The title of the work appears in black ink on the left, next to two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"55cm x 53cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"8219a976-856d-576b-8a8e-9a1913eb82a6":{"name":"Variation of the Basmala","description":"This calligraphic work is made of patterned silver-white silk with mounted calligraphy on paper. The Arabic calligraphy in black, brown, purple-blue and teal ink forms the shape of water in a vase, and expands into flower stems. Flowers and leaves are painted in green, red, black and teal ink; the centre of the largest flower is marked with a small, elongated shape filled with gold. The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 44.1cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"8265fb5f-a38e-5161-b5d4-12564e7a63a3":{"name":"The 99 Names of God and the 99 Names of Muhammad","description":"This scroll painting is made of patterned teal silk with mounted calligraphy on paper. It depicts the 99 names of God in Arabic letters, each of which symbolise a specific attribute to which believers can relate. The title of the work has been written in black ink on the top, next to two red seals. A third red seal has been placed on the bottom (or right).","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 109.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"85cc20cd-a461-5167-878a-c3c21396146d":{"name":"Peace","description":"This painting is made of patterned teal silk with mounted calligraphy on paper. With all the stylistic hallmarks of a Chinese character, the artist has cleverly combined this with Arabic calligraphy, using only black ink to form the word *al-Salam* (peace). The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2018","location":"Berlin","dimensions":"47cm x 25.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"877c71fc-8b32-59f3-839c-5592790f5cab":{"name":"My Trust in God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms a central abstract pattern. It shows three quotations from the Qur’an. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 43cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"9c63fa72-bce6-5d58-8940-da1b2314128d":{"name":"Graphic showing the courses of letters","description":"This graphic demonstrates the courses of the Arabic letters which have been rotated counter-clockwise.","type":"Graphic","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"9f32f495-7efd-5361-b956-96c4eb2d3e09":{"name":"Variation of the Basmala","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms a central abstract pattern in the shape of a leaf. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 36.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"af6ac5cc-3edf-56af-8d68-ceff2105c2e3":{"name":"Graphic showing the courses of letters","description":"This graphic demonstrates the courses of the Arabic letters which have been rotated counter-clockwise.","type":"Graphic","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"b1d831f0-2247-53ad-9ab8-efefb50f5e70":{"name":"There Is No God But God and Muhammad Is the Messenger of God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms an oval pattern. Two medaillons drawn in gold ink have been superimposed onto the calligraphy. This central composition is framed by additional drawings in gold ink. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 52cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"c3f71147-7b35-5602-a9cf-2b10eae4e8bc":{"name":"Variation of the Basmala","description":"This work is made of patterned teal silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms a central abstract pattern, its shape reminiscent of a tulip. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 34cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"c9adaa19-4c93-5160-9d47-37f844b58907":{"name":"Proclamation of Faith","description":"In his practice, Haji Noor Deen employs develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned light blue-gold silk with mounted calligraphy on paper. The calligraphy in black ink has been executed in thick, opaque brush strokes and is readable in both Chinese and Arabic. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 34.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"cb87e713-9725-5036-a0d3-fcc95696ca30":{"name":"Oh Lord!","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This scroll painting is made of dark red patterned silk with mounted calligraphy on paper. The title *Oh Lord!* is a translation of the Arabic phrase *ya Rab* depicted in black ink with broad brushstrokes. The work’s title in black ink as well as three red seals are placed on the lower left.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"209.5cm x 75.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"Censer","short_description":"The Chinese burner rests on three legs with Arabic calligraphy, reading the Muslim declaration of faith called *shahada*. During the Qing dynasty, this bowl would cradle incense to scent the air of a Chinese mosque. \n \nAlthough many regional Muslims could not read Arabic, the calligraphy endured as a decorative element. Because there are no Chinese characters to express the concept of a single God, Arabic words offer an effective medium to convey religious messages. As seen on the seal on the bowl’s bottom, artists utilized Chinese calligraphy to remark the ownership or production. The seal at the bottom of this censer reads \"Ming Dynasty, Manufactured by Wu Bang Zuo, of Public Works in the 5th year of the Xuande Emperor.\" While the inscription alludes to the production in 1430, numerous incense burners have been produced with the apocryphal mark. \n \nToday, the Muslim-Chinese minority seeks to preserve their heritage including rare objects such as the Qing-metalwork, which have been lost or destroyed over time.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 18.5cm, Width: 13cm","method_for_datation":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","method_for_provenance":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","provenance":"China","obtention":"Purchase","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021). \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019. \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012. \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["China","Incense burner","metalwork","Qing"],"materials":["Bronze","Engraving"]},"e2295cee-4515-5f3e-9a13-826967d81f74":{"name":"Variation of the Basmala","description":"This work is made of patterned teal silk with mounted calligraphy on paper. The work’s central plane is dominated by a large letter *alif*, which has been executed in a single broad brushstroke. Further calligraphy, almost opaque and executed on a smaller scale, has been superimposed on the *alif* and continues below it. The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"47cm x 31.5cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"ef5a49c6-6507-582d-a7dd-488fe165b36a":{"name":"Variation of the Basmala","description":"This scroll painting is made of patterned dark blue-gold silk with mounted calligraphy on paper. The paper has been treated with a light wash of semitransparent black ink drippings. The Arabic calligraphy in opaque black ink forms an abstract vegetal design. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 43cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]},"f51131bf-c7b8-5f90-82d9-e4a221fbddca":{"name":"Oval seals","description":"These three seals are samples of Haji Noor Deen’s use of oval seals containing sayings in Arabic and Chinese.","type":"Stamps; Seals","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"f5500008-7897-52cc-bf99-362d3081b035":{"name":"The artists' tools","description":"Calligraphy tools. Chinese calligraphy employs the brush, while Arabic calligraphy employs the *qalam* (reed pen). Haji Noor Deen uses both in addition to spatulas of different widths and materials. For writing, he prefers traditional Chinese ink, obtained by rubbing an inkstick on a surface with a little water so that it liquifies. The red seals are another element typical to Chinese calligraphy. The metal weights seen in the green box secure the paper and prevent it from slipping during the writing process.","type":"Photograph","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"f6235379-448e-5847-8d66-127ab7a5d450":{"name":"Portrait of the artist","type":"Photograph","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"febafe4c-21f1-50da-9cf8-a2a694a8df97":{"name":"Proclamation of Faith","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms an abstract design reminiscent of an eight-petaled flower blossom. The title of the work appears in black ink on the left, next to two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 49cm","materials":["Ink and red seal colour on rice paper","mounted on silk"]}}
1
+ {"112d56d2-756e-5b32-915c-31387a510643":{"name":"Oh Most Gracious!","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This scroll painting is made of dark red patterned silk with mounted calligraphy on paper. The title *Oh Most Gracious!* is a translation of the Arabic phrase *ya Rahman*, which is depicted in broad brushstrokes. The work’s title in black ink as well as three red seals are placed on the lower left.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"209.5cm x 75.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"12f2de8e-9c90-5eb6-a757-3a97d8bb8e5c":{"name":"God Is Sublime","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This scroll is made of patterned dark red silk with mounted calligraphy on paper. The almost opaque Arabic calligraphy in black ink has been executed in broad brushs trokes. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"59cm x 100.3cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"1326e39f-55ad-5c14-b5cc-14c0c3ba914a":{"name":"Variation of the Basmala","description":"This scroll painting is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms an abstract vegetal design. A single shape in its centre has been filled in with gold. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 70cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"153324a8-e519-57d8-9ec7-0ef9e9514731":{"name":"Graphic showing the courses of letters","description":"This graphic demonstrates the courses of the Arabic letters which have been rotated counter-clockwise.","type":"Graphic","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin","artist_birthdate":"1963","artist_birthplace":"Shandong"},"16f64c35-4b93-51aa-8db9-030e2f96635f":{"name":"Peace Be Upon You","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This painting is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy reading “Peace be upon you” in black ink forms an abstract pattern. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2014","location":"Berlin","dimensions":"55cm x 37.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"240a9072-6ba4-5c4c-a51c-8739e4ee03f9":{"name":"I Take Refuge with God","description":"Scroll painting made of light green silk with mounted calligraphy on paper. The calligraphy reads: ‘I take refuge with God’ and a quote from Qur'an 2:255 in black ink in Chinese-style Arabic letters. The title of the work in black ink is at the bottom with two red seals.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"209,5cm x 75,5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"2d0ab34f-6c97-5be0-adec-c434b7c0d438":{"name":"Variation of the Basmala","description":"This work is made of patterned light blue-gold silk with mounted calligraphy on paper. The Arabic calligraphy in black ink has been arranged to form the root system of a bouquet of seven spikes, which sprout from the letters themselves. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"47cm x 49cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"377425e8-db47-571b-85e2-27702d394d1d":{"name":"Scroll with views of Mecca and Medina","short_description":"The text consists of Qur’anic verses, short prayers, invocations and numerous repetitions of the *basmala* and the *shahada*, the latter arranged into decorative shapes such as vases, flowers, a pagoda and *Dhu’l-faqar*, the bifurcated sword given by the Prophet to ‘Ali. In addition, there are depictions of the Masjid al-Haram at Mecca and the Prophet’s mosque at Medina (where the domed tomb is depicted on the wrong side). The last panel encloses the *hilya* of the Prophet Muhammad.","type":"Scroll; calligraphy; drawings; view of Mecca; view of Medina; *hilya*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1261 / AD 1845","location":"London","dimensions":"402 x 27cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"China; signed by Ayyub","dynasty":"Qing","author":"Nahla Nassar","keywords":["Basmala","China","Dhu'l-Faqar","Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","Shahadah"],"materials":["Ink, watercolours and gold on paper"]},"45b19a0c-0267-54d0-a134-624669d15108":{"name":"Qur’an Sections","short_description":"'This book binds two of the thirty parts (*ajza*) of the Qur’an. Known as *juz*, it was often sold separately during medieval Islam, with delicate floral and geometric patterns decorating the brown cover of the book. \n \nThe *ayah* (verses) appear in *naskh* calligraphy sectioned with golden illustrations of vegetal motifs including the lotus and other flowers incorporated from ancient Chinese and Buddhist tradition. \n \nAlthough most Muslims in China did not speak Arabic, a few Chinese Qur’ans existed during the Ming and Qing dynasties. Since the spread of Islam and establishment of Islamic schools during the Yuan dynasty, prayers recitation and calligraphy were performed in Arabic. Many Muslims originating from the Arab world had a merchant background where *naskh* script represented the official writing. Adapted forms of *naskh* including *Muhaqqaq* and *Rihani* thus became the predominant styles for Chinese Qur’ans decorated with the typical gold ink.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th–18th century","location":"Shahaniya","dimensions":"Length: 22cm, Width: 28.5cm, Height: 3.5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","provenance":"China","obtention":"Purchase","bibliography":"Anvaary, S., \"A Study of the Art of Chinese Quranography from the Sixteenth to the End of the Eighteenth Century\", *Journal of Art and Civilization of the Orient*, 9: 33 (2021): 55–64. \nGhoname, H., *Sini Calligraphy: The Preservation of Chinese Muslims' Cultural Heritage*, Doctoral dissertation, Manoa: University of Hawaii at Manoa, 2012. \nHuaizhong, M. U. Y., \"The four upsurgences of Islamic culture in Chinese history\", *Journal of Muslim Minority Affairs,* 16: 1 (1996): 9–20.","dynasty":"Qing","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","China","Qing Dynasty","Quran"],"materials":["handwriting","Rice paper, ink"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"Dish","short_description":"Large white porcelain dish with cobalt blue glaze decorated with a central inscribed roundel surrounded by four evenly spaced roundels each filled with an identical inscription. The interior of the foot is a Hongzhi six-character mark withing a a double line roundel. \nIn the central roundel: \"Bestow numerous blessings and great honour upon him for You are the Most Merciful of those who show mercy.\" In the surrounding roundels, a repetition of: \"There is no youth other than \\`Ali There is no sword other than Zulficar And \\`Ali is the Rightful Death will only strike at the appointed time.\" \nAround the rim: \"In the name of God the Compassionate, the Merciful Call unto \\`Ali the paragon of wonders, you shall find him of help in your misfortune. He who is relied upon \\[to intercede\\] before God for all needs All anguish and all sorrow shall disappear, through your Prophethood Oh Muhammad and through your Divine trusteeship, Oh \\`Ali, Oh \\`Ali, Oh \\`Ali By the Divine Truth of The Absolute Sovereign of all things I take refuge in He Who has the glory, the might and the power And we put our trust in He Who slumbers and perishes not I take refuge in God's sanctuary, and in His protection from the evil of all beings By the truth of \"ham\", by the truth of \"kahi\\`us\" and \"\\`asaq\" There is neither power nor strength but in God, The Most High, The Supreme May the blessing of God be upon Muhammad Mustafa (the Chosen) and his family collectively.\"","type":"Vessels & receptacles, porcelain","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 894–912 / AD 1488–1505","location":"Kuwait City","provenance":"China","dynasty":"Hongzhi Dynasty","keywords":["China","Dish","Glaze"]},"4731d4cb-b399-5499-95e0-8992f8ed0c48":{"name":"Square seals","description":"These three seals with the name of the artist are used as signatures. While the first is written in Chinese letters containing the Chinese name of the artist, Mi Guangjiang, the second one reads “Haji Noor Deen” in Arabic letters. The third one reads “Noor Deen”, this time in Chinese letters.","type":"Print","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"4f520570-5e30-5e56-b170-0e080f496fd2":{"name":"Variation of the Basmala","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink has been arranged to form the root system of seven flowers. Five are in full bloom, while two appear with closed blossoms. They are coloured with a light grey wash. The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"47cm x 39.8cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"60a920a8-d327-5399-8518-671641d2e4a8":{"name":"Proclamation of Faith","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink has been executed to form the shape of an eight-petaled flower blossom. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 49cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"65d727fa-f4a0-5ab9-9f61-747c086b56f5":{"name":"God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned light blue-gold silk with mounted calligraphy on paper. The central calligraphy in black ink depicts the word \"God\" in both Chinese and Arabic letters in thick, opaque brush strokes. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 37.3cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"7bb81c6e-f156-5c85-97c7-6d4ff9c72d2f":{"name":"The Messenger of God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This painting is made of patterned, light blue-gold silk with mounted calligraphy on paper. The central calligraphy in black ink depicts the word \"Messenger\" in both Chinese and Arabic letters in thick, opaque brush strokes. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 37.3cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"8217b5c6-5b57-59fe-a372-ac8131ed56b8":{"name":"And We Did Not Send You But as a Mercy of All Beings","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned teal silk with mounted calligraphy on paper. The Arabic calligraphy with the 21st sura of the Qur'an is contained by a thin, circular golden line. The words are arranged in such a way that they seem to spin outwards from a 10-armed spiral. The title of the work appears in black ink on the left, next to two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"55cm x 53cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"8219a976-856d-576b-8a8e-9a1913eb82a6":{"name":"Variation of the Basmala","description":"This calligraphic work is made of patterned silver-white silk with mounted calligraphy on paper. The Arabic calligraphy in black, brown, purple-blue and teal ink forms the shape of water in a vase, and expands into flower stems. Flowers and leaves are painted in green, red, black and teal ink; the centre of the largest flower is marked with a small, elongated shape filled with gold. The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 44.1cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"8265fb5f-a38e-5161-b5d4-12564e7a63a3":{"name":"The 99 Names of God and the 99 Names of Muhammad","description":"This scroll painting is made of patterned teal silk with mounted calligraphy on paper. It depicts the 99 names of God in Arabic letters, each of which symbolise a specific attribute to which believers can relate. The title of the work has been written in black ink on the top, next to two red seals. A third red seal has been placed on the bottom (or right).","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 109.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"85cc20cd-a461-5167-878a-c3c21396146d":{"name":"Peace","description":"This painting is made of patterned teal silk with mounted calligraphy on paper. With all the stylistic hallmarks of a Chinese character, the artist has cleverly combined this with Arabic calligraphy, using only black ink to form the word *al-Salam* (peace). The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2018","location":"Berlin","dimensions":"47cm x 25.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"877c71fc-8b32-59f3-839c-5592790f5cab":{"name":"My Trust in God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms a central abstract pattern. It shows three quotations from the Qur’an. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 43cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"9c63fa72-bce6-5d58-8940-da1b2314128d":{"name":"Graphic showing the courses of letters","description":"This graphic demonstrates the courses of the Arabic letters which have been rotated counter-clockwise.","type":"Graphic","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin","artist_birthdate":"1963","artist_birthplace":"Shandong"},"9f32f495-7efd-5361-b956-96c4eb2d3e09":{"name":"Variation of the Basmala","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms a central abstract pattern in the shape of a leaf. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 36.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"af6ac5cc-3edf-56af-8d68-ceff2105c2e3":{"name":"Graphic showing the courses of letters","description":"This graphic demonstrates the courses of the Arabic letters which have been rotated counter-clockwise.","type":"Graphic","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin","artist_birthdate":"1963","artist_birthplace":"Shandong"},"b1d831f0-2247-53ad-9ab8-efefb50f5e70":{"name":"There Is No God But God and Muhammad Is the Messenger of God","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms an oval pattern. Two medaillons drawn in gold ink have been superimposed onto the calligraphy. This central composition is framed by additional drawings in gold ink. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 52cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"c3f71147-7b35-5602-a9cf-2b10eae4e8bc":{"name":"Variation of the Basmala","description":"This work is made of patterned teal silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms a central abstract pattern, its shape reminiscent of a tulip. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 34cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"c9adaa19-4c93-5160-9d47-37f844b58907":{"name":"Proclamation of Faith","description":"In his practice, Haji Noor Deen employs develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This work is made of patterned light blue-gold silk with mounted calligraphy on paper. The calligraphy in black ink has been executed in thick, opaque brush strokes and is readable in both Chinese and Arabic. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2016","location":"Berlin","dimensions":"47cm x 34.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"cb87e713-9725-5036-a0d3-fcc95696ca30":{"name":"Oh Lord!","description":"In his practice, Haji Noor Deen employs, develops and further interprets Sini calligraphy. The Sini style, which emerged in the 14th century AD, fuses Chinese and Arabic calligraphic traditions. Born in 1963 in Shangdong province, China, Haji Noor Deen graduated from Egypt Sadat Calligraphy School and obtained his calligraphy *ijaza* in Istanbul. This scroll painting is made of dark red patterned silk with mounted calligraphy on paper. The title *Oh Lord!* is a translation of the Arabic phrase *ya Rab* depicted in black ink with broad brushstrokes. The work’s title in black ink as well as three red seals are placed on the lower left.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"209.5cm x 75.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"Censer","short_description":"The Chinese burner rests on three legs with Arabic calligraphy, reading the Muslim declaration of faith called *shahada*. During the Qing dynasty, this bowl would cradle incense to scent the air of a Chinese mosque. \n \nAlthough many regional Muslims could not read Arabic, the calligraphy endured as a decorative element. Because there are no Chinese characters to express the concept of a single God, Arabic words offer an effective medium to convey religious messages. As seen on the seal on the bowl’s bottom, artists utilized Chinese calligraphy to remark the ownership or production. The seal at the bottom of this censer reads \"Ming Dynasty, Manufactured by Wu Bang Zuo, of Public Works in the 5th year of the Xuande Emperor.\" While the inscription alludes to the production in 1430, numerous incense burners have been produced with the apocryphal mark. \n \nToday, the Muslim-Chinese minority seeks to preserve their heritage including rare objects such as the Qing-metalwork, which have been lost or destroyed over time.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 18.5cm, Width: 13cm","method_for_datation":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","method_for_provenance":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","provenance":"China","obtention":"Purchase","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021). \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019. \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012. \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","dynasty":"Qing","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["China","Incense burner","metalwork","Qing"],"materials":["Bronze","Engraving"]},"e2295cee-4515-5f3e-9a13-826967d81f74":{"name":"Variation of the Basmala","description":"This work is made of patterned teal silk with mounted calligraphy on paper. The work’s central plane is dominated by a large letter *alif*, which has been executed in a single broad brushstroke. Further calligraphy, almost opaque and executed on a smaller scale, has been superimposed on the *alif* and continues below it. The title of the work is written in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2022","location":"Berlin","dimensions":"47cm x 31.5cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"ef5a49c6-6507-582d-a7dd-488fe165b36a":{"name":"Variation of the Basmala","description":"This scroll painting is made of patterned dark blue-gold silk with mounted calligraphy on paper. The paper has been treated with a light wash of semitransparent black ink drippings. The Arabic calligraphy in opaque black ink forms an abstract vegetal design. The title of the work appears in black ink on the left, above two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 43cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]},"f51131bf-c7b8-5f90-82d9-e4a221fbddca":{"name":"Oval seals","description":"These three seals are samples of Haji Noor Deen’s use of oval seals containing sayings in Arabic and Chinese.","type":"Stamps; Seals","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"f5500008-7897-52cc-bf99-362d3081b035":{"name":"The artists' tools","description":"Calligraphy tools. Chinese calligraphy employs the brush, while Arabic calligraphy employs the *qalam* (reed pen). Haji Noor Deen uses both in addition to spatulas of different widths and materials. For writing, he prefers traditional Chinese ink, obtained by rubbing an inkstick on a surface with a little water so that it liquifies. The red seals are another element typical to Chinese calligraphy. The metal weights seen in the green box secure the paper and prevent it from slipping during the writing process.","type":"Photograph","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"f6235379-448e-5847-8d66-127ab7a5d450":{"name":"Portrait of the artist","type":"Photograph","holder":"Museum for Islamic Art Berlin","dates":"2023","location":"Berlin"},"febafe4c-21f1-50da-9cf8-a2a694a8df97":{"name":"Proclamation of Faith","description":"This work is made of patterned dark red silk with mounted calligraphy on paper. The Arabic calligraphy in black ink forms an abstract design reminiscent of an eight-petaled flower blossom. The title of the work appears in black ink on the left, next to two red seals. A third red seal appears on the top right.","type":"Calligraphy","holder":"Museum for Islamic Art Berlin","dates":"2021","location":"Berlin","dimensions":"47cm x 49cm","artist_birthdate":"1963","artist_birthplace":"Shandong","materials":["Ink and red seal colour on rice paper, mounted on silk"]}}