Hamas Urges UNESCO to Save Gaza's Historic Buildings

The Gaza Strip's archaeological site of Saint Hilarion - AFP
The Gaza Strip's archaeological site of Saint Hilarion - AFP
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Hamas Urges UNESCO to Save Gaza's Historic Buildings

The Gaza Strip's archaeological site of Saint Hilarion - AFP
The Gaza Strip's archaeological site of Saint Hilarion - AFP

Hamas urged UNESCO to protect historic buildings in the Gaza Strip on Friday, saying Israel's assault had left the Palestinian territory's oldest church, last hammam baths and treasured mosques in ruins.

Footage and images posted on social media on Friday appeared to show the Great Omari Mosque, the largest and oldest in Gaza City, reduced to rubble.

Only the minaret appeared to be intact, with the surroundings -- which have been a Christian or Muslim holy site since at least the fifth century -- shattered, AFP reported.

Hamas's antiquities ministry condemned the "ransacking of historical and archaeological sites" by the Israeli army.

"The crime of targeting and destroying archaeological sites should spur the world and UNESCO into action to preserve this great civilisational and cultural heritage," said the antiquities ministry, which estimates that 104 mosques have been razed since the start of the war.

The Great Omari Mosque and the Othman bin Qashqar Mosque, also in Gaza City, were hit by air strikes on Thursday and Friday, Hamas said.

It also condemned the destruction of the Hammam al-Samara, the last Turkish-style bath in the territory, where Gazans had bathed for over 1,000 years.

Hamas said three churches had also been destroyed, including the 1,000-year-old Greek Orthodox Church of Saint Porphyrius, the oldest still active in the territory.

It stood in the heart of the historic district of Old Gaza, and was hit by a strike in late October.

Gaza's architectural heritage had already suffered during previous wars between Israel and Hamas, which has ruled the narrow territory since 2007.

Israel, for its part, has repeatedly accused Hamas of using mosques, schools and other civilian infrastructure to shield its fighters.



2025 Islamic Arts Biennale Opens in Jeddah

The Islamic Arts Biennale takes place in Jeddah, a city that has been a cultural crossroads for centuries. SPA
The Islamic Arts Biennale takes place in Jeddah, a city that has been a cultural crossroads for centuries. SPA
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2025 Islamic Arts Biennale Opens in Jeddah

The Islamic Arts Biennale takes place in Jeddah, a city that has been a cultural crossroads for centuries. SPA
The Islamic Arts Biennale takes place in Jeddah, a city that has been a cultural crossroads for centuries. SPA

The Diriyah Biennale Foundation inaugurated on Saturday the second edition of the Islamic Arts Biennale, titled And All That is in Between, which will run until May 25.
The Islamic Arts Biennale takes place in Jeddah, a city that has been a cultural crossroads for centuries. The venue, the Western Hajj Terminal of King Abdulaziz International Airport, holds deep emotional resonance for millions of Muslim pilgrims embarking on their sacred journeys for Hajj and Umrah. By juxtaposing historical objects from Islamic cultures with contemporary art, the Biennale explores how faith is experienced, expressed, and celebrated through feeling, thinking, and making.
The Biennale artistic team is led by prominent international experts, including Julian Raby, Amin Jaffer, and Abdul Rahman Azzam, alongside Saudi artist Muhannad Shono, who serves as Curator, the Saudi Press Agency (SPA) reported.
The title, And All That is in Between, originates from a verse that appears several times in the Quran: “And God created the Heavens and the Earth and all that is in between.” It captures the majesty of God’s creation as perceived by humankind. Spanning five exhibition halls, outdoor spaces, and more than 500 objects and contemporary artworks, the 2025 Islamic Arts Biennale delves into how humanity endeavors to comprehend the divine.
In its second edition, the Biennale showcases significantly more works and welcomes a greater number of participating institutions, solidifying its position as the central global platform for Islamic arts. Loans from leading institutions across the world, including the Musée du Louvre (Paris), the Victoria and Albert Museum (London), the Ahmed Baba Institute of Higher Learning and Islamic Research (Timbuktu), the Museum of Islamic Art (Doha), and the Manuscripts Institute of Türkiye (Istanbul), enrich the exhibition. Saudi institutions contributing to the Biennale include the King Abdulaziz Center for World Culture (Ithra) (Dhahran), the King Abdulaziz Waqf Libraries Assembly (Madinah), and the King Fahad National Library (Riyadh). Visitors can also view objects and works of art from the holy sites of Makkah and Madinah.
A key highlight is the first-ever display of the entire Kiswah—the cloth that covers the Holy Kaaba—outside of Makkah. This Kiswah, created annually, is the one that adorned the Holy Kaaba last year, SPA said.
The Biennale features contributions from over 30 artists from Saudi Arabia, the Gulf region, and beyond, including 29 new commissions. This reflects the Diriyah Biennale Foundation’s commitment to providing a global platform for Saudi artists and bringing international artists to Saudi Arabia, fostering engagement with diverse perspectives in contemporary art.
The Biennale comprises seven thematic sections: AlBidayah (The Beginning), AlMadar (The Orbit), AlMuqtani (Homage), AlMidhallah (The Canopy), AlMukarramah (The Honored), AlMunawwarah (The Illuminated), and AlMusalla. These components are housed in indoor galleries and outdoor spaces spanning 100,000 square meters of exhibition space.
Public programs accompanying the Biennale include talks, workshops, community initiatives, and symposia throughout the exhibition period. Notable inaugural programs include Biennale After School and Biennale After Work, which offer hands-on art workshops for children and adults, fostering creativity and reflection.