First Makkah Clock: Historic Symbol of Saudi Care for Holy Sites

The first Makkah clock ordered by King Abdulaziz in 1933 (Darat al-Malik Abdulaziz/The King Abdulaziz Foundation for Research and Archives)
The first Makkah clock ordered by King Abdulaziz in 1933 (Darat al-Malik Abdulaziz/The King Abdulaziz Foundation for Research and Archives)
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First Makkah Clock: Historic Symbol of Saudi Care for Holy Sites

The first Makkah clock ordered by King Abdulaziz in 1933 (Darat al-Malik Abdulaziz/The King Abdulaziz Foundation for Research and Archives)
The first Makkah clock ordered by King Abdulaziz in 1933 (Darat al-Malik Abdulaziz/The King Abdulaziz Foundation for Research and Archives)

In the 1930s, as Muslims began their regular pilgrimages to the holy sanctuary in Makkah for Umrah and Hajj, signs of modernization emerged under the Saudi reign.

One significant addition was a giant clock atop Makkah’s government building, commissioned by King Abdulaziz. This clock served the worshippers’ need for accurate timing during their religious rituals and prayers in the Grand Mosque.

King Abdulaziz made caring for the holy mosques and the well-being of pilgrims a top priority for the Saudi government. He set the groundwork for future kings to improve services and make the pilgrimage experience smoother for visitors to Makkah and Medina.

From the early days of Saudi rule, King Abdulaziz showed a strong commitment to serving the holy sites and pilgrims from around the world.

He pledged to protect pilgrims and ensure their comfort and rights. In a statement published in the official newspaper before the Hajj season of 1343 AH, he expressed happiness in welcoming Muslims and making their journey to Makkah easier.

Recognizing the need for better timekeeping at the Grand Mosque, King Abdulaziz imported a large clock. Its hands were visible from far away, helping worshippers in Makkah and nearby areas keep track of prayer times.

King Abdulaziz ordered the construction of the clock in 1933, placing it atop the Hamidiyah Government Building. A tower reaching 15 meters high housed the clock, elevating it over 30 meters above street level.

The clock’s white background and black hands made it visible from afar, with electric lighting illuminating it at night. Construction began and finished in 1933.

Since then, the Two Holy Mosques have received special attention from Saudi leadership, particularly under the ambitious “Vision 2030” initiative, which has made the pilgrimage easier and enhanced the spiritual experience for millions of pilgrims.



High-tech Spin for Samurai-era Ukiyo-e Artist Hokusai at Tokyo Exhibit

A visitor attends an exhibition that uses cutting-edge technology to bring to life the work of iconic samurai-era ukiyo-e artist Katsushika Hokusai at 'HOKUSAI: ANOTHER STORY in TOKYO' - Reuters
A visitor attends an exhibition that uses cutting-edge technology to bring to life the work of iconic samurai-era ukiyo-e artist Katsushika Hokusai at 'HOKUSAI: ANOTHER STORY in TOKYO' - Reuters
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High-tech Spin for Samurai-era Ukiyo-e Artist Hokusai at Tokyo Exhibit

A visitor attends an exhibition that uses cutting-edge technology to bring to life the work of iconic samurai-era ukiyo-e artist Katsushika Hokusai at 'HOKUSAI: ANOTHER STORY in TOKYO' - Reuters
A visitor attends an exhibition that uses cutting-edge technology to bring to life the work of iconic samurai-era ukiyo-e artist Katsushika Hokusai at 'HOKUSAI: ANOTHER STORY in TOKYO' - Reuters

Visitors can step back in time to Japan's samurai era in an new Tokyo exhibition that uses cutting-edge technology to bring to life the work of iconic artist Hokusai.

"Hokusai: Another Story in Tokyo" marks the latest in a series of immersive attractions that have sprung up in the capital, as well as growing interest in Japan's cultural past as record numbers of tourists flood into the country.

The exhibition, tucked into a downtown shopping mall, invites patrons to step into scenes of nature and village life depicted by the master of Edo Period woodblock art. Technical wizardry from digital imagery firm Ars Techne reproduces the washi paper texture of his prints. Haptic plates in the floor, developed by Sony PCL, give the feel that one is walking on a beach, ice or across a rickety bridge, Reuters reported.

"The concept is not just to see something, but to have an experience that goes beyond the real thing, to let you feel the scenery that Hokusai saw," said Hiroki Inokuchi, a visual artist with Red Geek Pictures, which helped develop the exhibition.

Born in 1760, Katsushika Hokusai took the medium known as ukiyo-e to new artistic heights and popularity through his unique use of colour and dynamic composition. Hokusai's depictions of Mount Fuji have become emblematic of Japan, with his masterpiece "The Great Wave off Kanagawa" now gracing the back of the nation's 1,000 yen note.

His prints became a hit in Europe after his death in 1849, kindling the Japonisme movement in art and inspiring painters such as Claude Monet and Vincent van Gogh.

The Hokusai exhibition, which runs from Saturday to June 1 at Tokyu Plaza Shibuya, follows other tech-driven, immersive art showcases in Tokyo that have proven to be draws among residents and overseas visitors. The digital art collective teamLab has two interactive museums in the capital that have set Guinness World Records for attendance.

Mariko Fukumizu, 42, said her 4-year-old daughter loved stepping on and cracking make-believe ice in a rendering of one of Hokusai's winter scenes.

"I like looking at art, but it's difficult with kids, so it's good to be able to go and experience things together," said Fukumizu.

Japan is experiencing a tourism boom fuelled by the weak yen, while cultural exports from manga to movies are seeing unprecedented popularity. Last year's period epic "Shogun" swept major awards at both the Emmys and Golden Globes.

Ethem Sonmez, a 22-year-old visitor from Turkey, said Japanese animation and comics are rising in popularity in his country. He said an exhibit room that simulates wind rushing through a Hokusai landscape nearly brought him to tears.

"It was like the moment I first saw Fuji in the Shinkansen" bullet train, Sonmez said. "It was mesmerizing and I felt it again here."