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Iraq’s Famed ‘Hunchback’ of Mosul Rebuilt Brick by Brick 

Builders work on the final stages of the reconstruction of the historic Great Mosque of al-Nuri, whose "Al-Hadba" leaning minaret which dates back to the 12th century was destroyed by ISIS group fighters, in Mosul's old city in northern Iraq on February 3, 2025. (AFP)
Builders work on the final stages of the reconstruction of the historic Great Mosque of al-Nuri, whose "Al-Hadba" leaning minaret which dates back to the 12th century was destroyed by ISIS group fighters, in Mosul's old city in northern Iraq on February 3, 2025. (AFP)
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Iraq’s Famed ‘Hunchback’ of Mosul Rebuilt Brick by Brick 

Builders work on the final stages of the reconstruction of the historic Great Mosque of al-Nuri, whose "Al-Hadba" leaning minaret which dates back to the 12th century was destroyed by ISIS group fighters, in Mosul's old city in northern Iraq on February 3, 2025. (AFP)
Builders work on the final stages of the reconstruction of the historic Great Mosque of al-Nuri, whose "Al-Hadba" leaning minaret which dates back to the 12th century was destroyed by ISIS group fighters, in Mosul's old city in northern Iraq on February 3, 2025. (AFP)

The leaning minaret of Mosul in northern Iraq has been restored using its original brickwork, years after it was reduced to rubble under ISIS rule.

The Al-Hadba or "hunchback" minaret is part of the historic Al-Nuri Mosque from where former ISIS chief Abu Bakr al-Baghdadi in July 2014 declared his so-called "caliphate" that committed atrocities across swathes of both Syria and Iraq.

The mosque and minaret were destroyed in June 2017 during the battle to oust ISIS from Mosul, and Iraq's authorities accused the extremists of planting explosives before their withdrawal.

The minaret and mosque are the latest landmarks in Mosul to be restored with the help of United Nations heritage body UNESCO, which has worked for five years to revive several sites there.

The Al-Hadba minaret of today is an exact replica of the old one, "built with the same bricks", said Abdullah Mahmoud of the Iraqi department of antiquities.

"Al-Hadba is our identity, and by restoring it, the identity of the city has been reclaimed."

The restored minaret's tilt has been retained at 160 centimeters (63 inches), just as it was in the 1960s.

However, engineers have reinforced the foundations so it no longer leans quite so precariously, as it began to do gradually after being built in the 12th century.

"The minaret's body from the inside needed 96,000 new bricks," Mahmoud said.

"But for the exterior we used 26,000 old bricks" to preserve its historical legacy.

A picture shows a view of the historic Great Mosque of Al-Nuri's "Al-Hadba" leaning minaret after its reconstruction in Mosul's old city in northern Iraq on February 3, 2025. (AFP)

- 'Massive change' -

Days before work was completed, hundreds of workers put the finishing touches to Al-Nuri's columns, dome and yard.

Mahmoud said the mihrab, a niche indicating the direction of the holy city of Makkah, has been largely repaired using its original stones.

But the minbar, from where sermons are delivered, has lost most of its original pieces.

Across the street, Imad Zaki, a former muezzin at the mosque, said: "Every day I stand here for an hour to watch as they are restored to their original state."

"Today one can feel the spirituality. It's as if our souls have finally found peace," added the 52-year-old, wearing a long traditional Iraqi abaya, or robe.

Eighty percent of Mosul's old city was destroyed in the fight against ISIS, and more than 12,000 tons of rubble was removed for the UNESCO restoration project, which also included Al-Tahira and Our Lady of the Hour churches and 124 heritage houses.

The Al-Tahira Church, dating from 1862, has been rebuilt with its arcades, embellished pillars and stained-glass windows.

Maria Acetoso, senior project manager at UNESCO Iraq, said the project aimed "to work in parallel on meaningful monuments for the city and also to bring life back" to Mosul.

"When I arrived here in 2019 it looked like a ghost city," Acetoso said. "In five years plus, there has been a massive change."

- Scars of battle -

After ISIS was defeated, life returned to the city's streets, where the chatter of patrons in small cafes blended with the clatter of construction work at the mosque.

In the coming weeks, Iraqi authorities will inaugurate the restored landmarks.

But Mosul still bears scars from the ferocious fight against ISIS.

Tucked away in narrow old city alleyways are ruined houses. Some bear the word "safe" scrawled in red on walls, signaling that they that have been cleared of explosives.

The crumbling walls and shattered windows tell tales of displacement. Their original owners, mostly Christian, have yet to return.

Mohammed Kassem, 59, came back to the old city a few years ago, to a new house as his former home was just debris.

Mosul still "needs a great deal" of work before it is back to normal, he said.

"It needs its former residents... the Christians to come back. This is their place," Kassem added.

Across the street from Al-Nuri Mosque, Saad Mohammed, 65, said he hoped the restoration efforts will attract visitors to Mosul, although he still feels sad because of what it has lost.

But he couldn't help but smile when he looked up at the minaret from his little shop.

"We opened the window once and saw the black ISIS flag on top of the minaret. Then we opened it again and the minaret was gone," said Mohammed, who never left Mosul, even at the height of the fighting.

"Today the minaret has risen again, alongside the mosque and the churches. Now we feel safe," he said.

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Culture

Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
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Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.

Culture

Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
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Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.

Culture

Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
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Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."