Brick by Brick, Morocco Rebuilds 12th-Century Mosque Destroyed by 2023 Earthquake

 A construction worker unveils recovered pieces from the Great Mosque of Tinmel, which dates back to the 12th century and suffered significant damage during a 2023 earthquake, in the Atlas mountain village of Tinmel, outside of Marrakech, Morocco, Thursday, Sept. 5, 2024. (AP)
A construction worker unveils recovered pieces from the Great Mosque of Tinmel, which dates back to the 12th century and suffered significant damage during a 2023 earthquake, in the Atlas mountain village of Tinmel, outside of Marrakech, Morocco, Thursday, Sept. 5, 2024. (AP)
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Brick by Brick, Morocco Rebuilds 12th-Century Mosque Destroyed by 2023 Earthquake

 A construction worker unveils recovered pieces from the Great Mosque of Tinmel, which dates back to the 12th century and suffered significant damage during a 2023 earthquake, in the Atlas mountain village of Tinmel, outside of Marrakech, Morocco, Thursday, Sept. 5, 2024. (AP)
A construction worker unveils recovered pieces from the Great Mosque of Tinmel, which dates back to the 12th century and suffered significant damage during a 2023 earthquake, in the Atlas mountain village of Tinmel, outside of Marrakech, Morocco, Thursday, Sept. 5, 2024. (AP)

The hand-carved domes and brick-laid arches had almost all been put back together when an earthquake shook Morocco so violently that they caved in on themselves and crashed to the earth.

After nearly 900 years, the Great Mosque of Tinmel lay in pieces — its minaret toppled, its prayer hall full of rubble, its outer walls knocked over.

But even in ruins, it remained holy ground for the residents of Tinmel. Villagers carried the sheet-laden bodies of the 15 community members killed in the quake down the hillside and placed them in front of the decimated mosque.

Among the mourners was Mohamed Hartatouch, who helped carry the remains of his son Abdelkrim. A 33-year-old substitute teacher, he died under bricks and collapsed walls while the village waited a day and a half for rescue crews to arrive.

“It looked like a storm. I wasn’t able to feel anything,” the grieving father said, remembering the day after the quake.

One year later, the rubble near Hartatouch’s half-standing home has been swept aside and Tinmel residents are eager to rebuild their homes and the mosque. They say the sacred site is a point of pride and source of income in a region where infrastructure and jobs were lacking long before the earthquake hit.

“It’s our past,” Redwan Aitsalah, a 32-year-old construction worker, said the week before the earthquake’s anniversary as he reconstructed his home overlooking the mosque.

The September 2023 quake left a path of destruction that will take Morocco years to recover from. It killed nearly 3,000 people, knocked down almost 60,000 homes and leveled at least 585 schools. The damage will cost about $12.3 billion to rebuild, according to government estimates.

Stretches of road were left unnavigable, including Tizi N’Test, the steep mountain pass that weaves from Marrakech to Tinmel and some of the hardest-hit villages near the earthquake’s epicenter.

Workers are now sifting through the rubble searching for the mosque's puzzle pieces. They are stacking useable bricks and sorting the fragments of remaining decorative elements arch by arch and dome by dome, preparing to rebuild the mosque using as much of the remains as possible.

Hassan Ait Ali Ouhamous, a religious scholar from the region of Al-Haouz, inspects restoration works at the Great Mosque of Tinmel, which dates back to the 12th century and suffered significant damage during a 2023 earthquake, in the Atlas mountain village of Tinmel, outside of Marrakech, Morocco, Thursday, Sept. 5, 2024. (AP)

Though incomparable to the human loss and suffering, the restoration effort is among Morocco’s priorities as it attempts to rebuild.

The country’s Ministry of Islamic Affairs and Ministry of Culture have recruited Moroccan architects, archaeologists and engineers to oversee the project. To assist, the Italian government has sent Moroccan-born architect Aldo Giorgio Pezzi, who had also consulted on Casablanca’s Hassan II Mosque, one of Africa's largest.

“We will rebuild it based on the evidence and remains that we have so it returns to how it was,” Morocco’s Minister of Islamic Affairs Ahmed Toufiq told The Associated Press.

The Great Mosque was a marvel of North African architecture with lobed arches, hand-carved moldings and the adobe-style bricks made of rammed earth used to construct most the area’s structures.

It was undergoing an 18-month-long restoration project when the quake struck, causing its ornate domes and pillars to cave in. Its clay-colored remnants lay in pieces beneath scaffolding erected by restoration workers from villages throughout the region, five of whom also died.

“The mosque withstood centuries. It’s the will of God,” Nadia El Bourakkadi, the site’s conservationist, told local media. The temblor leveled it months before repairs and renovations were to be completed.

Like in many of the area’s villages, residents of Tinmel today live in plastic tents brought in as temporary shelter post-earthquake. Some are there because it feels safer than their half-ruined homes, others because they have nowhere else to go.

Officials have issued more than 55,000 reconstruction permits for villagers to build new homes, including for most of the homes in Tinmel. The government has distributed financial aid in phases. Most households with destroyed homes have received an initial $2,000 installment of rebuilding aid, but not more.

Despite the extent of their personal losses, Moroccans are also mourning the loss of revered cultural heritage. Centuries-old mosques, shrines, fortresses and lodges are scattered throughout the mountains.

The country sees Tinmel as the cradle of one of its most storied civilizations. The mosque served as a source of inspiration for widely visited sacred sites in Marrakech and Seville. Pilgrims once trekked through the High Atlas to pay their respects and visit. Yet centuries ago, it fell into disrepair as political power shifted to Morocco’s larger cities and coastline.

“It was abandoned by the state, but materials were never taken from it,” said Mouhcine El Idrissi, an archaeologist working with Morocco’s Ministry of Culture. “People here have long respected it as a witness to their glorious and spiritual past.”



AlUla Consolidates Its Position as a Premier Global Cultural and Arts Destination

AlUla boasts a rich, diverse cultural and artistic landscape - SPA
AlUla boasts a rich, diverse cultural and artistic landscape - SPA
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AlUla Consolidates Its Position as a Premier Global Cultural and Arts Destination

AlUla boasts a rich, diverse cultural and artistic landscape - SPA
AlUla boasts a rich, diverse cultural and artistic landscape - SPA

AlUla Governorate continues to strengthen its standing as one of the world’s prominent cultural and arts destinations, drawing on a deep-rooted civilizational heritage, exceptional natural and historical assets, and an integrated cultural vision that has transformed it into a vibrant platform for artistic creativity, knowledge production, and contemporary cultural dialogue.

AlUla boasts a rich, diverse cultural and artistic landscape, including specialized exhibitions, open-air museums, and archaeological sites that host inscriptions and historical writings documenting successive human civilizations, reinforcing its status as a cultural hub that combines the authenticity of history with the vitality of contemporary artistic expression.

Throughout the year, AlUla hosts a wide range of cultural and artistic exhibitions and experiences highlighting visual arts, design, crafts, photography, and cinema, alongside distinctive artistic commissions, specialized research and publications, and artist residency programs that contribute to the production and exchange of artistic knowledge and provide platforms for creative dialogue among artists, researchers, and the public.

Open-air museums are a prominent feature of AlUla’s cultural experience, where rock inscriptions and ancient writings are found across multiple sites, serving as living testimony to a heritage spanning thousands of years. They offer visitors an immersive, educational experience in the heart of nature that brings together history, environment, and human heritage.

This cultural momentum stems from extensive international partnerships with leading cultural and arts institutions, which have supported knowledge exchange, program development, and the attraction of artists and researchers worldwide, further reinforcing AlUla’s status as a global platform for cultural and artistic production.

Today, AlUla stands as a global cultural and arts destination that unites the authenticity of the past with the vitality of the present, helping shape a contemporary cultural future that reflects the depth of human identity and enhances the Kingdom’s presence on the international cultural and arts scene.


UNESCO Recognition Inspires Hope in Afghan Artist’s City

This picture taken on January 8, 2026 shows miniature art carved on the wall of Jami Masjid, also known as the Great Mosque of Herat in Herat. (AFP)
This picture taken on January 8, 2026 shows miniature art carved on the wall of Jami Masjid, also known as the Great Mosque of Herat in Herat. (AFP)
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UNESCO Recognition Inspires Hope in Afghan Artist’s City

This picture taken on January 8, 2026 shows miniature art carved on the wall of Jami Masjid, also known as the Great Mosque of Herat in Herat. (AFP)
This picture taken on January 8, 2026 shows miniature art carved on the wall of Jami Masjid, also known as the Great Mosque of Herat in Herat. (AFP)

Hundreds of years after the celebrated painter Kamal ud-Din Behzad roamed the streets of Herat, artists in the Afghan city are finding joy and hope in his recognition by UNESCO.

Sitting cross-legged on a red carpet, artist Mohammad Younes Qane uses an ultra-fine paintbrush to trace details such as a horse's mane or the beads of a necklace.

"When I paint, I'm taken back 500 years, to the streets of Herat back then," when the rulers of the Timurid empire were patrons of artists such as Behzad, Qane said with a smile.

Since he was a teenager, the 45-year-old has been practicing Behzad's celebrated miniature art style, which inspired French artist Henri Matisse.

A contemporary of Italian masters Leonardo da Vinci and Sandro Botticelli, Behzad brought a new style to Herat before settling in Tabriz, in modern-day Iran.

Celebrating his "vibrant cultural expression", the UN's cultural agency inscribed Behzad's style of miniature art on its list of Intangible Cultural Heritage of Humanity in December.

Such recognition was "truly joyful news", coming "at a time when we are in darkness and facing very difficult conditions", Qane said.

Since the Taliban authorities returned to power in 2021 and imposed their strict interpretation of religious law, many artists have left Afghanistan.

Qane has closed his gallery and works at home, with clients now rare and exhibitions non-existent.

He sometimes climbs the hill to a white tomb believed to be Behzad's, where he finds peace.

Taliban officials have banned music in public places, as well as the representation of living things.

- 'Proud of Behzad' -

Numerous residents pointed to the increasing enforcement of the ban on showing human faces, which are a common feature of Behzad-style artworks.

"It's very sad, because we are proud of Behzad in Herat," said one resident, speaking on condition of anonymity for security reasons.

Ahmad Jawid Zargham, the former head of the provincial arts and culture department, said paintings were "simple and without soul" before Behzad.

"He introduced scenes from people's everyday life. For example, ordinary people, passersby, dervishes, mullahs, scenes of teaching girls and boys, or groups of workers busy with architecture," Zargham told AFP.

At Herat's central mosque, which is covered in blue ceramic tiles, there are delicate floral and geometric motifs created by Behzad.

But his decorated manuscripts are kept abroad, at world-renowned institutions such as New York's Metropolitan Museum of Art, the British Library in London and the Topkapi Palace Museum in Istanbul.

Michael Barry, a leading specialist in miniature art, said that people being deprived of their cultural patrimony was "the height of injustice".

At the same time, he remained "very aware of the care that is required to maintain these delicate works", which can easily be damaged by light exposure.

Conscious of the difficulties of repatriating Behzad's artworks, Barry instead enlarged and reproduced them in 2017 for an exhibition at Herat's citadel.

But residents can no longer view the bright autumn colors of the tree of life, a symbol often painted by Behzad, as the wooden door has been padlocked shut.

Despite welcoming the UNESCO recognition, the provincial arts and culture department did not give an explanation for its closure.

Recalling Herat's importance, Barry said the city was the "world capital of painting, poetry, music, philosophy, mathematics. The Florence of the Islamic world".

"The most important center of Islamic civilization in the 15th century endorsed figurative art," he added.

But nowadays, at the citadel, faces shown on panels about the city's history have been painted black.

Despite such measures enforced by the Taliban government's morality police, Behzad is still inspiring young Afghans.

Around a dozen women gathered in a workshop to paint miniature art scenes on glass or paper, which they sell through social media or to acquaintances.

The UNESCO recognition is motivating, said Parisa Narwan, 24, who has been unable to participate in scholarships and exhibitions abroad because it has become practically impossible to get visas.

Artists need opportunities "including international exhibitions and financial support", she said.

One of the other artists contemplated how she would address Behzad today: "I wish he could have lived now -- I would ask him to improve the women's life in Afghanistan because it is really difficult."


Saudi Arabia: Hira Cultural District's Museum Displays World's Largest Quran Copy

The manuscript measures 312 by 220 centimeters and comprises 700 pages. SPA
The manuscript measures 312 by 220 centimeters and comprises 700 pages. SPA
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Saudi Arabia: Hira Cultural District's Museum Displays World's Largest Quran Copy

The manuscript measures 312 by 220 centimeters and comprises 700 pages. SPA
The manuscript measures 312 by 220 centimeters and comprises 700 pages. SPA

The Holy Quran Museum at the Hira Cultural District is showcasing a monumental handwritten copy of the Holy Quran, recognized as the largest Quran of its kind in the world, the Saudi Press Agency reported.

The manuscript measures 312 by 220 centimeters and comprises 700 pages, earning the museum recognition from Guinness World Records for displaying the world's largest Quran, SPA said.

The manuscript is a magnified reproduction of a historic Quran dating back to the 10th century AH (16th century CE). The original copy measures 45 by 30 centimeters with the chapters written primarily in Thuluth script, while Surah Al-Fatiha was penned in Naskh, reflecting the refined artistic choices and calligraphic diversity of that era.

The Quran is a unique example of Arabic calligraphy, gilding, and bookbinding, showcasing features of Islamic art through intricate decorations, sun-shaped motifs on the opening folio, and frontispiece and title pages, reflecting the high level of artistic mastery of that era.

The manuscript was endowed as a waqf in 1300 AH (1883 CE). Its original version is currently preserved at the King Abdulaziz Complex for Endowment Libraries, remaining a lasting testament to Muslims' enduring reverence for the Quran and the richness of the Islamic arts associated with it across the centuries.