Koshary, Egypt's Spicy Staple, Wins UNESCO Recognition
Koshary, an Egyptian vegan dish recognized by UNESCO as part of its Intangible Cultural Heritage, is plated in Cairo, Egypt, on December 9, 2025. (Reuters)
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Koshary, Egypt's Spicy Staple, Wins UNESCO Recognition
Koshary, an Egyptian vegan dish recognized by UNESCO as part of its Intangible Cultural Heritage, is plated in Cairo, Egypt, on December 9, 2025. (Reuters)
Koshary – a spicy dish of lentils, rice and pasta available at countless Egyptian food stalls – won recognition as a cultural treasure from the UN's cultural agency on Wednesday, as Cairo makes a broad push to promote its cultural and historical identity abroad.
Egypt's nomination of koshary for UNESCO's "Intangible Cultural Heritage" list comes a little over a month after its opening of a sprawling new antiquities museum – another move officials hope will highlight the country's rich history and lure more tourists.
One popular legend claims koshary originated in northern India and was brought to Egypt by soldiers during the British occupation. But the dish's origins can in fact be traced through a farther-flung, millennia-old lineage of migration, trade and conquest, food researcher and archaeobotanist Hala Barakat said.
EGYPTIAN DISH, WITH GLOBAL INFLUENCES
Lentils arrived from the Fertile Crescent more than 5,800 years ago, and rice was introduced from East Asia. Tomatoes and chili peppers were brought from the Americas centuries later, while pasta noodles were a more modern addition.
"These components came together over thousands of years," Barakat said. "Its name may be Indian, but the Egyptian dish has its own form – and even that varies from Alexandria to Aswan."
"Koshary in its current form is the koshary Egyptians made their own," she added.
Egypt's nomination makes note of this diversity, highlighting the fact that yellow lentils are used on the coast, compared with black lentils in Cairo and Upper Egypt. Some households add boiled eggs, while in Sinai a similar dish called ma'dous is common.
Each of these variations is united by "the special flavor provided by condiments such as vinegar, garlic, and hot sauce, which are added according to preference," the nomination says.
COUSCOUS, CEVICHE ALSO ON LIST
Making the intangible heritage list is mostly symbolic, and does not bring any direct financial benefit. Other dishes such as couscous – common across the Maghreb region – and the South American dish ceviche are on the list. Italian cuisine was also set to be inscribed this year.
Koshary's popularity surged in the 20th century as restaurants and brightly decorated street carts proliferated near schools and stations. The absence of animal products has also made it a staple among fasting Coptic Christians and younger Egyptians who are going vegetarian.
Today, the dish is one of Egypt's most recognizable features, according to Ahmed Shaker, the public relations officer at Abou Tarek Koshary, a popular Cairo restaurant that dates back to 1963.
"Any foreigner or visitor who comes to Egypt visits the Pyramids, visits the museum, and comes to Abou Tarek to eat koshary," Shaker said.
The dish joins Egypt's 10 previous "inscriptions", which include tahteeb, an ancient martial art using sticks, and the Sirat Bani Hilal, an epic oral poem.
UNESCO’s new director-general, Khaled El-Enany, previously served as Egypt's minister of tourism and antiquities, and has vowed to use his tenure to safeguard cultural traditions.
China’s Porcelain City Carries Centuries-old Heritage to New Generationhttps://english.aawsat.com/culture/5319308-china%E2%80%99s-porcelain-city-carries-centuries-old-heritage-new-generation
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
China’s Porcelain City Carries Centuries-old Heritage to New Generation
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing has a vivid memory of her grandfather. It was the only time he wrote down the formula for her family’s distinctive red pigment.
He asked her mother to memorize it and burned the paper minutes later. The secret has since been passed down orally from one generation to the next.
“My mother did not reveal the formula to me until I was over 30,” Chen said.
Her family has practiced the craft since around 1860 in Jingdezhen, known as China’s “Porcelain Capital.” It is located in Jiangxi province, about 1,180 kilometers (735 miles) southeast of Beijing.
Students practice traditional ceramic craftsmanship at Zhan Shao Ceramic Arts Practice Base in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Jingdezhen’s pottery-making history spans more than 2,000 years. It began during the Han Dynasty, and its porcelain sites were inscribed on UNESCO’s World Heritage List in 2026.
Small details take years to master Jingdezhen’s craftsmen have kept alive techniques once used to produce porcelain for the imperial court. That knowledge later spread to private artisans.
Chen’s ancestors adopted some of those traditions after the fall of the Qing Dynasty in 1912.
“The craft is very difficult for an outsider to master,” The Associated Press quoted Chen as saying. “A family might spend nearly a century developing a single technique.”
Two tables in her studio are covered with brushes, unfinished pieces and pigments. She works in silence, a lamp lighting her strokes.
Chen’s fingers never touch the porcelain’s surface. She steadies her hand against its outer edge, holding the brush firmly as she paints delicate, precise strokes.
Painting a porcelain teacup can take days to complete. A single particle of dust or sweat could ruin the piece and require her to start from scratch.
Landscapes are the most difficult scenes to paint because their boundaries are not clear. A mountain summit might be emerald green, gradually shifting to brown and other warmer colors farther down the slope.
“Mastering a craft is a lifelong process,” Chen said. “Few people are willing to spend more than 10 years learning such a painstaking craft.”
Fragments of porcelain reveal a spiritual past Artists like Chen work alongside archaeological sites and museums to preserve China’s porcelain heritage.
Chinese ceramic wheel-throwing artist Zhan Shaolin demonstrates his craft in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Jingdezhen’s Imperial Kiln Institute researches and restores ceramics excavated from an adjacent complex, where pieces for emperors were crafted in kilns whose remains are still visible today.
The institute is incorporating new technologies into its work, including artificial intelligence, to help match and reconstruct ancient porcelain fragments.
“By the establishment of our ceramic gene bank, we can collect all kinds of information,” said the institute’s president, Weng Yanjun. “We hope that we can retrieve ancient technology with modern science.”
That research can also shed light on the culture and beliefs that surrounded porcelain-making centuries ago.
Among the tiles made at Jingdezhen’s imperial kilns were those used in the Bao’en Pagoda.
It was part of a Buddhist temple complex that was destroyed during a 19th-century rebellion in the city of Nanjing. Its exterior walls were covered with porcelain tiles, each bearing an image of the Buddha.
Traces of other religious traditions can also be found in porcelain studied by the institute, Weng said.
“Islam, Buddhism, Taoism and, later on, European Catholic Christianity harmoniously blend into the porcelain decorations,” he added.
Porcelain-making was surrounded by its own beliefs Within Jingdezhen’s imperial kiln complex stands a shrine commemorating Tong Bin, the protective spirit of ceramics.
Known as the “Immortal Master of Wind and Fire” or “Kiln God,” Tong was revered during the Qing dynasty for sacrificing himself in protest against the abuse of kiln workers, according to local tradition.
The shrine remains open today, with a statue honoring Tong inside alongside figures representing other traditional roles in porcelain-making.
“In ancient times, the technology was not as advanced as it is today, so, in many cases, people had to rely on their beliefs — their gods — to help bring good luck and better results,” Weng said.
How artisans today honor their craft varies widely Some Jingdezhen craftsmen say they hold no particular beliefs associated with porcelain-making. Others display figures of Budai — or the laughing Buddha — in their workshops as symbols of good fortune and prosperity.
For artisans like master Sun Lixin, however, the work retains a spiritual dimension. He is a fourth-generation practitioner who learned the trade from his father at age 13.
“Some traditional rituals have faded considerably,” Sun said. “Yet in the hearts of craftspeople, that reverence remains.”
Every time he paints or fires a piece, Sun is mindful of the hundreds of millions of years of geological history the white clay has undergone before reaching his hands.
He does not visit Jingdezhen’s shrine, but has a practice of his own. Sun instinctively bows to the Kiln God before a firing, wishing for it to be successful and for fine porcelain to emerge.
“If we do not care for it, paint it with devotion and treasure it, how could we possibly do it justice?” Sun said.
Artists from China and abroad find their way to Jingdezhen While Jingdezhen’s pottery-making continues to be passed down within families, universities and residency programs host new generations of Chinese and international practitioners.
Paola Masi is an Italian ceramic artist in a residency program through October.
She said Song dynasty porcelain shaped her early training. So coming to Jingdezhen feels like going back to the roots of her own path as an artist.
Chinese artist Huang Qi graduated from Jingdezhen Ceramic University in 2015 and left the city to work elsewhere. She eventually decided to come back and is also now an artist-in-residence.
“Jingdezhen is where my dream began,” Huang said. “More and more people are coming and the city is attracting growing attention.”
Encountering fellow craftspeople has allowed her to learn new techniques, while Jingdezhen’s inscription on UNESCO’s World Heritage List makes her optimistic about the future.
“It gives us confidence,” Huang said. “Things will continue to get better.”
Lebanon Returns 37 Artifacts Smuggled Out of Egypthttps://english.aawsat.com/culture/5319135-lebanon-returns-37-artifacts-smuggled-out-egypt
An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
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Lebanon Returns 37 Artifacts Smuggled Out of Egypt
An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
Lebanon on Wednesday returned to Egypt dozens of pharaonic artifacts that had been seized from the Beirut port years earlier.
"Thirty-seven antiquities... were seized from Beirut port in 2020, having arrived from an Arab port," Lebanese Culture Minister Ghassan Salameh said during a handover ceremony at the Beirut national museum.
"After investigating the identity and ownership of these items, it was determined that they belonged to Egypt," he added.
Five of the items were on display at the ceremony, including masks made of fabric, wood and clay.
"Cooperation between states... contributes to preserving humanity's heritage," Egyptian ambassador Alaa Moussa said at the ceremony.
Laura Salloum, an official with Lebanon's directorate of antiquities, told AFP that at the time of their seizure, the items were stored in a single container.
They "had been purchased by a Lebanese national without any official documentation regarding their source -- namely, Egypt," she said.
Antiquities smuggling is common in Egypt. Over the past decade, Cairo has recovered nearly 30,000 archaeological artifacts, according to officials.
Cultural Sector Participates in UNESCO Global Forum on Ethics of AI in Riyadhhttps://english.aawsat.com/culture/5319033-cultural-sector-participates-unesco-global-forum-ethics-ai-riyadh
Cultural Sector Participates in UNESCO Global Forum on Ethics of AI in Riyadh
The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
The cultural sector is participating in the fourth edition of the UNESCO Global Forum on the Ethics of Artificial Intelligence (AI) in Riyadh, taking part in panel discussions and workshops.
These sessions address cultural and linguistic diversity in AI, the ethical use of AI in museums, and the future of work in the field in the age of AI and digital technologies, SPA reported.
The forum brings together more than 100 international speakers and experts to discuss responsible governance frameworks and the ethical and safe development of emerging technologies, with a focus on issues including digital diplomacy, government readiness assessment, privacy, and the protection of cultural and linguistic diversity.
The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments, support for cultural innovation, and efforts to highlight AI-related cultural initiatives, products, and services.
It also provides a broad platform for exchanging expertise and experience with leading local and international experts and specialists.
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