___I knew i was kissed by chaos when the blinding light

from her moonlight eyes

reached the depth of my soul___

quote_Khan_Misbah___

From Wikipedia:

A misbaha (Arabic: مسبحة), subha (Arabic:سبحة), or tespih (Turkish) is a string of prayer beads, probably of Persian origin, which is traditionally used by Muslims to keep track of counting in tasbih.

The Misbaha is also known as Tasbih (تسبيح) -not to be confused with Tasbih a type of dhikr-in non-Arab Muslim regions or Sibha in some Arabic dialects e.g. Libyan Arabic. In Turkey, the beads are known as Tespih.[1]

------------------------

Also you can see Khaleejy guys holding the Misbaha not only for prayer it's known that the Misbaha with it's different kinds of stones used to relieve stress.

now i know why all guys are calm in some situation ;) !!

i guess women now should have their own Misbah ;) !! what do you think ladies ;D

Picture Info:

Camera: Nikon D300

Exposure: 0.006 sec (1/160)

Aperture: f/6.3

Focal Length: 60 mm

ISO Speed: 800

Exposure Bias: 0/6 EV

Lens: AF-S Micro Nikkor 60mm f/2.8G Ed Lens

Edit With Photoshop.

-------------------------------------------------

Warning!:

-Please Don`t Comment With Your Last Picture Or URL, Your Comment Will Be Deleted

-Silly Comments Will Be DELETED!.

Phorographers take Pictures for a Purpose! They Do So To Give a Message to the Viewer.

Laisse filer les étoiles. Cassiopée était son étoile filante. Elle le menait à présent dans une pièce où une lanterne tournait lentement, projetant ses ombres furtives sur le parquet et sur les murs. Des étoiles qui explosent en silence et des soldats qui courent à la guerre. La colombe attendait son heure, assoupie par une innocente berceuse. Il avait la tête qui tourne. Il se souvint qu’un jour ils avaient décidé d’échanger leurs ombres pour voir ce que ça faisait. « Ce sera une autre façon de faire l’amour » disait-elle ou de faire la guerre, pensa-t-il.

Let the stars fly. Cassiopeia was his shooting star. She was now leading him into a room where a lantern spun slowly, casting its furtive shadows across the floor and onto the walls. Stars exploding in silence and soldiers running to war. The dove was biding its time, dozing off by an innocent lullaby. He was dizzy. He remembered that one day they had decided to swap their shadows to see what it was like. "It will be another way of making love," she said or of waging war, he thought.

مصباح في سراج، تصميم شرقي

The Light House expo | Villa Empain

Mona Hatoum’s work, exemplified by her installation Misbah, strikes the ineffable balance between socio-political commentary and sheer beauty.

www.amfedarts.org/mona-hatoum-misbah/

Misbah (2006-7) (“lantern” in Arabic) is a powerful distillation of Mona Hatoum’s distinctive approach to installation—situating the viewer in a setting that is both alluring and unsettling.

The viewer stands in a darkened room, lit only by a rotating lantern dangling from the ceiling. After a moment, it becomes clear that the seemingly decorative cut-outs that allow light to pass through the lamp are not traditional motifs, rather, these cut-outs cast images of armed soldiers onto the surrounding walls. Weapons at the ready, the soldiers stalk the periphery of the room as the lantern slowly rotates. In this context, the more traditional star-shaped designs on the lantern suggest wartime explosions. The soft glow of the lamp contrasts with its disturbing projections, evocative of the discordant, and often dangerous, realities of contemporary experience throughout the world.

www.villaempain.com/en/expo/the-light-house/

The Light House expo | Villa Empain

Mona Hatoum’s work, exemplified by her installation Misbah, strikes the ineffable balance between socio-political commentary and sheer beauty.

www.amfedarts.org/mona-hatoum-misbah/

Misbah (2006-7) (“lantern” in Arabic) is a powerful distillation of Mona Hatoum’s distinctive approach to installation—situating the viewer in a setting that is both alluring and unsettling.

The viewer stands in a darkened room, lit only by a rotating lantern dangling from the ceiling. After a moment, it becomes clear that the seemingly decorative cut-outs that allow light to pass through the lamp are not traditional motifs, rather, these cut-outs cast images of armed soldiers onto the surrounding walls. Weapons at the ready, the soldiers stalk the periphery of the room as the lantern slowly rotates. In this context, the more traditional star-shaped designs on the lantern suggest wartime explosions. The soft glow of the lamp contrasts with its disturbing projections, evocative of the discordant, and often dangerous, realities of contemporary experience throughout the world.

www.villaempain.com/en/expo/the-light-house/

Excerpt from agb.life/visit/exhibitions/dry-thunder:

Dry Thunder

The concrete rooftop of Misbah Ahmed’s childhood home in Islamabad revealed a lush horizon. At dusk, she could look down upon a wayward road and speculate on roaming dogs and the secret lives of stray cats. From above, she would notice the darting bats and flocks of crows, swinging through the twilit sky. She could even peek into the windows of neighbours nearby, and wonder about the aunties’ hushed conversations over chai, or watch an uncle kneeling on a prayer mat, making his final duas for the night. From a distance, past valleys and rivers, the great Margalla Hills loomed over the cityscape. During our first studio visit, Ahmed recalls the thunderstorms and lightning strikes that would hit the tops of the mountains, without a hint of rain. These rainless storms are known as dry thunderstorms—the phenomenon occurs when a storm’s precipitation evaporates before it ever touches the ground. In South Asia, dry thunder is a common occurrence and known to cause wildfires and dust storms— a symptom of ongoing climate catastrophe in the region.

Dry Thunder, Misbah Ahmed’s first institutional solo exhibition, brings together ceramic sculptures and paintings to explore and meditate on regional folklore, eco-poetics, and urban and wildlife transformation. Similar to the atmospheric and metaphoric contradictions of dry thunder, Ahmed molds traditional vessel shapes into anamorphic forms, inscribing them with local (Sindhi-Punjabi-Hunza) folktales and mythologies. For Ahmed, folklore is a mode of thinking that contains both ancestral and colonial history, and features both the mundane and the extraordinary. Pakistani-Canadian artist-researchers Manahil and Nimra Bandukwala consider Sindhi folktales and their interpretation as a method of bridging the knowledge gap between South Asian contemporary life and their ancestry: “We grew up in Karachi hearing about the jinn that roamed streets at dusk. These stories were why we came home at maghrib and never touched trees at night. Folklore influences human behaviour for generations, and are [sic] the reason why we do what we do.”

In Dry Thunder, Ahmed uses the medium of clay to morph vessels into distinct folktales and wildlife figures. Through this method, she shapes her own visual vernacular of the vessel form. In Pari Ka Dost (Friend of the Faeries), the tall vessel has two protruding markhors mirroring each other on either side of its form. The markhor is a type of goat, native to the Karakoram and Himalayan mountains, known for its spiral horns, which, in this artwork, sprawl along the sides of the vessel. The markhor is the national animal of Pakistan, and is considered to be a good omen and related to fairies that inhabit the Hunza mountains. Unfortunately, the markhor is critically endangered due to habitat loss, poaching and illegal hunting, and climate change.

In Tiger Amphora, Ahmed adorns the red, black, and white vessel with tigers instead of handles as a gesture to her South Indian heritage. Here, Ahmed upends historical representations of the tiger from Britain’s colonization of India—part of the British strategy to assert their dominance and reify racial and colonial power dynamics. Indian rulers traditionally used tigers as symbols of power, valour, and majesty; when the British colonized India, they appropriated and reframed these representations through a Eurocentric lens. For example, British military and police officers, and other colonial administrators would assert their dominance through tiger hunting, thereby transforming the killing of the tiger—a powerful symbol in Indian culture—into a performance of colonial authority, masculinity, and dominance. Visual representations from this colonial period often immortalized these hunts, showcasing British men as victorious and heroic figures. These depictions reinforced multiple forms of propaganda: the colonial narrative of masculine power and the perceived success of their empire-building efforts to Victorian audiences back in Britain. In contrast to this colonial strategy, Ahmed dedicates Tiger Amphora to the power and resilience of the tiger, in a way that centers the animal, rather than the animal as metaphor for colonization and subjugation. A frequent theme in Ahmed’s ceramic sculptures is her attention to the histories and stories of animals native to South Asia that are considered culturally significant and revered, but whose livelihoods and natural environments are constantly undergoing threat and endangerment.

Ahmed’s paintings, which are featured on her ceramic sculptures, as well as on mylar, reference real and mythical stories of various landscapes, both near and far from her childhood home in Islamabad. From her family’s rooftop, Ahmed observed the lively city and its inhabitants, as well as the never-ending rapid urbanization. In addition to her explorations of mountainous terrains, Ahmed also explores desert and river landscapes, which loop in and through the country’s topography. In Sassui Punnhun, Ahmed uses the spherical form of the vessel as canvas, employing vibrant glazes to map the tale of Sassui Punnhun, a tragic love story from an oral folklore retold by Sindhi Sufi poet Shah Abdul Latif Bhittai. Ahmed accents the vessel using colourful patterns inspired by neighbouring city Lahore’s historic street architecture. Ahmed’s sculptural and painterly interpretations explore the figurative and material meaning of atmospheric chaos, through personal nostalgia, folktales, and the ever-changing natural environment.

published in Sunday, Daily Times

Photographer: Fayyaz Ahmed

Model: Ayyan

Hair & Makeup: Nighat Misbah@Depilex

Designer: Sonya Batla

Check out the latest on Facebook

designer: adnan pardesy

model: aamina sheikh

hair & makeup: nighat misbah@depilex

photography: fayyaz ahmed

More on Facebook

designer: asim jofa

model: ayyan

hair & makeup: nighat misbah@depilex

photography: fayyaz ahmed

Check out the latest on Facebook

In a the ultimate test of skill Pakistani Markhors Quarter Back Misbah Ali Ul Haq, descent of a long line of famous cricket players scores the touch down victory in the final seconds of a sudden death overtime play off game against the formidable San Francisco Forty Niners clinching the way to Superbowl LXXVIII.

www.facebook.com/pages/SteadFast-Photography/219993168012520

Cricket at the Sydney Cricket Ground - Australia's Josh Hazlewood bowls to Pakistan's centurion Younis Khan on day 3 of the Sydney Test match.

Rain delayed play and Pakistan completed the day on 8 wickets for 271 runs, in response to Australia's 8-538 declared. Much attention has focused on captain Misbah ul-Haq's (42) and Younis Khan's (39) ages, and while that probably makes them the two oldest test cricketers in the world, Younis' 136 not out - he has now scored centuries against all test playing nations - against a fierce attack helped show why the old stagers continue to be selected.

It's Jane McGrath day of what's now known as the pink test, with funds from the pink paraphernalia going to the McGrath Foundation which funds 117 breast care nurses around Australia and raises awareness about breast cancer.

Kuwaiti man sitting on a wall facing the beach and playing with his "misbah"

KLAYAR BEACH LANDSCAPE

© copyright photo at Mishbahul Munir Poetrafoto.com

location: Pacitan, East Java, Indonesia

web: www.poetrafoto.com/

blog: blog.poetrafoto.com/

FB: www.facebook.com/pages/Poetrafotocom/104669986262554

hp: +6281328749391

email: misbah.potopoto@gmail.com

note: please entry your comment... thanks very much... :)

sold for MyTrip Magazine, volume 2/2011 page 61, publish by PT. Femalindo Media Sejahtera Jakarta!

ALINE | BEAUTY PORTRAIT PHOTOGRAPHY

© copyright at Mishbahul Munir Poetrafoto.com

talent: Aline Laksmi | web: www.poetrafoto.com/

blog: blog.poetrafoto.com/

FB: www.facebook.com/pages/Poetrafotocom/104669986262554

hp: 081328749391 | email: misbah.potopoto@gmail.com

note: please entry your comment... thanks very much... :)

The legendary Pakistan Cricket Captain and batsman captured summer 2018

published in Lounge, Pakistan Today

designer: adnan pardesy

model: aamina sheikh

hair & makeup: nighat misbah@depilex

photography: fayyaz ahmed

More on Facebook

misbah ul haq ,misbah ul haq wiki ,misbah ul haq wife ,misbah ul haq tuk tuk ,misbah ul haq captaincy record ,misbah ul haq stats ,misbah ul haq twitter ,misbah ul haq mba ,misbah ul haq bowling ,misbah ul haq salary ,misbah ul haq imran khan ,misbah ul haq average in 2013 ,misbah ul haq as a captaincy record ,misbah ul haq and umar akmal ,misbah ul haq average as captain ,misbah ul haq as a captain ,misbah ul haq american tv ,misbah ul haq and family ,misbah ul haq batting average ,misbah ul haq biography ,misbah ul haq brother ,misbah ul haq batting in cpl ,misbah ul haq best innings ,misbah ul haq body ,misbah ul haq batting 2013 ,misbah ul haq career ,misbah ul haq cricbuzz ,misbah ul haq centuries ,misbah ul haq cricket history ,misbah ul haq captain ,misbah ul haq cursing umar akmal ,misbah ul haq debut ,misbah ul haq daughter ,misbah ul haq education ,misbah ul haq espn ,misbah ul haq earnings ,misbah ul haq email address ,misbah ul haq facebook ,misbah ul haq family pics ,misbah ul haq facebook 2013

designer: asim jofa

model: ayyan

hair & makeup: nighat misbah@depilex

photography: fayyaz ahmed

Check out the latest on Facebook

More than 23,000 spectators wait for the start of play at the Sydney Cricket Ground, day 3 of the Australia versus Pakistan cricket Test match, on Jane McGrath day. The ropes and 'Super Soppers' on the ground soak up the rain, and the covers are being removed.

Interestingly, the greatest concentration of pink is in the Pakistan supporters' area in the Bill O'Reilly stand (right). The pink test gets great support in Sydney. It promotes breast cancer awareness and proceeds go to the McGrath Foundation.

This test's big event was David Warner's 100 before lunch on the first day, a brilliant start and only the fifth time this has been accomplished in test history, following Australians Victor Trumper (1902), Charlie Macartney (1926), Don Bradman (1930) and Pakistan's Majid Khan (1976). Australia's 538 also included centuries from series debutants Matt Renshaw (184) and Peter Handscomb (110).

Warner followed up his outstanding first innings 113 off 95 balls with a second innings 55 off 27, the second-fastest test 50 and just two balls short of Misbah ul-Haq’s 21-ball 50 against Australia in Abu Dhabi, October 2014.

PADI HIJAU - BLUE SKY

© copyright photo by Mishbahul Munir Poetrafoto.com

location: Jogja, Yogyakarta, Indonesia

web: landscape.poetrafoto.com/

blog: blog.poetrafoto.com/

FB: www.facebook.com/pages/Poetrafotocom/104669986262554

hp: +6281328749391

email: misbah.potopoto@gmail.com

note: please entry your comment... thanks very much... :)

designer: asim jofa

model: ayyan

hair & makeup: nighat misbah@depilex

photography: fayyaz ahmed

Check out the latest on Facebook

Photographer: Fayyaz Ahmed

Model: Ayyan

Hair & Makeup: Nighat Misbah@Depilex

Designer: Sonya Batla

Check out the latest on Facebook

Taken by : Me

during the 3rd ODI West Indies v Pakistan at Beausejour Cricket Ground, St. Lucia. WICB Media Photo/Randy Brooks

تقــبل اللـه منــا ومنـكـم صــالــح الاعــمــال

عيــدكــم مبــــارك

وعــســاكـــم مــن عــواده

وكــل عــام وأنـتــم بـخـــيــر

_______________________

All Rights Reserved © J. AlThani

published in Sunday, Daily Times

Photographer: Fayyaz Ahmed

Model: Ayyan

Hair & Makeup: Nighat Misbah@Depilex

Designer: Sonya Batla

Check out the latest on Facebook

Eleven supremely fit and ruthlessly efficient cricketers, on top of their game, had their dreams of a first-ever world title ended by one audacious man. That cricket is a team game is an oft repeated cliché but South Africa were eliminated from the World Twenty20 at Trent Bridge solely because of Shahid Afridi's intensity and all-round skill.

Pakistan were yet to win a game against significant opposition in the tournament because of a team performance. They lost to England and Sri Lanka, beat minnows Netherlands and Ireland, and relied on Umar Gul to rout New Zealand. Their players hadn't contributed collectively and so it was unlikely all 11 players would maximise potential against opponents as able as South Africa. To have a hope of playing at Lord's on Sunday, Pakistan needed individual brilliance from one of their matchwinners: probably Gul, possibly Younis Khan, or perhaps Misbah-ul-Haq.

Instead, it came from Afridi. Pakistan and Afridi supporters always hope that it will come from him. They roar him to the crease, brimming with optimism, hoping he will destroy the opposition with his recklessly cavalier approach. Thousands of fans celebrated his arrival at the crease at Trent Bridge after Pakistan had lost Shahzaib Hasan in the second over.

Did they know that Afridi's last half-century, in any format of the game, came 28 innings ago, against Zimbabwe at Multan in 2008? And the one before that was 19 innings earlier, against Sri Lanka in Abu Dhabi in 2007? It didn't matter, for when it comes to Afridi, there's always reason to hope. He'll disappoint more often than not, but his successes are so spectacular that it's worth the heartbreaks.

Afridi batted at No. 6 during the initial stages of the World Twenty20 and having to necessarily find the boundary immediately didn't work for him. He made 5 against England, holing out to mid-on, was bowled for 13 by Dirk Nannes against Netherlands, and was dismissed for a first-ball duck against Sri Lanka. Pakistan decided to push him up to No. 5 against New Zealand and he made 29 low-pressure runs off 18 balls, and 24 off 13 balls at No 3 against Ireland. Afridi said Younis supported him fully, put no pressure on him, and asked him to bat higher in the order, only requesting that he take his time and not attempt impractical risks like trying to pull Muttiah Muralitharan into orbit off his first delivery.

On first evidence at Trent Bridge, Afridi appeared not to heed that request, whacking his first ball, from Wayne Parnell, over mid-on for four. He was bristling with aggression when Jacques Kallis tested his skill against the short ball. Afridi was beaten by the first couple but pulled two out of the following three to the midwicket boundary. Kallis walked up to him and stared and Afridi's response was an attempt to get under the skin of the bowler. "He [Kallis] came close to me, I gave him a kiss," Afridi said. "A flying kiss."

Afridi's posture had betrayed disappointment when Kamran Akmal fell off his 12th ball, having scored 23 off the first 11, by top-edging a pull to mid-on. Afridi had also started quickly, scoring 15 off nine, but wasn't about to go the Akmal way. No risks were taken immediately after the fielding restrictions were lifted, Afridi being content with working the ball cleverly into gaps to score at a run a ball.

Not until the 11th over did he cut loose, against Johan Botha, and his execution was precise. Three times in a row Afridi made room by moving towards leg, and all three times he placed the ball into the gap on the extra cover boundary. And when Graeme Smith reinforced his field, Afridi played the deftest of late cuts to take 18 off the over. His first moment of indiscretion was also his last for an ill-timed swipe across the line against JP Duminy's first ball went straight in the air. Trent Bridge reverberated with applause as Afridi returned to the dugout, having scored 51 off 34 balls. And he was only half done.

While Afridi's batting deteriorated over the last couple of years, his bowling has been vital to Pakistan's limited-over success. He even said on Cricinfo that he rates himself as a bowler first. So unlike his batting, Afridi's legspin was in top form during the World Twenty20 with eight wickets and an economy of less than six an over, going into the game against South Africa.

Bouyed by his batting, Afridi's high intensity levels kept him in the thick of the action. He appeared stunned after Gul dropped Smith and hit his head on the ground, standing motionless for a few moments before realising the ball needed to be collected, and then attended to his injured team-mate. He was given the ball in the seventh over and found rhythm immediately, getting one to turn, bounce and rip past Kallis' bat. Gibbs watched that from the non-striker's end and so pushed forward, playing away from his body for the legbreak, a ball later. It didn't turn. Instead it fizzed off the pitch and skidded straight through, knocking back off stump.

Afridi had an edge put down by Kamran Akmal off AB de Villiers in his next over. Unfazed, he forced the batsmen to play on the next ball, and celebrated in trademark style: running to the side of the pitch, standing upright with his chest proudly out, a knowing grin in his face and his left hand raised in triumph while his team-mates rushed in from all corners of the outfield. As they mobbed him, the DJ got the crowd going by playing Dil Dil Pakistan.

Afridi finished with 2 for 16 to go with his half-century. After he was done, Saeed Ajmal dismissed Kallis, Gul bowled a succession of yorkers, and Mohammad Aamer kept his cool when entrusted with the final over. There was no doubt, though, why Pakistan had won. It was obvious from the number of times Smith mentioned Afridi's name during the post-match press conference without even being specifically asked.

George Binoy is a senior sub-editor at Cricinfo

Feeds: George Binoy

published in Sunday, Daily Times

Photographer: Fayyaz Ahmed

Model: Ayyan

Hair & Makeup: Nighat Misbah@Depilex

Designer: Sonya Batla

Check out the latest on Facebook

more at www.facebook.com/fayyazah

published in Paperazzi

photography: fayyaz ahmed

models: fayeza ansari, wajahat nazeer mwn

designer: arsalan iqbal

graffiti: sanki king

hair & makeup: nighat misbah@depilex

photography: fayyaz ahmed

model: ayyan

hair&makeup: nighat misbah@depilex

Join on facebook: www.facebook.com/fayyazah

more at www.facebook.com/fayyazah

published in Paperazzi

photography: fayyaz ahmed

models: fayeza ansari, wajahat nazeer mwn

designer: arsalan iqbal

graffiti: sanki king

hair & makeup: nighat misbah@depilex

MARYCHA & SINGGIH HAPPY WEDDING

© photo by POETRAFOTO Photography Studio

location: nDalem Suryopuri Yogyakarta

photo & colase designer: Mishbahul Munir & Ady Moelatno

web: wedding.poetrafoto.com

reservation: Misbah (081328749391)

email: poetrafoto@gmail.com | YM: mishbah_munir | Twitter: @poetrafoto

facebook: POETRAFOTO Photography Studio Yogyakarta Indonesia

AXIO-FOTOGRAFER.NET @ JEC JOGJA

© photo by Mishbahul Munir Poetrafoto Photography

talent: IPEH

location: JEC Jogja

event: Axio & FN Photohunt

website: www.poetrafoto.com/

published in Instep

photography: fayyaz ahmed

label: house of arsalan iqbal

collection: cargwar

hair & makeup: nighat misbah@depilex

models: rubya chaudhry and zeeshan shafi