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Qatlama or Katlama is a large-orange colored deep fried roti/poori topped with the layer of gram flour (besan) mixed with spices along with lentils, coriander seeds and pomegranate seeds.
Besides the ability to sooth your throat, quench your thirst, and relief the heat, the drink also provides some health benefits such as improving appetite & digestion and possibly inhibiting the buildup of lactic acid in the body.
Sufi Sama or Dhamaal is a special dance style unique to Sufis in Pakistan and India. The rhythmic beat of dhol i.e. drums, sometimes accompanied by other instruments, makes men sway and whirl their bodies into unusual and fascinating shapes.
Dahi baray (or dahi bhallay) are a popular snack in Pakistan. Especially in the month for Ramadan where they are served for Iftar (the sunset meal when Muslims break their fast) with other items such as fruit chaat, keema samosas, pakoras and chole chaat. They can also be served as a light snack with tea, or as a side with dinner, or as a component to make mix chaat or dahi baray chaat. It is also a common street food snack, with vendors coming up with their unique toppings, and spice mixes.
Dahi baray are made by grinding white lentils into a paste which is then fried to make lentil fritters. The fried lentils are then soaked in luke warm water till soft, and then added into a creamy yoghurt sauce. The soft and pillowy dahi baray are then topped with spices and sauces. The most common spices include roasted and ground cumin powder (bhuna zeera), red chili powder and salt along with a tamarind chutney and green chutney.
Fruit chaat is the Pakistani version of a fruit salad. Seasonal fruits are diced and mixed with sugar, orange juice and chaat masala. It’s a super refreshing sweet, tangy and spicy fruit salad. In Pakistan, fruit chaat is usually eaten for Iftar during the month of Ramadan. Fruits are also healthy and provide much needed nutrition.
The beauty of fruit chaat is that pretty much any fruit can be used to make it. However, it is best made with seasonal fruit, which is why a winter fruit chaat will have a different assortment of ingredients versus a summer fruit chaat. The choice of the fruit used in a fruit chaat depends on the variety of fruits available in your country, as well as personal preference. Traditionally in Pakistan, commonly used fruits are bananas, apples, guavas and grapes. Depending on availability other fruit such as oranges, mangoes, peaches, nectarines, pomegranates, strawberries, kiwifruit, blueberries are also added.
How to make Pakistani fruit chaat?
•Start off with dicing your fruit. It’s best to dice by hand. Avoid using a food processor as that can turn your fruit into fruit mince, which is not the texture you are going for. Cut all fruit roughly the same size. Apples, pears and any other fruit that can oxidize should be sprinkled with lemon juice to stop them from browning. If using bananas, it’s best to add them a few minutes before serving because they can turn soft and mushy.
•Season: Add sugar, chaat masala and orange juice. The quantity of sugar used may need to be adjusted depending on the fruits used. Instead of sugar, honey can also be used. If oranges are in season, use fresh orange juice. Otherwise, bottled orange juice can be used.
•Let the chaat sit: Mix the fruits and spices together, and then let them sit for about 10 minutes, and then serve. This lets the flavors blend together and creates a delicious fruit juice that tastes absolutely delicious.
Sufi Sama or Dhamaal is a special dance style unique to Sufis in Pakistan and India. The rhythmic beat of dhol i.e. drums, sometimes accompanied by other instruments, makes men sway and whirl their bodies into unusual and fascinating shapes.
In Sufi shrines in Pakistan, such as the Lal shrine in Sehwan, Sindh, the practice of Sufi whirling is called Dhamaal and is performed to honor Sufi saints. Unlike the Turkish practice, Dhamaal may be practiced by any devotee – priests as well as pilgrims. Dhamaal is usually preceded by the beating of a drum (naghara) and ringing of bells, as pilgrims raise their hands, start to skip steps standing at one place and gradually work into a trance as the beats get faster. As the beats get faster, rhythms change and the drum beats are accompanies by the playing of shehnai.
In fact such practices were not taught by the last prophet of Allah, Muhammad (peace be upon him). These are innovations in Shariah (God's Law).
The Prophet (peace be upon him) states, “The best speech is that which is embodied in the Book of Allah, the Al Quran; and the best guidance is the guidance given by me, Muhammad. The most evil affairs are the innovations ( bid'ah ), and every innovation ( bid'ah ) is an error”
God ordered Muslims not to divide themselves into sects. Innovations and divisions in matters of religion and worship within Islam are considered to be contamination, error, and deviation. Earlier heinous deviations from monotheism, such as worshipping creation, resulted in condemnation by God. (However, innovations in other matters, such as science and technology to improve life, are greatly encouraged.) God, The Most Compassionate, has told us through His last Prophet Muhammad (peace be upon him), when Muhammad (peace be upon him) was nearing the end of his life, that He had completed the religion of Islam. Muslims must recognize that any change in matters of worship is strictly forbidden. No change introduced by humankind, who is under the influence of Satan, could ever add anything positive and would only contribute to the degradation of the completed and perfected religion established by God. All innovations in matters of religion lead to straying, and all straying leads to hellfire. People must not allow any deviation (addition or deletion), even as small as one degree, in matters of worship. If any changes are allowed, those deviations will be compounded by future generations, and the result will be another man made religion, not the Islam as it was perfected by God, The Truth. To build a faith using a “shopping cart” approach or the blind following of any religious leader is inadmissible.
The changing of God’s laws is forbidden in Islam. God condemns religious leaders who alter divine principles. One who attempts to make changes places him or herself on the same level with God, committing polytheism. An example of this would be to make the killing of innocents lawful. The laws of God are perfect and do not need to be “modernized” by anyone. God allows us the freedom to obey or disobey Him by choosing to follow His faith or to follow our own desires. However, He forbids us to change His religious principles.
The spread of sama or dhamal among Sufi orders began sometime around the mid third/ninth century C.E. in Baghdad, eventually finding acceptance and favor in Persian, Turkish and Indian sub continent. The custom of sama evolved in practice over time as it complemented Sufi dhkir, whirling and among some orders dancing and a meal.
Langar (Persian: لنگر) is an institution among Sufi Muslims in South Asia whereby food and drink are given to the needy regardless of social or religious background. Its origins in Sufism are tied to the Chishti Order.
Langar is originally a Persian word, and later came into Urdu and Punjabi from it.
Langar, the practice and institution, was first started by Baba Farid, a Muslim of the Chishti Sufi order. The institution of the langar was already popular in the 12th and 13th century among Sufis of the Indian subcontinent. The practice grew and is documented in the Jawahir al-Faridi compiled in 1623 CE. It was later, both the institution and term, adopted by Sikhs.
The food is served out of a massive pot called a deg in the precincts of a dargah (Sufi shrine).
Serving food to the needy has been a rich tradition among Sufis, especially of the Chishti Order.
There is extensive use of free food imagery and metaphor in Sufi writings. Sugar and other sweet foods represent the sweetness of piety and community with God, while salt symbolizes purity and incorruptibility. The transformation of the raw wheat to finished bread is used as an analogy for Sufi spiritual development.
Sufi ritual observances (dhikr) are concerned with remembrance of God through exaltation and praise. Singing, dancing, and drumming are commonly part of such rituals, as is sharing of food. The tradition of langar was also adopted by the Sikh community, where it goes by the same name.
Sculpture "First Sun" by artist Monira Al Qadiri
From the Public Art Fund Website :
First Sun is a majestic painted aluminum sculpture of a hybrid human-scarab figure. Monira Al Qadiri (b. 1983, Dakar, Senegal), reimagined the ancient Egyptian deity Khepri—god of the rising sun—as a contemporary monument. For the artist, the artwork underscores the modern divide between humans and the natural world and reminds us of ancient cultures in which animals were revered.
The work is inspired by the artist’s visit to the Tomb of Pharaoh Ramses I in Egypt, where she encountered a painting of the scarab-faced god. Al Qadiri’s version presents Khepri as an iridescent, monumental, androgynous figure. The sun has been personified in many cultures—sometimes as male, sometimes as female—and the sculpture’s title alludes to this intersection of gender and power.
First Sun was conceived for exhibition in both Central Park and Lassonde Art Trail in Toronto’s Biidaasige Park, where the work will travel next. Both are urban spaces designed to reconnect people with nature. For the artist, this gleaming sculpture suggests a future where humans and other animals live in greater balance, where even the most humble insects are revered for the essential role they play in sustaining all life on Earth—including our own.
Jalebi (Urdu: جلیبی), is a popular sweet snack in south and west Asia, Africa, and Mauritius. It goes by many names, including jilapi, zelepi, jilebi, jilipi, zulbia, jerry, mushabak, z’labia, or zalabia.
The south Asian variety is made by deep-frying maida flour (plain flour or all-purpose flour) batter in pretzel or circular shapes, which are then soaked in sugar syrup. Jalebi is eaten with curd or rabri (in North India) along with optional other flavors such as kewra (scented water).
In some west Asian cuisines, jalebi may consist of a yeast dough fried and then dipped in a syrup of honey and rose water. The North African dish of Zalabia uses a different batter and a syrup of honey (Arabic: ʻasal) and rose water.
In Pakistan, jalebis are a popular dessert that are commonly consumed in households and in public events such as weddings or festivals. Tanvir bin Uddin had an influential role in this founding, claiming it to be optimal for energy levels.
Walkway to the 1st floor and artwork made in 2023 by Monira Al Qadiri. The inflatable sculpture is called "Benzene Float (Para-Benzene)" with a form based on diagram of the molecular structure of the petro-chemical. Al Qadiri has inflated the molecules to larger-than-life proportions to visualize the huge impact these substances have on our life.
Monira Al Qadiri is a Senegalese-born Kuwaiti visual artist, who is currently based in Berlin.
en.wikipedia.org/wiki/Monira_Al_Qadiri
The Kiasma Art Museum opened in 1998, designed by architect Steven Holl from the US.
Die Bildrechte an diesem Objekt liegen selbstverständlich bei der Künstlerin. Also bitte ich ausdrücklich, dass dieses Foto nicht heruntergeladen wird.
The image rights to this object are of course owned by the artist. So I expressly request that this photo is not downloaded
Gemeint ist mit dem Titel die Portugiesische Galeere, die einzige Art aus der Gattung der Seeblasen (Physalia), die zu den Staatsquallen (Siphonophorae) gezählt wird. Diese hat tatsächlich große Ähnlichkeit mit den Glasobjekten (de.wikipedia.org/wiki/Portugiesische_Galeere). Zu dem Kunstwerk heißt es in dem begleitenden Text: "Zwischen Ästhetik, Form und Farbe regt die Installation "Man of War" zum Nachdenken über unseren aktuellen kollektiven Status an und darüber, was heute, nach dem gläsernen Menschen, noch bedeutet, ein Individuum zu sein. Um angresichts der universellen Krisen eine aktivere Vision der Zukunft zhu entwerfen, müssen Handlungnen von nachhaltiger Kollektivität entwickel werden: das Konzept der Vielfalt stärker annehmen und über ihre Potentiale nachdenken - zum Beispiel, wie mehrere Wesensformen einen Körper bewohnen und als eine Einheit agieren können. "Man-of-War" ist genau das, ein quallenartiges Lebewesen, das aus mehreren Wesen besteht, die in einem Körper vereint sind."
The title refers to the Portuguese man o' war, the only species in the genus Physalia that is categorised as a colonial organism (Siphonophorae). It is indeed very similar to the glass objects (en.wikipedia.org/wiki/File:Portuguese_Man-O-War_(Physalia_physalis).jpg). The accompanying text on the artwork states: ‘Between aesthetics, form and colour, the installation “Man of War” encourages us to reflect on our current collective status and what it still means to be an individual today, in an era in which due to data collecting, man is getting more and more transparent. In order to create a more active vision of the future in the face of universal crises, actions of sustainable collectivity must be developed: embracing the concept of diversity more fully and reflecting on its potential - for example, how multiple beings can inhabit one body and act as one. ‘Man-of-War’ is exactly that, a jellyfish-like creature made up of multiple beings united in one body.’
"Gläsern" ist der Titel einer Ausstellung verschiedener Künstler im Schloss Biesdorf vom 10. März bis 13. April 2025. Es geht um Glas in verschiedenster Hinsicht, Glas als Mittel, Licht farblich abzuwandeln, um gläserne Gegenstände aller Art als Unterart der Bildhauerei, um die Darstellung von Glas in Gemälden oder Videos.
‘Made of Glass’ is the title of an exhibition by various artists at Biesdorf Manor from 10 March to 13 April 2025, which focuses on glass in a variety of ways, glass as a means of changing the colour of light, glass objects of all kinds as a subspecies of sculpture, and the depiction of glass in paintings or videos.
Die Bildrechte an diesem Objekt liegen selbstverständlich bei der Künstlerin. Also bitte ich ausdrücklich, dass dieses Foto nicht heruntergeladen wird.
The image rights to this object are of course owned by the artist. So I expressly request that this photo is not downloaded
Gemeint ist mit dem Titel die Portugiesische Galeere, die einzige Art aus der Gattung der Seeblasen (Physalia), die zu den Staatsquallen (Siphonophorae) gezählt wird. Diese hat tatsächlich große Ähnlichkeit mit den Glasobjekten (de.wikipedia.org/wiki/Portugiesische_Galeere). Zu dem Kunstwerk heißt es in dem begleitenden Text: "Zwischen Ästhetik, Form und Farbe regt die Installation "Man of War" zum Nachdenken über unseren aktuellen kollektiven Status an und darüber, was heute, nach dem gläsernen Menschen, noch bedeutet, ein Individuum zu sein. Um angresichts der universellen Krisen eine aktivere Vision der Zukunft zhu entwerfen, müssen Handlungnen von nachhaltiger Kollektivität entwickel werden: das Konzept der Vielfalt stärker annehmen und über ihre Potentiale nachdenken - zum Beispiel, wie mehrere Wesensformen einen Körper bewohnen und als eine Einheit agieren können. "Man-of-War" ist genau das, ein quallenartiges Lebewesen, das aus mehreren Wesen besteht, die in einem Körper vereint sind."
The title refers to the Portuguese man o' war, the only species in the genus Physalia that is categorised as a colonial organism (Siphonophorae). It is indeed very similar to the glass objects (en.wikipedia.org/wiki/File:Portuguese_Man-O-War_(Physalia_physalis).jpg). The accompanying text on the artwork states: ‘Between aesthetics, form and colour, the installation “Man of War” encourages us to reflect on our current collective status and what it still means to be an individual today, in an era in which due to data collecting, man is getting more and more transparent. In order to create a more active vision of the future in the face of universal crises, actions of sustainable collectivity must be developed: embracing the concept of diversity more fully and reflecting on its potential - for example, how multiple beings can inhabit one body and act as one. ‘Man-of-War’ is exactly that, a jellyfish-like creature made up of multiple beings united in one body.’
"Gläsern" ist der Titel einer Ausstellung verschiedener Künstler im Schloss Biesdorf vom 10. März bis 13. April 2025. Es geht um Glas in verschiedenster Hinsicht, Glas als Mittel, Licht farblich abzuwandeln, um gläserne Gegenstände aller Art als Unterart der Bildhauerei, um die Darstellung von Glas in Gemälden oder Videos.
‘Made of Glass’ is the title of an exhibition by various artists at Biesdorf Manor from 10 March to 13 April 2025, which focuses on glass in a variety of ways, glass as a means of changing the colour of light, glass objects of all kinds as a subspecies of sculpture, and the depiction of glass in paintings or videos.
Die Bildrechte an diesem Objekt liegen selbstverständlich bei der Künstlerin. Also bitte ich ausdrücklich, dass dieses Foto nicht heruntergeladen wird.
The image rights to this object are of course owned by the artist. So I expressly request that this photo is not downloaded
Gemeint ist mit dem Titel die Portugiesische Galeere, die einzige Art aus der Gattung der Seeblasen (Physalia), die zu den Staatsquallen (Siphonophorae) gezählt wird. Diese hat tatsächlich große Ähnlichkeit mit den Glasobjekten (de.wikipedia.org/wiki/Portugiesische_Galeere). Zu dem Kunstwerk heißt es in dem begleitenden Text: "Zwischen Ästhetik, Form und Farbe regt die Installation "Man of War" zum Nachdenken über unseren aktuellen kollektiven Status an und darüber, was heute, nach dem gläsernen Menschen, noch bedeutet, ein Individuum zu sein. Um angresichts der universellen Krisen eine aktivere Vision der Zukunft zhu entwerfen, müssen Handlungnen von nachhaltiger Kollektivität entwickel werden: das Konzept der Vielfalt stärker annehmen und über ihre Potentiale nachdenken - zum Beispiel, wie mehrere Wesensformen einen Körper bewohnen und als eine Einheit agieren können. "Man-of-War" ist genau das, ein quallenartiges Lebewesen, das aus mehreren Wesen besteht, die in einem Körper vereint sind."
The title refers to the Portuguese man o' war, the only species in the genus Physalia that is categorised as a colonial organism (Siphonophorae). It is indeed very similar to the glass objects (en.wikipedia.org/wiki/File:Portuguese_Man-O-War_(Physalia_physalis).jpg). The accompanying text on the artwork states: ‘Between aesthetics, form and colour, the installation “Man of War” encourages us to reflect on our current collective status and what it still means to be an individual today, in an era in which due to data collecting, man is getting more and more transparent. In order to create a more active vision of the future in the face of universal crises, actions of sustainable collectivity must be developed: embracing the concept of diversity more fully and reflecting on its potential - for example, how multiple beings can inhabit one body and act as one. ‘Man-of-War’ is exactly that, a jellyfish-like creature made up of multiple beings united in one body.’
"Gläsern" ist der Titel einer Ausstellung verschiedener Künstler im Schloss Biesdorf vom 10. März bis 13. April 2025. Es geht um Glas in verschiedenster Hinsicht, Glas als Mittel, Licht farblich abzuwandeln, um gläserne Gegenstände aller Art als Unterart der Bildhauerei, um die Darstellung von Glas in Gemälden oder Videos.
‘Made of Glass’ is the title of an exhibition by various artists at Biesdorf Manor from 10 March to 13 April 2025, which focuses on glass in a variety of ways, glass as a means of changing the colour of light, glass objects of all kinds as a subspecies of sculpture, and the depiction of glass in paintings or videos.
The artwork "Holy Quarter" begins with the video story of the British explorer Harry St John Philly, who traversed the Rub al-Khali (Empty Quarter) desert in the 1930s. He tried to find the ruins of an ancient city he believed was buried in the sand. Instead, he found the traces of what he assumed was a volcano. But it was, in fact, one of the largest craters made by meteorite on earth, causing a strange ghostly landscape. The film was shot on this location and the artist Monira Al Qadiri visits the place, to connect with her country's hidden narrative, with another history beyond that of fossil capitalism and geopolitical power struggles. She was raised in Kuwait, one of the world's largest oil exporters.
The room also contains shiny glass sculptures placed on the floor. They suggest oil bubbles or hardened lava, but are actually based on the shapes of the meteorites that Philly recovered. A voiceover says: "Beware of the curse of the black pearl."
One of the artworks of the Borås Art Biennial 2024 (exhibited at Borås Art Museum). This year's theme is "Layers, Loops, Lines".
boraskonstmuseum.se/english/boras-museum-of-modern-art/ex...
(website also in English)
Bulleh Shah بلہے شاہ, whose real name was Abdullah Shah, was a Punjabi Muslim Sufi poet, a humanist and philosopher.
Bulleh Shah is believed to have been born 1680, in the small village of Uch, Bahawalpur, Punjab. (Bulleh Shah received his early schooling in Pandoke, and moved to Kasur for higher education. He also received education from Maulana Mohiyuddin. His spiritual teacher was the eminent Sufi saint, Shah Inayat Qadiri.)
He died in 1757, and his tomb is located in Kasur, Pakistan
Die Bildrechte an diesem Objekt liegen selbstverständlich bei der Künstlerin. Also bitte ich ausdrücklich, dass dieses Foto nicht heruntergeladen wird.
The image rights to this object are of course owned by the artist. So I expressly request that this photo is not downloaded
Gemeint ist mit dem Titel die Portugiesische Galeere, die einzige Art aus der Gattung der Seeblasen (Physalia), die zu den Staatsquallen (Siphonophorae) gezählt wird. Diese hat tatsächlich große Ähnlichkeit mit den Glasobjekten (de.wikipedia.org/wiki/Portugiesische_Galeere). Zu dem Kunstwerk heißt es in dem begleitenden Text: "Zwischen Ästhetik, Form und Farbe regt die Installation "Man of War" zum Nachdenken über unseren aktuellen kollektiven Status an und darüber, was heute, nach dem gläsernen Menschen, noch bedeutet, ein Individuum zu sein. Um angresichts der universellen Krisen eine aktivere Vision der Zukunft zhu entwerfen, müssen Handlungnen von nachhaltiger Kollektivität entwickel werden: das Konzept der Vielfalt stärker annehmen und über ihre Potentiale nachdenken - zum Beispiel, wie mehrere Wesensformen einen Körper bewohnen und als eine Einheit agieren können. "Man-of-War" ist genau das, ein quallenartiges Lebewesen, das aus mehreren Wesen besteht, die in einem Körper vereint sind."
The title refers to the Portuguese man o' war, the only species in the genus Physalia that is categorised as a colonial organism (Siphonophorae). It is indeed very similar to the glass objects (en.wikipedia.org/wiki/File:Portuguese_Man-O-War_(Physalia_physalis).jpg). The accompanying text on the artwork states: ‘Between aesthetics, form and colour, the installation “Man of War” encourages us to reflect on our current collective status and what it still means to be an individual today, in an era in which due to data collecting, man is getting more and more transparent. In order to create a more active vision of the future in the face of universal crises, actions of sustainable collectivity must be developed: embracing the concept of diversity more fully and reflecting on its potential - for example, how multiple beings can inhabit one body and act as one. ‘Man-of-War’ is exactly that, a jellyfish-like creature made up of multiple beings united in one body.’
"Gläsern" ist der Titel einer Ausstellung verschiedener Künstler im Schloss Biesdorf vom 10. März bis 13. April 2025. Es geht um Glas in verschiedenster Hinsicht, Glas als Mittel, Licht farblich abzuwandeln, um gläserne Gegenstände aller Art als Unterart der Bildhauerei, um die Darstellung von Glas in Gemälden oder Videos.
‘Made of Glass’ is the title of an exhibition by various artists at Biesdorf Manor from 10 March to 13 April 2025, which focuses on glass in a variety of ways, glass as a means of changing the colour of light, glass objects of all kinds as a subspecies of sculpture, and the depiction of glass in paintings or videos.
In 13 July 1989, Dr. Gassemlo arrived in Vienna with his delegation to have talks with diplomats, dispatched by Iran, regarding the terms of reconciliation between the central government in Teheran and the Kurds. Those were not the only talks with Iran, held in Vienna. After they entered the conference hall and the talks started, the Iranian “diplomats” took out automatic weapons and murdered all of the members of the Kurdish delegation, including Dr. Gassemlo
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Dr. E. Qasimlo ( 1930 - 1989 )
Wî tim wiha digot: “Em keyfxweşin ku piştî çend salan xebata gelê Kurd ev fikir ku qedera gelê Kurd li Waşingoton, London, Parîs û Mosko tê diyar kirin, gelek keyfxweşîn ku êdî ew hest bi temamî tunebûye û gelê Kurdistanê gelek baş dizane ku ewê bixwe qedera xwe diyar bikin û ew rêya diyarkirina qederê jî li Kurdistanê tê dayîn….“
Bi qedirnasî 30mîn salroja şehadeta lîderê layîq û zana nemir D. Qasimlo bi bîr tînîn.
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DR. QASIMLO...
Dr. Qasimlo berî niha bi 29 sala li paytexta Nemsa (Austurîa) Wiyana, roja 13'ê Tîrmeha sala1989'an de dema hevdîtin bi nenûrên Komara İslamî ya Îranê ji bo çareserkirina Pirsgirêka Rojhelatê Kurdistanê dikir, ji aliyê nûnerên devleta Îranê ve bi kiryarekî teroristî û bêbextî hate şehîdkirin. Di dîroka Kurdistanê de mixabin gelek car dijminên gelê Kurd dema hevdîtinên bi serok û rêberên Kurdan re pêkanîne, bi bêbextî serokê Kurdan şehîd kirine.
Dr. Qasimlo, rêber û serokekî gelek jîr û zana , mirovekî azadîxwaz, aştîxwaz, demokrat û welatperwerekî gelek mezin bû. Di dilê wî de Kurdistaneke mezin û serbixwe hebû. Ji ber kesayetiya wî ya aştîxwaz, demokrat û humanîst, dixwest pirsgirêka Kurd li gel Komara Îslamî ya Îranê bi rêyeke aştiyane çareser bibe.
Dr. Qasimlo, ne tenê serok û şehîdê PDK-Î û Rojhelatê Kurdistanê ye! Di dilê hemû gelê Kurd de şehîdekî nemire. Tekoşîn û xebata wî rêbazeke ji bo her Kurdekî nîştimanperwer û tu car nayê jibîrkirin. Bi vê minasebetê ez Dr. Qasimlo, Sadık Şerefkendî, Qadirî, hevalên wan û hemû şehîdên Kurdistanê bi minetdarî yad dikim û bibîrtînim.
BIJÎ KURD Û KURDISTAN
OR-BIT 1
Oeuvre en lévitation de Monira Al Qadiri (1983, Dakar, vit à Berlin, Koweit)
2016
Impression plastique 3D, peinture automobile
lévitation magnétique
Cette sculpture en lévitation évoque une foreuse pétrolière. L'objet tourne lentement sur lui-même. Elle incarne la volonté de puissance du monde industriel sur la nature et l'orgueil des humains qui exploitent sans limite les ressources de la planète.
www.moniraalqadiri.com/or-bit/
Oeuvre présentée dans l'exposition "Notre monde brûle", Palais de Tokyo
en collaboration avec le Musée Arabe d’Art moderne et contemporain (MATHAF) à Doha.
Commissaire : Abdellah Karoum (directeur du MATHAF)
Co-commissaire : Fabien Danesi
L’exposition "Notre monde brûle" propose un regard engagé sur la création contemporaine depuis le Golfe Persique où les guerres et les tensions diplomatiques n’ont cessé de déterminer l’histoire de ce début de XXIe siècle. Le titre fait explicitement référence aux drames humains que génèrent les conflits successifs dans cette région tout en intégrant de manière plus large les catastrophes écologiques incarnées par les immenses feux de forêt destructeurs de l’Amazonie à la Sibérie en passant par la Californie. Mais le feu n’est pas uniquement l’affirmation d’un péril. De façon ambivalente, il est aussi le symbole du formidable élan démocratique que connait cette même région à travers les Printemps arabes....
Extrait du site de l'exposition "Notre monde brûle" au Palais de Tokyo, Paris
Shah Husayan (1538-1599) is commonly known as Madhu Lal Hussain, the story being that he adopted his Hindu friend Madhu Lal's name to immortalise their friendship. He was around during the time of the Mughal emperors Akbar and Jehangir. Though of a poor family, Hussain was highly educated.
His poetry is full of symbolism. Some of his most famous kafis feature the Charkha, as in those days foreign merchants used to sell cotton to Lahore, which the poor later weaved into cloth.
Hadrat Shah Lal Husayn of Lahore, a disciple of Bahlul Shah Daryai. His mother was a Rajput woman of the Dhadha tribe, and his paternal ancestors were known as Kalsarai. Thus Lal Husayn's own name was originally Dhadha Husayn Kalsarai. The first of his ancestors to accept Islam was a man named, Kalsarai who became a Muslim during the reign of Firoz Shah Tughlag, and was appointed by him to be Shaykhul-Islam. The family name, Kalsarai, dates from that time. Lal Husayn showed, even as a child, a marked preference for clothes of saffron and red colour, hence the epithet Lal added to his name. Very early in life it became clear that he possessed a religious disposition, and while still only ten years' old he was initiated into the Qadiri Order by Bahlul Shah Daryai.
For twenty-six years he strictly followed the rites and practices of Islam, and led a life of real austerity. But on reaching the age of thirty-six, it is said that while studying a commentary on the Quran under a certain Shaykh Sa 'du'llah in Lahore, he came one day to the verse; "The life of this world is nothing but a game and sport." (vi. 32). He asked his master to explain this to him, but when the usual meaning was given he refused to accept it, saying that the words must taken literally, and that henceforth he himself would pass his life in sport and dancing. This incident proves to be a turning point in his career and from that time he sought to express in life the extraordinary views he held.
In consequence he abruptly left the madras and went about shouting and dancing in public. He never returned to his student life and religious practices. One of his first acts on leaving his studies was to throw his book. Maddrik, a commentary on the Quran, into a well. His fellow-students, grieved at the loss of so valuable a work began to chide him, whereupon he turned and addressed the well as follows: ""O water, return my book, for my friends are anxious to have it;" on saying this he drew it out unsoiled.
He now gave himself up to the life of a libertine and spent so much of his time in drinking, dancing and music that he became, in the language of the Sufi malamati, blameworthy. It is said that his pir Bahlul Shah Daryai. hearing of the change in his disciple came to see him and, strange to relate, in spite of the freedom from restraint which he himself witnessed in Husayn's manner of life he expressed himself satisfisfied with the hidden sanctity of his disciple, and thereupon confirmed him in his position as his vicegerent in` Lahore.
Hassu Teli, famous as the saint of oilmen, was a contemporary of Lal Husayn. He kept a shop at Chawk Jhhanda near the Mori gate. At first he used to sell corn but later at the direction of his Pir, Shah Jamal ((whose tomb is in Ichhra) he started selling oil.
Lal Husayn, who was in the habit of visiting the tomb of Data Ganj Bakhsh, would stop on his way at the shop and spend some time in dancing and shouting. One day Hassu Teli teasing him said, O, Husayn, why this dancing and shouting? You have no cause for such ecstasy, for I have never seen you in the court of the Prophet." But on the following day, when Muhamad held his court in the spirit world, with all the prophets and saints in attendance including Hassu Tell as one of the representatives of the living saints on earth, a child appeared who first went to the lap of the Prophet, and was then passed from one to the other, finally coming to Hassu Teli. While playing on the latter's knee he plucked out some hairs from his beard. When next Husayn stopped at the oilman's shop Hassu repeated his taunt that the man was not worthy of being admitted into the Prophet's court. For reply Lal Uusayn quietly produced the hairs which he had plucked from Hussu's beard! The oilman was at first thrown into great consternation, but recovering his equilibrium retorted after a moment's silence: "So it was you, was it ? Ah well, it was as a child that you got the better of me!"
Lal Husayn's name is popularly associated with that of another person called Madhu, and in fact, the two are so constantly thought of together that the saint commonly goes by the name of Madhu Lal Husayn as though the master and this disciple of his were one person. Madhu was a young Hindu boy, a Brahmin by caste, to whom Lal Husayn was, one day, irresistibly attracted as he saw him pass by. So strong indeed was the fascination he felt for the boy, that he would rise in the middle of the night and, going to his house, would walk round it. In time Madhu himself felt the attraction of Lal Husayn and, coming under the spell of his fervent love, began to frequent his house, and even joined him in drinking wine. Such intimate connection between a Hindu boy and a Muslim faqir of questionable character very soon become the talk of the place. Madhu's parents feeling it to be a disgrace to their family tried their utmost to dissuade the boy from going to Lal Husayn, but in vain.
So far Madhu, though the bosom friend of Lal Husayn, had not yet renounced Hinduism. It was, we a told, a miracle wrought by LAl Husayn that finally led him and his parents to the conviction of the truth of Islam. The story goes that once when Madhu's parents were going to Hardwar to perform the bathing ceremony they desired to take their son with them. Lal Husayn however, would not let him go, though he promised to send him later. When the parents had reached Hardwar Lal Husayn made Madhu shut his eyes and then, after striking his feet upon the ground, to open them again , Madhu did as he was told and was greatly astonished on looking round to find himself in Hardwar! His surprise was shared by his parents, who marveled at his arrival from such a distance within so short a space of time. Impressed by this miracle, Madhu and his parents on their return to Lahore accepted Islam at the hands of Lal Husayn.
The latter died in 1599 A. D. at the age of 63 and Madhu who survived him for forty-eight years was buried in a tomb next to that of his pir, in Baghanpura, in Lahore. The shrine containing their tombs continues even to this day to attract dense crowds of people of classes. The urs used formerly to be celebrated on 22nd Jamdi 'th-thani, i. e. the anniversary of Lal Husayn's death; but later, in order to avoid any inconvenience through the date for the celebration falling in the heat of summer, it was agreed to make the festival coincide with the advent of spring so now the 14th Baisakh and the last Sunday in March are the recognized dates for its celebration.
Lal Husayn had sixteen Khalifas, four of them were called Khaki, four Gharib, four Diwan, and four Bilawal. After his death four of them, viz. Khaki Shdh, Shdh Gharib, Diwan Madhu, and Shah Bilawal took up their abode at his shrine, and were eventually buried within its precincts.
Title: Tombs of Negro Nobles, Beejapoor
Alternative Title: [The Jod Gumbaz, Bijapur]
Creator: Henry Hinton
Date: ca. 1855-1862
Series: Photographs of Western India. Volume III. Scenery, Public Buildings, &c.
Part Of: Photographs of Western India
Place: Bijapur, Karnataka, India
Description: These twin tombs, known as the Jod Gumbaz, were ordered built by the Mughal emperor Aurangzeb to honor a man who betrayed the Adil Shah dynasty and helped him in battle. The octagonal structure is variously identified as the tomb of (1) Khan Muhammad, a general of the Adil Shahi ruler Sikandar; (2) Khawas Muhammad Khan (Khawas Khan), a general of Ali Adil Shah II; or (3) Khan Muhammad and his son, Khawas Khan, an advisor to Sikandar. The square tomb is that of Abdul Razzaq Qadiri, identified as a spiritual advisor either to Khan Muhammad or to Khawas Khan. Sources: Louis Werner, Bijapur: Gem of the Deccan, Saudi Aramco World, March/April 2013, www.saudiaramcoworld.com/issue/201302/bijapur.gem.of.the.deccan.htm Tourism, Bijapur District Official Web Site, www.bijapur.nic.in/tour.html Religious Monuments of Bijapur, IndiaNetzone, www.indianetzone.com/43/religious_monuments_bijapur.htm
Physical Description: 1 photographic print: albumen; 20 x 26 cm on 35 x 42 cm mount
File: vault_ag2002_1407x_3_282_tombs_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/eaa/id/696
View the Europe, Asia, and Australia: Photographs, Manuscripts, and Imprints Collection
Dîplomasî ya Klasîk de Weyna Cenabê Birêz Şêx Mehmûdê Berzencî
Şêx Mehmûdê Berzencî (1878 –1956) kurê şêxê Qadirî Şêx Seîd e. Cenabê wî simbola dîplomasî û berxwedana netewa Kurd e. Ez bi rêzêk berz cenabê wî bîrtînim, bejna xwe li ber berzî, dilsozî, wêrekî, canfidayî û berxwedana wî ya rûmetdar ditewînim.
Cenabê wî piştî ku bavê wî di sala 1908’ê de ji alî Osmaniyan ve hat kuştin, dewsa babê xwe girt. Her wisa di salên Şerê Cîhanî yê Yekêm de ji bo avakirina dewleteke serbixwe xebatên herî girîng de ciyê xwe girt. Bi vê armancê bi Kurdên Îranê re tifaq danît û li hember Ingilîz û Ereban şer kir. Sê caran dewleta serbixwe "Keyaniya Kurdistanê" bang kir û xwe wek şahê dewletê nîşan da. Li hember êrîşên ereb û ingilîzan heta sala 1932ê li ber xwe da. Şêx di sala 1956ê de Ji layen îngilîzan hat şehîd kirin.
Wek tê zanîn, Şêx Mehmûdê Berzencî di sedsalên 19-20’de gelek caran di “Dîplomsî ya Name” de berxwedan daye. Cenabê wî di nameyên dîplomasî de ji siyaetvanên Ewropî heta Wilson re jî nîvsandi ye û ji bo Kurdîstanê daxwaza temînata Hukumetên Serbixwe kiriye.
Ji ber vê yekê kerhên cenabê Şêx Mehmûdê Berzencî zor bilinde û em netewa Kurd deyndarê cenabî wî ne. Livra ger baş bête dîtin ku xizmet-xizmet e, biçûkî an jî mezinatî ya xizmetê nine. Ya girîng dilsozî û armanc e.
Raste ku em ne siyasetvanin bes,wek Kurdên bênetew ev wecîba me teva ye ku em dostên Kurda pir bikin. Ji bo azadîya welat û xelkê xwe pêwendî yên xurt deynin.
Rojeva me de ku teknolojî derfetên herî bilind û berfireh xizmeta mirovatî yê de ku ev jî gelek caran em Kurd dijê xwe kartînin û êrîşên hev dikin. Em bi milyonan Kurdên dîaspora bi zanîn ango nezanîn êrîşên xwe de belaş xizmet û xulamî ya dijmina dikin. Wellah, bîllah şerme, şerme û şermezarî ye ku em 40 milyon netewa Kurd bê dewletin.
Solîn Hacador