February 2012
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Selected works from the
38th Annual Fine Arts Exhibition
Major Loans to the Exhibition
Hajj: journey to the heart of Islam
26 January to 15 April 2012
Panoramic view of Mecca, by Muhammad ‘Abdullah, the Delhi cartographer

Panoramic view of Mecca, by Muhammad ‘Abdullah, the Delhi cartographer
Ink and opaque watercolour on paper, 62.8 x 88 cm Nasser D. Khalili Collection of Islamic Art © Nour Foundation. Courtesy of the Khalili Family Trust

View of the sanctuary at Jerusalem Mecca, 18th or early 19th century; opaque watercolour, gold, silver and ink on paper, 63.5 x 43 cm. Nasser D. Khalili Collection of Islamic Art © Nour Foundation. Courtesy of the Khalili Family Trust
View of the sanctuary at Medina. Mecca, 17th or 18th century, opaque watercolour, gold, silver and ink on paper, 65 x 46.5 cm
THE EARLIEST known accurate panoramic view of Mecca is one of over forty-five
important objects to be loaned by the Nasser D. Khalili Collection of Islamic Art to
the British Museum for the exhibition Hajj: journey to the heart of Islam which will
be on view in the Round Reading Room from 26 January to 15 April 2012. The
Khalili Collection is the biggest single lender to this landmark exhibition, the first
devoted to the Hajj, the pilgrimage to Mecca which is central to the Muslim faith.
The view of Mecca dates from circa 1845 and is remarkable for its
comprehensiveness and accuracy. Executed in ink and opaque watercolour by
Muhammad ‘Abdullah, the Delhi cartographer commissioned by the Sharif of
Mecca to depict the sacred monuments of his realm, the work brilliantly combines
a plan of the city with a bird’s eye view of about 60 degrees. Other views appear
on Hajj certificates issued to attest that pilgrims had completed the prescribed
rites. Among those in the exhibition will be diagrammatic views of the holy
sanctuaries at Mecca, Medina and Jerusalem executed in opaque watercolours,
gold, silver and ink. A view of the Prophet’s mosque at Medina showing both the
tomb of the Prophet under the green dome, his cenotaph draped with the
characteristic zigzag cover, and the tomb of his daughter Fatimah dates from the
17th or 18th century as does a view of the sanctuary at Mecca. A view of the
sanctuary at Jerusalem from the 18th or early 19th century is quite unusual on a
Hajj certificate and one dating from the same period depicts the Masjid al-Aqsa,
built on the site of the second oldest mosque in Islam, above a depiction of a
domed building probably representing the Dome of the Rock which was built to
commemorate the Prophet’s miraculous night journey from Mecca to Jerusalem
and his ascension to heaven.
It was at Mecca that the Prophet Muhammad received the first revelations in the
early 7th century AD and one of the Five Pillars of Islam requires every Muslim to
make the pilgrimage there at least once in their lifetime. At the heart of the
sanctuary at Mecca lies the Ka‘bah, the holiest site in Islam which is a cube-
shaped building that Muslims believe was built by Abraham and his son Ishmael
and around which the pilgrim must walk seven times in a counter-clockwise
direction. An historic visitor was Alexander the Great, who is depicted at the Ka
‘bah in a page from an Iranian copy of Firdawsi’s epic poem, the Shahnamah or
Book of Kings, painted in Shiraz in the 16th century. Alexander’s journey to the Ka
‘bah was the first of his world journeys when he declared himself master of
Arabia and destroyed those who had distorted its religious tradition.
The custom of covering the Ka‘bah, with a kiswah (literally a garment) goes back
to pre-Islamic times and continues to this day. At least once a year it is draped
with a new kiswah, originally on top of the old one, but since the late 8th century
when the Ka‘bah was in danger of collapsing under the weight, the old kiswah
was removed, cut up into pieces and sold to pilgrims. In Mamluk times, Cairo
provided both the internal and external kiswahs for the Ka‘bah, a curtain for its
door and another for the tomb of the prophet in Medina. Cairo continued to provide
most of these textiles until the early 20th century.
The Khalili Collection is rich in textile art and has, after the Topkapi Sarayi in Istanbul, the largest group of textiles and objects relating
to Mecca and Medina in the world. One of the few private collections to own a significant number of pilgrimage-related textiles, it will
lend sixteen works to the British Museum exhibition. Made of silk, or silk lampas, they are usually richly embroidered in silver and
silver-gilt wire, often with verses from the Qur’an. They include a section from the hizam or belt of the Ka‘bah with the name of Sultan
Selim II (r.1566-1574), two curtains for the internal door of the Ka‘bah, a curtain from the tomb of the Prophet in Medina and a lavishly
decorated curtain for the external door of the Ka‘bah commissioned by the Ottoman Sultan Abdülmejid I in 1846-7. Particularly
elaborate is a sitr (cover) for the mahmal, a litter that was at the head of the annual procession taking the new kiswah from Cairo to
Mecca and which represented the authority of the Ottoman sultans over the holy places. One of very few surviving examples, it was
ordered by Sultan Abdülaziz and presented by Isma‘il Pasha, the khedive of Egypt, and dates from 1867-76. The splendour of this
annual procession is also evoked by a remarkable piece of decorative armour for a parade horse or camel, made in Turkey or Egypt
in the 18th century. The chamfron and cheek-pieces are made of forged iron or steel lined with leather with silver-gilt appliqués set
with cornelian, agate, gold-inlaid jade and glass paste.
The Khalili Collection has recently acquired an important archive of documents and photographs relating to the Dar al-Kiswah, the
Cairo-based workshop responsible for the production of the kiswah. Several items from this archive will be on view, and these
include photographs of twenty-seven of the artisans who worked there in the 1920s and 1930s.
Among the splendid manuscripts from the Nasser D. Khalili Collection of Islamic Art is an early work, an illustrated manuscript in
Persian verse of the Futuh al-Haramayn, a handbook for pilgrims to Mecca and Medina, composed by Muhyi Lari and copied by
Ghulam ‘Ali in Jumada II 990 equivalent to June-July 1582. The Dala‘il al-Khayrat, or Guide to Good Deeds, written by the Moroccan
Sufi al-Jazuli (d.1465 or later) is a prayer book that was popular in Ottoman Turkey and often carried by pilgrims on their journey. A
17th or 18th century copy, illustrated with a view of the Prophet’s mosque in Medina, is also on view in this exhibition.
The Khalili Collection has one of the greatest collections of calligraphy in private hands. A fine example in the exhibition is a
presentation drawing in ink and gold of an inscription recording a restoration of the Mizab al-Rahmah (the rain spout of the Ka‘bah) in
the name of the Ottoman sultan Abdülmejid I, circa 1856-7. The Collection also has a significant number of single-volume copies of
the Qur’an, sumptuously illuminated and bound, such as the superb work copied by al-sayyid Muhammad Shakir in Ottoman Turkey,
possibly Istanbul, and dated AH 1224 (1809-10 AD).
The Nasser D. Khalili Collection of Islamic Art comprises some 20,000 works and is the largest and most comprehensive in the
world, encompassing the entire history of Islamic art from its beginnings in the 7th century to the present day. Professor Nasser D.
Khalili, an eminent scholar, is passionate about art and collecting and one of his reasons for assembling the Khalili Collection, under
the auspices of the Khalili Family Trust, is to promote a greater understanding between people of different cultures and faiths and to
increase awareness of the rich contributions of Islamic cultures to world art.