Oxford University Press, 2017
This volume provides a new annotated edition of the two layers of the ‘Sanaa palimpsest’, one of the oldest Qur’an manuscripts yet discovered, together with a critical introduction that offers new hypotheses concerning the transmission of the Qur’an during the first centuries of Islam. The palimpsest contains two superimposed Qur’anic texts within two layers of writing, on thirty-eight leaves of parchment collectively numbered MS 01-27.1 in the Dar al-Makhtutat (lit. ‘the House of Manuscripts’) in Sanaa, Yemen. The palimpsest’s lower text, which has been dated to the first century of Islam (seventh century CE), was subsequently erased and the parchment was later reused for writing another Qur’anic text, which remains visible in natural light. This upper text is thought to date from the second century of Islam (eighth century CE). The two layers were imaged in 2007 by a French–Italian mission.
Continue reading The Sanaa Palimpset
A picturesque ceremony took place recently at Lahej, the capital of the Aden hinterland, on the occasion of the restoration to his throne, under British auspices, of the Sultan, Sir Abdul Karim ibn Fadthli ibn Ali, K.C.I.E. He succeeded to the throne on January 1, 1918, and was recognized as Sultan by the British Government, but it was only lately that he was installed after the evacuation of Lahej by the Turks. There were some 7000 Turkish troops in the Aden hinterland and southern Yemen, and for some time after the armistice granted to Turkey, it is said they refused to evacuate those territories, believing the news to be a hoax. Special envoys had to be sent from Constantinople to convince them, and they have since surrendered and have been shipped out of the country.
from The Illustrated London News, March 1, 1919– 293.
Trevor Marchand has put together an exhibition entitled “Buildings That Fill My Eye” Architectural Heritage of Yemen for the Brunei Gallery at SOAS in London.
The exhibition and its planned public talks and educational events will explore the astonishing variety of building styles and traditions that have evolved over millennia in a region of diverse terrains, extreme climates and distinctive local histories. Generations of highly skilled masons, carpenters and craftspeople have deftly employed the materials-to-hand and indigenous technologies to create urban architectural assemblages, gardens and rural landscapes that dialogue harmoniously with the natural contours and conditions of southern Arabia. In turn, the place-making practices of Yemen’s builders have played a significant role in fostering tight-knit communities with a strong sense of pride and distinct cultural identities.
Continue reading Yemen Architecture Exhibition
The German explorer Hermann Burchardt visited Yemen in 1901 and took photographs, including those of Yemenite Jews. Several of these photographs are available in an article in Haaretz.
Yemenite Jewish children in 1901
Yemenis in Sanaa, 1901
On April 3, National Geographic online published an article on the historic Yemeni city of Shibam.
In the heart of Yemen’s Wadi Hadramaut, a cluster of ancient mud skyscrapers soars above the desert floor—a beacon of mankind’s adaptability to the most formidable of environments.
At the edge of a desolate expanse of desert known as the Empty Quarter, the 16th-century Walled City of Shibam remains the oldest metropolis in the world to use vertical construction. Once a significant caravan stop on the spice and incense route across the southern Arabian plateau, British explorer Freya Stark dubbed the mud city “the Manhattan of the desert” in the 1930s.
Every aspect of Shibam’s design is strategic. Perched upon on a rocky spur and surrounded by a giant flood wadi, its elevated position shields it from flooding while maintaining proximity to its primary source of water and agriculture. The city was built on a rectangular grid behind a fortified wall—a defensive arrangement that protected its inhabitants from rival tribes and offered a high vantage point from which enemies would be seen approaching.
For the full story click here.
《 هو كيان إختصاصي بفنون الاداء الموسيقي بألة العود بالارتكاز ع موروث الموسيقى العدنية و روائعها النغميه
Here is a short but nicely filmed video on handicraft making in Yemen.
كان الشّتاء هو صوت المطر ليلاً حين ينهمر من المزراب الذي في السّطح ويصب في الحمام الملصق بجسد الدار كالبثرة. يبدو شرح هذا صعباً، لكن هذا المزراب كان طبيعياً يوصل بين السطح والأرض الفلاء، وبعدها أحتاج جدي لأن يضيف بطريقة ما حماماً صغيراً للطوارئ، فألصق الحمام في منطقة المزراب. لذا كنا نعرف المطر: ينهمر من المزراب المرتفع عن الأرض حوالي متراً واحداً، يصب على أرضية الحمام ذات البلاط الأبيض! ولأن مطر صيفاً غالباً ما يكون هادراً سريعاً وراعداً، فلم نكن نميز صوت مياهه في المزراب، لكن شتاءنا كان ضبابياً كثيفاً، وكانت أمطاره وادعة، ديمة كما في الأغاني، تظل طوال الليل تنقر على الأرض.