Products

Harf Al Kaf: A Poetic Meditation on Love and Injustice | Artwork Print

£6,200.00

"Harf Al Kaf: A Poetic Meditation on Love and Injustice"

This beautiful artwork features a poem by Layla al-Akhyaliyya, narrated by the first Abbasid Caliph, Abu Jaafar Al Mansour, which comments on the injustice of society and laments its unconcern on the plight of the poor.

The original artwork, created by artist Ali Omar Ermes in 1991, is currently in the collection of the British Museum in London, UK.

This fine artwork print, produced using the silkscreen printing method, captures the essence of the poem and is signed and numbered by the artist in pencil.

This limited edition print is part of a run of 250 and measures 90cm x 116cm. The print was produced in 2005, allowing fans of Arabic literature and art to bring a piece of this powerful message into their own home.

The poem is also infused with themes of love, as exemplified by the famous line by Layla al-Akhyaliyya, "Love is the key that opens the door to the secrets of the universe."

Layla al-Akhyaliyya was an Arabic poet who lived in the 7th century. She is known for her poetry, which was written in the form of qasidas (long, rhyming poems). Some famous lines from her poetry include:

"O my love, the one I love, the one I love beyond all reason"
"When I see you, I forget the world and all its troubles"
"Your love has captured me and left me in a state of longing"
"I am consumed by the fire of love that burns within me"
"My heart is torn between love and longing, and I cannot find peace"

Layla's poetry is known for its intense emotion and expression of love and longing. It has had a lasting influence on Arabic literature and has been widely admired and studied by scholars and readers around the world.

* Frame not included.

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The Blue Haa: A Romance of Courage and Chivalry by Antar ibn Shaddād | Artwork Print

£6,200.00

"The Blue Haa: A Romance of Courage and Chivalry by Antar ibn Shaddād"

This artwork features the famous love story of Antar ibn Shaddād and Ablah, as told through the poetic musings of the great Arab warrior-poet.

The original artwork, created by artist Ali Omar Ermes in 1979, is currently in the possession of a Middle Eastern Royal Family.

This fine artwork print, produced using the silkscreen printing method, captures the essence of Antar's journey and his famous line, "I am the son of the brave and the descendant of the noble."

This limited edition print, signed and numbered by the artist in pencil, is part of a run of 250 and measures 112cm x 90cm. The print was produced in 2005, allowing fans of Arabic literature and art to bring a piece of this timeless love story into their own home.

Antar ibn Shaddād was a pre-Islamic Arab poet and warrior who lived in the 6th century. He is known for his poetry, which celebrated his bravery and martial prowess, as well as his love for his wife, Abla. Some famous lines from his poetry include:

"I am the son of Shaddad, the lion of the battlefield"
"I am the hero of the tribe, the one who strikes fear into the hearts of my enemies"
"I am the conqueror of lands, the vanquisher of foes"
"I am the defender of my people, the protector of the weak"
"I am the lover of Abla, the one whose passion knows no bounds"

Antar's poetry has had a lasting impact on Arabic literature and has been widely admired and studied by scholars and readers around the world.

* Frame not included.

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ليس من رأى كمن سمع - The One Who Saw is not the One Who Heard

£20.00

Journey Through the Islamic World: A Artist's Spiritual and Cultural Odyssey

Experience the Islamic world through the eyes of renowned artist Ali Omar Ermes in this posthumously published travelogue. Blending keen observations, historical insights, and spiritual reflections, Ermes takes readers on an unforgettable journey across Southeast Asia, South Asia, the Middle East, and beyond.

It consists of articles written more than fifty years ago and published in the Libyan magazine "Cultural Week" between 1975 and 1976, in which he recorded his observations in the Islamic world, where he was sent on a mission to Islamic countries to study Visual Arts in preparation for the “The World of Islam Festival”, where he worked as an adviser to its director Paul Keller. His work led him to a journey that he started in Southeast Asia in Indonesia and Malaysia, where he tried to present an image of the arts of embroidery and the types of silk used in the manufacture of clothing, especially the arts of "Batik", and traveled thousands of miles in Indonesia from Jakarta to Java and from Kuala Lumpur in Malaysia to Kota Baru, the capital of the state of Johor Baru in southern Malaysia in search of the arts of making clothes and the shapes drawn on them.

From Southeast Asia, he traveled to South Asia, where he presented a picture of handicrafts, porcelain inlays, copper, and the silk industry in India, which is considered the preserve of Muslims. During his visit, he visited the great mosques and monuments that still bear witness to the greatness of Muslims there, from the Taj Mahal in Agra, the Red Fort, and the Jama Masjid in Dehli or New Delhi. In Benares, the writer found that it was the Muslims who made the Silk worn by the mosaics due to the craftsmanship of its embroidery, and pointed out that it was the Muslims who were known for the colours of food and his art. In Hyderabad, the Deccan was found to be the city famous for making jewellery and utensils in a way that no place on Earth matches.

His trip included Kashmir and its capital Srinagar, and he recorded what he saw from the graves of Sultans and princes and what Muslim calligraphers had achieved in this area. In Karachi, he noticed the residents ' obsession with embroidery on everything from boaters to mirror lenses. He visited the silk-making factories known as Al-agraq, visited the Badshahi Mosque in Lahore, and the Shalimar Gardens.

His travels led him to Taiz, Sana'a and its beautiful houses, IBB, Jund, and Wadi Imran. In Baghdad, he visited al-Mustansiriya, Al-sharabiya, and libraries, and in Samarra, which he visited in a hurry, he visited the al-Mutawakkil mosque and the Malawian minaret. In Baghdad, he met the well-known calligrapher Walid al-Azmi. In Damascus, where he said, "when Khalid ibn al-Walid rushed to Damascus, he took with him all the following reasons of history, which from Damascus began to make its way with the violence of its fate," and in Damascus, he visited the Umayyad Mosque, its wide nave, its majestic minarets, its roofs decorated with gold and a hybrid dome like a tud, history entered Damascus. His trip included Istanbul, the mother of cities and the junction of the seas and continents, visiting its sights and meeting the well-known Turkish calligrapher Hamid al-AMDI, who was in his eighties at that time. And in Cairo, he visited the city of a thousand minarets. In Zanzibar, he described the island of carnation and visited the well-known East African boating wineries.

The late added to these original articles a set of comments through which he presented his vision of the world fifty years later, put his intellectual juice in it, and described what the situation of Muslims has become far and wide on the Earth. He denounced injustice and tyranny and combined all this with his extensive knowledge of Arabic literature and the Islamic poetic heritage in such a way that he turned his book into intellectual tourism as it is tourism in the land, people, and greatness of Muslims that it was.

Immerse yourself in this intellectual and spiritual expedition through the Islamic world.

Order your copy of 'The One Who Saw is Not the One Who Heard' today and embark on a transformative literary journey.

رحلة عبر العالم الإسلامي: ملحمة روحية وثقافية لفنان

اختبر العالم الإسلامي من خلال عيون الفنان الشهير علي عمر إرميص في هذا السجل السياحي المنشور بعد وفاته. يمزج إرميص بين الملاحظات الدقيقة والرؤى التاريخية والتأملات الروحية، ليأخذ القراء في رحلة لا تُنسى عبر جنوب شرق آسيا وجنوب آسيا والشرق الأوسط وما وراءها.

يتكون الكتاب من مقالات كُتبت قبل أكثر من خمسين عامًا ونُشرت في المجلة الليبية "الأسبوع الثقافي" بين عامي 1975 و1976، حيث سجل فيها ملاحظاته في العالم الإسلامي، حيث أُرسل في مهمة إلى الدول الإسلامية لدراسة الفنون البصرية استعدادًا لـ "مهرجان عالم الإسلام"، حيث عمل كمستشار لمديره بول كيلر. قادته أعماله إلى رحلة بدأها في جنوب شرق آسيا في إندونيسيا وماليزيا، حيث حاول تقديم صورة عن فنون التطريز وأنواع الحرير المستخدمة في صناعة الملابس، وخاصة فنون "الباتيك"، وسافر آلاف الأميال في إندونيسيا من جاكرتا إلى جاوة ومن كوالالمبور في ماليزيا إلى كوتا بارو، عاصمة ولاية جوهور بارو في جنوب ماليزيا بحثًا عن فنون صناعة الملابس والأشكال المرسومة عليها.

من جنوب شرق آسيا، سافر إلى جنوب آسيا، حيث قدم صورة عن الحرف اليدوية وتطعيم الخزف والنحاس وصناعة الحرير في الهند، والتي تعتبر حكرًا على المسلمين. خلال زيارته، زار المساجد والآثار العظيمة التي لا تزال شاهدة على عظمة المسلمين هناك، من تاج محل في أغرا، والقلعة الحمراء، والمسجد الجامع في دلهي أو نيودلهي. في بنارس، وجد الكاتب أن المسلمين هم من صنعوا الحرير الذي يرتديه الأثرياء بسبب براعة تطريزه، وأشار إلى أن المسلمين هم المعروفون بألوان الطعام وفنه. في حيدر أباد، وجد أن الدكن هي المدينة الشهيرة بصناعة المجوهرات والأواني بطريقة لا يضاهيها مكان على وجه الأرض.

شملت رحلته كشمير وعاصمتها سريناغار، وسجل ما رآه من قبور السلاطين والأمراء وما حققه الخطاطون المسلمون في هذا المجال. في كراتشي، لاحظ هوس السكان بالتطريز على كل شيء من القبعات إلى عدسات المرايا. زار مصانع صناعة الحرير المعروفة باسم الأجرق، وزار مسجد بادشاهي في لاهور، وحدائق شاليمار.

قادته أسفاره إلى تعز وصنعاء وبيوتها الجميلة وإب والجند ووادي عمران. في بغداد، زار المستنصرية والشرابية والمكتبات، وفي سامراء التي زارها على عجل، زار مسجد المتوكل والمئذنة الملوية. في بغداد، التقى بالخطاط المعروف وليد الأعظمي. في دمشق، حيث قال: "عندما أسرع خالد بن الوليد إلى دمشق، أخذ معه كل أسباب التاريخ التالية، التي من دمشق بدأت تشق طريقها بعنف مصيرها"، وفي دمشق، زار المسجد الأموي، وصحنه الواسع، ومآذنه المهيبة، وأسقفه المزخرفة بالذهب وقبة هجينة كالطود، دخل التاريخ إلى دمشق. شملت رحلته إسطنبول، أم المدن وملتقى البحار والقارات، حيث زار معالمها والتقى بالخطاط التركي المعروف حامد الآمدي، الذي كان في الثمانينات من عمره في ذلك الوقت. وفي القاهرة، زار مدينة الألف مئذنة. في زنجبار، وصف جزيرة القرنفل وزار مصانع القوارب الشرق أفريقية المعروفة.

أضاف الراحل إلى هذه المقالات الأصلية مجموعة من التعليقات قدم من خلالها رؤيته للعالم بعد خمسين عامًا، ووضع عصارة فكره فيها، ووصف ما آل إليه حال المسلمين في مشارق الأرض ومغاربها. شجب الظلم والطغيان وجمع كل هذا مع معرفته الواسعة بالأدب العربي والتراث الشعري الإسلامي بطريقة حول بها كتابه إلى سياحة فكرية كما هي سياحة في الأرض والناس وعظمة المسلمين التي كانت.

انغمس في هذه الرحلة الفكرية والروحية عبر العالم الإسلامي.

اطلب نسختك من كتاب "ليس من رأى كمن سمع" اليوم وانطلق في رحلة أدبية تحويلية.