The Dhannipur project includes a mosque, hospital, museum, library, community kitchen, Indo-Islamic Cultural Research Centre and Publication House.
A plantation drive was also organised to mark the launch of the Dhannipur project (Sourced)
The Uttar Pradesh Sunni Central Waqf Board (UPSCWB) formally launched the Dhannipur project on the allocated five-acre land at Dhannipur village of Ayodhya by hoisting the national flag and planting saplings to mark Republic Day celebrations on Tuesday.
The Dhannipur project includes a mosque, hospital, museum, library, community kitchen, Indo-Islamic Cultural Research Centre and Publication House. The land was allotted to UPSCWB in compliance with the Supreme Court directives in the Ayodhya title dispute case in which the apex court, on November 9, 2019, paved the way for construction of Ram temple at the disputed site.
“I believe there is no better way than to start the project by planting saplings on the five-acre land. The plantation was carried out in the area of the project meant to be developed as a green area. The area will have plants and trees from all different geographical regions of India and from different parts of the world in order to create awareness about the imminent threat of climate change,” said Athar Hussain, spokesperson for Indo-Islamic Cultural Foundation (IICF) which has been set up by UPSCWB to look after the construction of the Dhannipur project.
Senior members of the board along with the members of the IICF hoisted the flag at 8.30 am on the 5 acre land in Dhannipuur village. The flag hoisting was followed by plantation drive where members and trustees of IICF planted saplings.
On December 19, the trust had released the blueprint of the mosque and other structures designed by Professor SM Akhtar, a Lucknow-based architect and town planner, whom the trust has hired to design the mosque that would come up in Dhannipur in place of the Babri Masjid that was demolished in 1992.
Akhtar is the founder dean of the Faculty of Architecture at Jamia Milia University, Delhi.
source: http://www.hindustantimes.com / Hindustan Times / Home> India News / by HT Correspondent / January 26th, 2021
Bengaluru-based calligrapher Muqtar Ahmed is on a mission to revive the art of Arabic calligraphy in India. At the Indo-Islamic Art and Culture (IIIAC) in Bengaluru, he has trained 500 youngsters so far.
Muqtar Ahmed believes that there is no script as beautiful as Arabic in the world. (Facebook)
Arabic calligraphy is worship for Muqtar Ahmed, an Indian calligrapher who has made a mark for himself at a global level. Hailing from a remote village in Telangana, and currently based in Bengaluru, Muqtar is on a mission to revive this dying art in India.
As beautiful as pearls, his works attract attention even if one is not familiar with Arabic. According to him, the aesthetics and refinement are the specialities of Islamic art. “Writing the Quranic verses and Hadith (sayings of the Prophet Mohammad) is worship. These works are sawab-e-jaria (continuous reward),” says the calligrapher, who believes that there is no script as beautiful in the world.
Muqtar believes his efforts have started yielding results as his disciples are carving a niche for themselves at a global level. The only Indian to obtain an “Ijazah” (Master’s diploma) from the Istanbul-based Research Centre for Islamic History, Art and Culture (IRCICA) of the Organisation of the Islamic Cooperation (OIC), Muqtar is grooming young talent at the Institute of Indo-Islamic Art and Culture (IIIAC) in Bengaluru.
Institute of Indo-Islamic Art & Culture about 11 months ago
He has so far trained 500 youngsters, including students and professionals coming from varied backgrounds at the institute. A Japanese girl is among the three foreigners who learnt Arabic calligraphy under him. Muqtar, whose calligraphic works adorn mosques and even private jets abroad, is happy that the institute is getting global recognition for the high standards set by it in Arabic calligraphy.
Three of his students bagged top prizes at a national-level calligraphy competition organised in New Delhi last year by Yayasan Restu, a Malaysian organisation. Ameerul Islam and Abdul Sattar of Hyderabad won the top honours and were selected for an 18-month training programme in Malaysia.
About 400 people from calligraphy institutes across the country participated in the competition. “For the first time, people in India saw what real Arabic calligraphy is,” said Muqtar, who has participated in many exhibitions in different parts of the world.
Institute of Indo-Islamic Art & Culture about a year ago
According to him, the art in India has been in continuous decline after the end of Mughal rule. He pointed out that the calligraphy work in India was never recognised globally, as it was nowhere near the international standard.
Ameerul Islam and Abdul Sattar are now teaching calligraphy at the institute’s Hyderabad branch, which was opened recently. The talented youth, who have participated in competitions in various countries, are training more than 20 students.
Muqtar, who plans to open another branch of the institute in Lucknow, believes that with more youngsters evincing interest in Arabic calligraphy, the art has bright future in the country. The “ijazah” obtained by Muqtar in 2013 may have fetched him a good job in the Arab world, where Islamic art is greatly valued. But he stayed back to revive the art in India, where it once enjoyed royal patronage.
One of his works was purchased by the then governor of Madina in 2011 when he participated in the international exhibition in the holy city in Saudi Arabia.
Interested in calligraphy from his school days, Muqtar migrated from his village in Medak district to Hyderabad to learn the art. He them moved to Bengaluru where he started working for a Urdu daily. Rendered jobless after the newspaper replaced calligraphy with computers in the early 1990s, Muqtar started writing wedding cards to make a living. “It was not my goal. I wanted to go deep into the art,” recalled the artist, who improved his art under renowned international calligraphers Mamoun Luthfi Sakkal and Mohammed Zakariya of the US, and refined it further under the guidance of Turkey’s Hassan Chalabi and Dawood Biktash.
Muqtar, who uses special, handmade pens for his writings, said he achieved precision with perseverance. “Even a small piece of calligraphy takes several hours. You have to write a letter hundreds of times to achieve accuracy,” he said.
source: http://www.hindustantimes.com / Hindustan Times / Home> Lifestyle> Art and Culture / by Indo Asian News Service / April 08th, 2018
