Art & Culture
PAKISTAN PRESENTS LANDMARK ISLAMIC ARTWORK TO OXFORD CENTRE FOR ISLAMIC STUDIES
PAKISTAN HIGH COMMISSION
LONDON
Press Release
The Government of Pakistan presented a major contemporary Islamic artwork to the Oxford Centre for Islamic Studies, marking the first-ever representation of Pakistan in the Centre’s permanent collection.
The gift was presented by High Commissioner, Dr. Mohammad Faisal, along with his spouse Dr. Sarah Naeem, in a graceful event that was attended by Lord Wajid Khan, academics and scholars, faculty of OCIS, officers of Pakistan High Commission and friends of Pakistan.
The gifted sculpture, created by renowned Pakistani artist Mr. Amin Gulgee, is from his acclaimed Zero Gravity II series. The work features the fifth verse of Surah Al-Alaq – one of the earliest verses revealed to the Prophet Muhammad (Peace Be Upon Him) – عَلَّمَ ٱلۡإِنسَٰنَ مَا لَمۡ يَعۡلَمۡ “[He] taught humankind what they knew not” (Quran 96:5) – rendered in elegant Naskh calligraphy and dramatically deconstructed into seven floating, interconnected components that appear to defy gravity.
Speaking at the presentation ceremony, Dr. Mohammad Faisal, High Commissioner of Pakistan to the United Kingdom said that it was a great honour and personal pleasure to represent the Government and people of Pakistan on the occasion. “To have Pakistan’s artistic voice now resonate within these walls is a matter of immense national pride. This gift is not a one-time event, but the beginning of a lasting relationship between Pakistan and the Oxford Centre for Islamic Studies”, the High Commissioner stated. Dr. Faisal expressed the hope this artwork will serve as a bridge – opening doors to deeper collaboration in research, scholarship, academic exchange, and cultural dialogue for many years to come.
The High Commissioner extended warm gratitude to Director OCIS Dr. Farhan Ahmad Nizami and the management of the Centre for accepting the gift and to Mr. Amin Gulgee for creating a work that “so beautifully embodies the Pakistani spirit of creativity rooted in faith.” He concluded by expressing hope that the sculpture would inspire visitors to remember that the pursuit of knowledge is a sacred journey, one that began with the divine command “Iqra” – Read – and continues through institutions such as the Oxford Centre and through the growing partnership between Pakistan and the Centre.
Dr. Farhan Nizami, Director OCIS thanked the people and Government of Pakistan for the gift and expressed the hope that collaboration between Pakistan and the Centre will further strengthen.
The Oxford Centre for Islamic Studies is recognized worldwide as a leading institution for the multi-disciplinary study of Islamic culture, civilization, and contemporary Muslim societies.
Oxford
20th November, 2025
Art & Culture
From Bank Lines to Bus Seats: Bold Lessons in Courtesy, Courage, and Everyday Survival
In the line of bill payers at the bank,
As the fairer sex,
If sick, don’t just be blank
“Ladies first”, “excuse me11, “before you please.”
For deals with unpaid bills,
Ask for goods back, threat if you will,
Repeat the request for a job.
You may make it from the mob,
Instead of standing, share the seat on the bus
Isn’t it much better than making a fuss,
Whatever you do during tug-of-war, do not push the rope
Or you’ll be the laughing stock amidst cries of, “What a dope.”
Art & Culture
Bareendo of Pakistan Inscribed on UNESCO’s Intangible Cultural Heritage (ICH) List
Paris(Imran Y. CHOUDHRY):- Bareendo (Bhorindo), one of the oldest surviving folk instruments of Sindh, has been officially inscribed on UNESCO’s list of Intangible Cultural Heritage (ICH) in need of urgent safeguarding. The decision was adopted at the 20th Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage.
The Bareendo is a clay wind instrument whose origins trace back to the 5,000-year-old Indus Valley Civilization. It is a symbol of Sindh’s spiritual and communal traditions. For centuries, its soft and meditative tones have accompanied winter gatherings, Sufi practices, and rural celebrations. Today, however, the tradition is endangered, with only one master musician, Ustaad Faqeer Zulfiqar, and one master potter, Allah Jurio, preserving its complete knowledge.
The nomination of Bareendo as an ICH in urgent need of safeguarding is the result of an intensive consultative process between the Government of Sindh, Pakistan Mission’s to UNESCO in France and the UNESCO Headquarters. It was inspired by a community-led and participatory process in the village of Keti Mir Muhammad Loond village in Sindh province to protecting Bareendo as a cultural heritage. Their efforts shaped the comprehensive Four-Year Safeguarding Plan (2026–2029), which includes the establishment of a community music school, integration of Bareendo heritage into formal and informal education, and the use of digital platforms to expand cultural outreach. UNESCO’s inscription will support the conservation process.
Permanent Delegate of Pakistan to UNESCO Ambassador Mumtaz Zahra Baloch welcomed the decision of UNESCO’s Intergovernmental Committee to inscribe Bareendo as an Intangible Cultural Heritage in urgent need of safeguarding. “The inscription of Bareendo is a proud moment for Pakistan and a tribute to the communities who have preserved this ancient instrument and music for generations. Bareendo is not only an emblem of the Indus Valley’s cultural continuity but also a living expression of Sindh’s artistic and spiritual heritage.”
“This recognition by UNESCO reaffirms Pakistan’s commitment to the protection and promotion of our diverse cultural traditions. We look forward to working closely with UNESCO to ensure that the knowledge, craftsmanship, and musical identity of the Bareendo is transmitted to future generations”, she said.
Art & Culture
“The Backyard Ballet: Cat and Crow in Comic Courtship — A Poem by Zeenat Iqbal Hakimjee”
My backyard is livened up
By the cat and the crow.
From a distance they for each other
A liking show.
Caw Caw, Meow Meow they hark & howl.
A din enough, to disturb the neighbouring fowl
Both of them perched on the dustbin.
Turn by turn.
Waiting for a morsel, from the kitchen to return.
Up goes the left over meat, in the air,
What ensues would ashame ‘The battle for the chair
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