Splendours of the Atlas by ACC Art Books

Foreword

HE Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani Chairperson, Qatar Museums Board of Trustees

With deep appreciation for the collaboration of our partners in Morocco, Qatar Museums is proud to present Splendours of the Atlas: A Voyage Through Morocco’s Heritage at the Museum of Islamic Art, and to offer the world a lasting record of this magnificent exhibition in the pages of this catalogue. Together, the insightful essays and accompanying illustrations will reveal the justly renowned brilliance and vibrancy that defines Moroccan culture across 14 centuries.

Splendours of the Atlas invites us to reflect on the richly layered artistic traditions that helped shape the history and people of Morocco and to consider the essential role these traditions continue to play within the nation and in other cultures around the world. The formal beauty and exquisite craftsmanship of the more than 200 objects presented in the exhibition offer bountiful insights into Morocco while also inspiring curiosity and further exploration. In sharing the marvels of our respective countries, Morocco and Qatar are able to learn from one another about our distinctive yet connected legacies, proving that mutual understanding and respect can lead

to the kind of dedicated engagement exemplified by the Splendours of the Atlas exhibition and catalogue.

This belief is the driving force behind the Qatar Museums Years of Culture programme, which since 2012 has served as a bridge between Qatar and more than a dozen other countries through jointly organised exhibitions, cultural exchanges and educational initiatives. Splendours of the Atlas is a centrepiece of the Qatar-Morocco 2024 Year of Culture, the first in which we were privileged to work one-on-one with an Arab nation. This catalogue will stand as a permanent and tangible expression of that year of collaboration—a relationship that we hope stretches far into the future.

Though geographically separated by some 3500 miles, Qatar and Morocco are united in many ways. We share a reverence for the wisdom of our Islamic forebears; we embrace tradition as our guide when facing new challenges; and we recognise the power of culture to span the starkest divides. I offer my sincere gratitude to our friends in Morocco for working with us to realise this unprecedented project.

Foreword

Abdelaziz El Idrissi Head of Museum Department, National Foundation of Museums, Morocco

The exhibition Splendours of the Atlas: A Voyage through Morocco’s Heritage is the result of a significant collaboration between the Kingdom of Morocco and Qatar. It offers Qatari visitors the opportunity to travel to Morocco by discovering and contemplating treasures from various Moroccan museums such as the Museum of Oudayas, the Museum of History and Civilizations in Rabat, the Museum of Mediterranean Cultures in Tangier, the Dar Batha Museum in Fez and the National Museum of Ceramics in Safi.

With a meticulously orchestrated selection of 191 artifacts, of which 60 belong to the collections of the National Foundation of Museums (FNM), this exhibition celebrates Morocco’s cultural wealth and deep-rooted history. It transcends conventional chronological approaches to offer a captivating thematic immersion in the history, arts, crafts, colours, sounds and flavours of multidimensional Morocco.

This exhibition is imbued with historical depth and reflects the civilisational and cultural influence of Morocco in many eras. Each object reveals a human history beyond its materiality, showing how influences from different civilisations and ethnic groups have been woven into various facets of Moroccan society.

The history of Islamic Morocco spans 14 centuries, with the succession of several dynasties: the Idrisids, Almoravids, Almohads, Marinids, Wattasids, Saadians and ‘Alawites. The historical and artistic peak of this period is said to be from the 11th to the 15th centuries when a political and civilisational entity centred on Morocco emerged, encompassing territories from sub-Saharan Africa to Andalusia. During these centuries, Morocco proved to be an empire-builder and a considerable power in the events of the time, as well as a significant contributor in terms of scientific, diplomatic and commercial networks.

The political unity established by the Moroccan dynasties also gave rise to distinctive cultural and artistic creations. Fez, founded in the 10th century by the Idrisids, and Marrakech, established in the 11th century by the Almoravids, both emerged as pivotal imperial cities, shaping the influence of medieval empires in Morocco. Iconic landmarks such as the Qarawiyyin University in Fez and the Kutubiyya Mosque in Marrakech have endured through the ages as remarkable examples of architecture and craftsmanship. Fez has distinguished itself as a hub of learning and scholarship, while Marrakech has thrived as a vibrant centre of political authority. These cities have served as prominent cultural, strategic, educational, political and intellectual hubs, leaving an enduring legacy on the historical landscape of the region.

Morocco has one of the richest and most vibrant medieval heritages, distinguished by the perpetuation of traditions through transmission and innovation. Positioned at the crossroads of Africa, the Mediterranean and Europe, Morocco has forged an exceptionally diverse culture. The traces left by successive civilisations, both tangible and intangible, attest to the technical and ideal development of the Moroccan population, highlighting the ingenuity of a society influenced by various cultural streams. Moreover, their achievements in architectural decoration, textiles, ceramics and calligraphy provide a key to understanding modern-day Morocco and are a perpetual source of inspiration for contemporary artistic expression.

In addition to the scholarly value of the museum collections, this exhibition conveys profound human values in terms of friendship and intercultural dialogue. The collaboration between Morocco and Qatar opens a door to a promising future, where art, culture and history become the artisans of mutual understanding.

THE SOUL OF MOROCCO: KINGS, SAINTS AND SCHOLARS

The intertwining of Islam and power in Morocco is a complex and deeply rooted phenomenon that has shaped the country’s religious practices, spiritual identity and historical narrative. For centuries its leaders have been descendants of the Prophet Muhammad (PBUH) through his daughter Fatima al-Zahra’, and as such are considered shurafa’ (‘noble’, pl. of sharif). This Sharifian lineage, often referred to as ‘Sharifianism’, traces its origins to the Idrisid dynasty (788–974), the first of Morocco’s Islamic dynasties, founded in the 8th century. Mausoleums of sovereigns such as Mulay Idris II in Fez (fig. 1) or the Saadians in Marrakech testify to this profound historical connection that has shaped Morocco’s religious and political identity until the present day.

Fig. 1a–b Mausoleum of Mulay Idris II (d. 828), Fez

pp. 28–29

Decorative elements on exterior of the Bin Yusuf madrasa, Marrakech

Moroccan craftsmanship is deeply rooted in the country’s rich history and diverse cultural influences, including Amazighi, Arab and Andalusian traditions that have all contributed to Morocco’s unique artistic identity. Even today, this sphere has a remarkable economic impact and provides income for craftsmen throughout the country. It is also a major tourist draw and has gained global recognition, which helps to preserve the artisanal skills of many practitioners, upholding historical techniques and revered traditions. This exhibition highlights several key Moroccan handicrafts: ceramics, woodwork, leather goods, carpets, textiles and jewellery, all of which are still celebrated for their refined workmanship and historical significance. These crafts engage a significant number of artisans, especially in cities like Fez and Marrakech. Most of these industries are male-dominated, with the exception of carpet and textile weaving, which is predominantly done by women. Guilds continue to play a pivotal organisational role, with members often settling in specific neighbourhoods within each city.

Morocco’s ceramics are celebrated for their vibrant colours and intricate geometric patterns. Fez, historically renowned for the production of ceramics since medieval times, is a stand-out in the industry, particularly in the production of zellij mosaic tilework (fig. 1). Safi, situated south of Casablanca and El Jadida, also emerged as a significant centre for ceramic production in the early 20th century, specialising in a highly sought-after style.

Traditional woodwork features in some of the highest expressions of Moroccan historical architecture and furnishings, including mashrabiyya screens, muqarnas vaulting elements, sculpted beams, colourful ceilings and large bridal chairs or chests which adorn homes and public spaces (fig. 2).1

Fig. 1

Driss Antaqi, a zellij master artisan in Fez

Fig. 2a–b

A wood craftsman at work in Fez

pp. 80–81 Street scene in Fez

Cat. 40

Storage pot (khabiyya) with metal mount

Morocco, Fez

‘Alawite period, late 19th – early 20th century

Tin-glazed earthenware with silver mount

H. 90 cm

Lusail Museum, Qatar, OM.66

One notable addition to Fez’s ceramic repertoire is the large khabiyya jars, which emerged in the 18th century and soon gained popularity in Europe. These jars, some of which feature silver frames like the example here, are characterised by their spherical lids (gallush), resembling large Chinese pots in shape. Named for their Arabic etymological association with hiding, these blue-and-white jars feature elaborate decorations and were traditionally used for storing precious foods such as candied meat, honey and cheese, thus preserving their contents in style.

Cat. 59

Bridal costume (qaftan, banshrif type) with belt and balgha shoes

Morocco, Fez

‘Alawite period, 19th century

Silk embroidered with golden threads

Kaftan: 145 × 75 cm

Belt: L. 235 cm

Oudayas Museum, Rabat, 157.1.3, D1838 and 47.1335

Cat. 83–84

Necklace and pair of earrings (tikhorsin ugelnin) of the Ida Ou Gnadif tribe Morocco, Anti-Atlas

‘Alawite period, late 19th – early 20th century Nielloed silver with glass cabochons

49 × 44 cm and 15.8 × 9.6 cm Qatar Museums, General Collection, PJM.ET.4026 and PJM.ET.3952 AB

Cat. 85–86

Necklaces with round ornaments (tagmut)

Morocco, Anti-Atlas, Tiznit or Tahala

‘Alawite period, late 19th – early 20th century

Enamelled and filigreed silver with coral, amber, glass beads and silver coins

38 × 22 cm and 39 × 26 cm

Qatar Museums, General Collection, PJM.ET.1329 and PJM.ET.1314

116–121

Photographs from the Dreamland series

Mounir Raji

Morocco 2022

Dibond metal print

Like Mous Lamrabat, Mounir Raji is another contemporary photographer rooted in the Moroccan soil, breathing new life into the narrative of their homeland. Born in the Netherlands in 1982, Mounir Raji reflects on the impacts of emigration. His pseudodocumentary Dreamland series (2022) explores the concept of an imagined homeland made up of idyllic and nostalgic memories of summer holidays in Morocco. These fragments depict a world of warmth and family, outdoor play in vibrant landscapes, and a profound sense of trust, freedom and hope — as well as the safety to be completely authentic.

Cover

Courtyard of the Zawiya at the Mausoleum of Mulay Idris II, Fez. Photograph by Bruno Barbey, 1983

Inside front cover

Tilework at the Mausoleum of Mulay Idris II, Fez. Photograph by Chrysovalantis Lamprianidis, 2024

Inside back cover

Painted wood ceiling, ‘Alawite period, Morocco, 19th century (detail, see p. 95)

Back cover

A modern Moroccan woman from the There’s No One Like Us series. Photograph by Mous Lamrabat, 2023

Images from page 2 to page 24 pp. 2–3

Doorway of the Kasbah of the Oudayas, Rabat pp. 4–5

Street scene in Marrakech pp. 6–7

Minaret of Qarawiyyin Mosque, Fez pp. 8–9

Exterior of the Saadian Tombs, Marrakech pp. 10–11

Fountain at the Kasbah of the Oudayas, Rabat pp. 12–13

Underside of dome at Dar Si Said, Marrakech p. 14

Woodwork on doors of the Bahia Palace, Marrakech p. 16

Tilework at the Mausoleum of Mulay Idris II, Fez p. 18

Archway and ceiling of the Saadian Tombs, Marrakech p. 20

Interior of the Saadian Tombs, Marrakech p. 22

Archway and ceiling of the Saadian Tombs, Marrakech p. 24

Tilework at the Bu ‘Inaniyya madrasa, Fez

Images from page 194 to page 206 pp. 194–195

Courtyard at the Bahia Palace, Marrakech pp. 196–197

Courtyard of the Zawiya at the Mausoleum of Mulay Idris II, Fez p. 199

Archway at the Bahia Palace, Marrakech pp. 200–201

Interior of the Saadian Tombs, Marrakech p. 203

Minaret of the Kutubiyya Mosque, Marrakech pp. 204–205

Woodwork and stucco of archway at the Bahia Palace, Marrakech p. 206

Archway at the Saadian Tombs, Marrakech

IMAGE CREDITS

© Museum of Islamic Art, Qatar Museums, Doha, photography by Samar Kassab pp. 39, 59 (bottom), 65, 70, 71, 72, 73, 76, 122, 126; Chrysovalantis Lamprianidis pp. 51, 94, 95, 104–105, 124; Marc Pelletreau pp. 42, 43–46, 47, 63, 78

© Qatar Museums, General Collection, Doha, photography by Chrysovalantis Lamprianidis pp. 125, 127, 134 (bottom), 138, 139, 140, 141 (bottom), 142, 143, 150, 152, 154 (top); Samar Kassab pp. 128, 129, 130, 132, 133 (top), 134 (top), 136, 137, 141 (top), 146, 147, 148, 149, 151, 153, 154 (bottom), 155, 156; Samar Kassab & Christian Sánchez pp. 144, 145

© Chrysovalantis Lamprianidis: inside front cover, pp. 2–3, 4–5, 6–7, 9, 10–11, 12–13, 14, 16, 18, 20, 22, 24, 28–29, 30, 31, 32, 33, 34, 80–81, 82, 83, 84, 85, 87, 194–195, 196–197, 199, 200–201, 203, 204–205, 206

© National Foundation of Museums, Rabat, photography by Chrysovalantis Lamprianidis pp. 36, 37, 38, 40, 41, 48, 49, 50, 52, 53, 54, 55, 59 (top), 61, 74, 75, 77, 88, 89, 92, 93, 96, 97, 98–99, 100, 101, 102, 103, 106–107, 108, 109, 110, 111, 112, 113, 116, 117, 118, 119, 120, 121, 133 (bottom), 135, 187, 188, 189, 190

PUBLISHING

AND DISTRIBUTION

Qatar Museums

Doha, Qatar www.qm.org.qa

Silvana Editoriale

Milano, Italy

www.silvanaeditoriale.it

All rights reserved under international copyright conventions. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher.

Printed and bound in Italy. First edition

ISBN: 978-88-366-5893-0 (Silvana Editoriale)

ISBN: 978-99-271-0892-1 (Qatar Museums)

Qatari Legal Deposit No: 843/2024