Desert Heritage n.57 by Alim editrice

D E S E RT H E R I TA G E

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Photo: Judith Wich-Wenning

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Orienta Arabians presents...

Ansata Malik Bey (Ansata Malik Shah x MB Moneena by Safeen) Straight Egyptian Stallion born 2006, Saklawi Jedran Bint Mona - Moniet El Nefous line

Photo: Judith Wich-Wenning

Orienta Adnan

(Fahad Al Rayyan x Orienta Aysha by Al Adeed Al Shaqab), Straight Egyptian Colt, born 2018, Kohailan Rodan, Riyala Malaka Family

Orienta Arabians Judith Wich-Wenning Eichenbuehl 26, 96352 Wilhelmsthal, Germany Tel.: ++49 (0) 9260 9639022 - E-mail: JudithWich@t-online.de www.OrientaArabians.com - Straight Egyptians -

Fhara Diba Le Soleil Phaaros | Alfabia Nile Queen

2006 Straight Egyptian Grey Mare

Best Wishes to...

We wish the best of luck to our friends at AMRA ARABIANS in Florence for the 2022 foal season with Fhara Diba Le Soleil and Amra Ayda Le Soleil both in foal to NASEEM AL RASHEDIAH

Amra Ayda Le Soleil Sabeh Al Salhiyah | Fhara Diba Le Soleil

All photos © Elvis Giughera

2015 Straight Egyptian Grey Mare

Le Soleil Arabians AMRA ARABIANS Firenze - ITALY +39.335.523.7539

ELVIS GIUGHERA Virle Piemonte - ITALY LE SOLEIL STUD - Elvis Giughera +39.339.36.80.656 Via Borgata San Rocco 26 - 10060 CERCENASCO (TO) -info@le-soleil.org ITALY +39.3393680656 - www.le-soleil.org - E-mail: info@le-soleil.org

Desert Heritage Magazine n.57 iscr. trib. di Milano n. 466 del 20/09/02 Expedition in A.P. 70% Milano

Alim Editrice s.n.c. via Ressi, 22 - 20125 Milano (Italy) e-mail: info@tuttoarabi.it www.desertheritagemagazine.com instagram: @desertheritagemagazine Publisher Simone Leo mobile: +39 348 5640190 leo.simon@tiscali.it Editor Fabio Brianzoni fabiobrianzoni56@gmail.com Account Office/Subscription Office Barbara Belloni amministrazione@alimeditrice.it Writers Tzviah Idan Dr. Hans J. Nagel Monika Savier Judith Wich-Wenning Digital Artwork Viviana Castiglioni Printed by AGF Spa San Giuliano Milanese Milano (Italy) Advertising Alim Editrice s.n.c. via Ressi, 22 - 20125 Milano (Italy) tel. +39 02 36762850 e-mail: info@tuttoarabi.it © www.desertheritagemagazine.com

Pag. 18

Laheeb. A final Tribute

Pag. 76

Katara Arabian Peninsula Horse Show

Pag. 94

Francis Geeroms

Pag. 102 The Talking Kilims and Carpets of the Nomads in Iran Pag. 118 Arabian Horses in Italy - part 1 Pag. 132 The Noble Mares of Katharinenhof

In the cover

Menouah Al Rayyan Fares Al Rayyan | Bint Mesoudah M Hp, 2012 grey mare photo by Alessio Azzali

laheeb Imperial Imdal x AK Latifa

1996-2022

Moshav HaYogev - 1923200 Israel - Ph. 00972 523399175 E-mail: ariela.arabians@gmail.com - www.ariela-arabians.co.il

photo by Bar Hajaj

I can’t change the direction of the wind, but I can adjust my sails to always reach my destination. (Jimmy Dean)

Shams Al Din AA

(Shams Sharav AA x Ralya by Laheeb)

Moshav HaYogev - 1923200 Israel - Ph. 00972 523399175 E-mail: ariela.arabians@gmail.com - www.ariela-arabians.co.il

photos by Bar Hajaj

Sanaa AA (Al Ayal AA x Safiyyah AA by Laheeb)

Nasmah AA (Moaiz Al Baydaa x Nefertiti AA by Laheeb)

Photo by Bar Hajaj

18 • Desert Heritage Magazine

laheeb A FINAL TRIBUTE 1996 - 2022

On March 5, 2022 the world lost an equine giant, an icon of the Arabian breed. We all knew that one sad day he would have to leave us, but when that day arrived, it came as a great shock - Laheeb, the gold standard in the world of straight Egyptian Arabians, was gone. Laheeb was one of those rare remarkable stallions that are simply ‘larger than life’ – not only stunningly beautiful, noble and charismatic, but also a tremendous sire of great significance

worldwide. He was a horse that made history, time after time. For many he embodied the very essence of the ideal Arabian horse and perfectly captured both its physical and spiritual qualities. He left us just weeks after celebrating his twenty-sixth birthday, and the depth of his loss is still keenly felt not only by his family at Ariela but by the highest echelon of professional horsemen and the greater Arabian public worldwide. No one alive today who has an affection for the Arabian breed is unfamiliar with the name Laheeb. And that fact alone says it all… Desert Heritage Magazine • 19

Foaled on 2 January 1996 at Ariela Arabians in Israel, Laheeb seemed born to be a star and was the farm’s first homebred to earn international acclaim. His sire needs little introduction – the highly decorated and universally acclaimed Americanbred straight Egyptian stallion and Paris World Champion Imperial Imdal (Ansata Imperial x Dalia). Imperial Imdal spent three years at Ariela on lease and left his undeniable stamp not just on the Ariela herd but across the entirety of Israel’s then scant Arabian horse population. Laheeb’s dam was the celebrated American-bred straight Egyptian AK Latifa (Ibn Moniet el Nefous x Siralima), tracing back to El Dahma (Harkan x Aziza) through Bint Bint Sabbah (Baiyad x Bint Sabah), chosen and imported by the farm as a foundation mare, making Laheeb Dahman Shahwan in strain. He was strongly linebred on both the top and bottom of his pedigree to Morafic (ex Mabrouka by Sid Abouhom) and Ansata Ibn Halima (ex Halima by Sheikh el Arab), two of Nazeer’s (Mansour x Bint Samiha) most influential sons, and also a grandson of US National Champion Stallion Ansata Ibn Sudan (Ansata Ibn Halima x Ansata Bint Mabrouka). Through his dam Laheeb traced to the important broodmare sire Sirecho (Nasr x Exochorda), a source of rare and valuable old Egyptian blood. In short, Laheeb was bred to be a breeding stallion. Laheeb proved himself a remarkable colt almost from birth and made a great impression at just three months old on the late breeder and international judge, Dr Nasr Marei, one of the very first Arabian breeders from Egypt to visit Ariela. Nasr described the colt as “elegant, independent, and full of confidence.” He would never forget that special colt, and the two were fated to meet again. At nine months old Laheeb became one of the very first Israeli-bred horses to compete for international titles at the Middle Eastern Championship show in Amman, Jordan, where he won Best Arabian Foal at Foot. As a yearling he was Israeli National Champion Colt and the high-scoring horse at that same show. He was soon off to start a European show campaign, handled throughout by veteran Arabian halter trainer Frank Spönle of Germany. During the 1999 European show season Laheeb garnered several championship titles including Kauber Platte Junior Champion, Top Five at the World Championships in Europe in Paris, and European Reserve Junior Champion Colt in Verona. But it was at his first European show, the prestigious 1998 All Nations’ Cup in Aachen where Laheeb placed first in his age class, that he captured the attention of two of Poland’s most experienced horsemen and started his trajectory towards international fame. Photo by Bar Hajaj

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22 • Desert Heritage Magazine

Marek Trela, Director of Stadnina Koni Janów Podlaski, and Jerzy Białobok, Director of Stadnina Koni Michałów in Poland were so impressed with the youngster that they approached Ariela about leasing him to serve as guest chief sire at Michałów in 1999 and then at Janów Podlaski the following year. One should remember that, back in the day, the idea of a straight Egyptian stallion serving as chief sire at a Polish State Stud was a novel one, to put it delicately. The opportunity being offered to such a young and still unproven straight Egyptian stallion – to cover many of the world’s most valuable pure Polish mares – sent what amounted to seismic shockwaves throughout the industry. But the Polish Stud Directors had found in Laheeb what they thought was almost a perfect representative of the Saklawi I (Nazeer) sire line; one who both exemplified and could reproduce the Polish ideal of all that an Arabian horse should be – typey and elegant, with long harmonious lines and good movement. They could already imagine Laheeb’s potential contribution based on their past success with Palas (Aswan x Panel by Nil), a Nazeer grandson of 75% Egyptian blood, and were willing to be bold. Jerzy referred to Laheeb as “a horseman’s horse”, and in a 2013 interview published in Arabian Horse World, he praised the stallion, describing how “… Laheeb sired mares in the Saklawi type – very beautiful and good broodmare material.” Although revolutionary at its time, the idea today, over two decades later, seems a given, almost patently obvious just by observing what Laheeb accomplished there. Perhaps the truest measure of his success was that, after evaluating his get, the Poles continued and continue to today to infuse Egyptian blood into their program through sires representing the Saklawi I sire line. Laheeb’s more famous Polish-bred get include a number of national, international, and World Champions such as his sons Poganin (ex Pohulanka by Pepton), Złocień (ex Zaleta by Piechur), and Emiliusz (ex Emocja by Monogramm), and his daughters Emira (ex Embra by Monogramm), Galilea (ex Georgia by Monogramm), Dumka (ex Dąbrowa by Probat), Wieża Babel (ex Wiazma by Arbil), Siklawa (ex Siewka by Eldon), and Eloida (ex Ekspedycja by Falsyfikat). A few precious daughters sold well at Poland’s prestigious Pride of Poland production sales, including the Janów mare Siklawa who went to Qatar and the Michałów mares Egea (ex Egna by Eukaliptus) and Ellissara (ex Ekscella by Monogramm) who went to the Kingdom of Saudi Arabia.

Photo by Shalomi Nissim

Desert Heritage Magazine • 23

Photo by Shalomi Nissim

Photo by Shira Yegar

Laheeb proved so valuable in Poland that some there developed a very covetous view of him, maintaining that Poland was his true home, because only at the Polish State Studs were there enough great mares truly deserving of his attention. In fact, Michałów Stud Directors Urszula and Jerzy Białobok were impressed enough with Laheeb’s progeny to negotiate an historic lease which brought him back to Michałów for the 2008 breeding season. Unfortunately, during his second stay at Michałów the majority of his progeny were colts. One might never guess by looking at him but following Laheeb’s first stay in Poland, he suffered a tragic and lifethreatening accident. At just four years old, the young stallion would now face the most difficult challenge of his short lifetime. The Ariela team had decided to attempt to freeze Laheeb’s semen before his return home because the technology was not yet available in Israel, and in November 2000, Laheeb was sent to an equine centre in Germany. Tragically, a tease mare kicked him in the right foreleg, breaking the limb at the elbow. Since the actual joint was involved, it was impossible for Laheeb to bring the leg forward or to walk. His prognosis was thought to be very poor, and the German experts advised euthanasia. Chen Kedar recalls how difficult it would have been for her to face seeing Laheeb in such a condition and instead sent Dr Giora Avni, the farm vet, to Germany to consult directly

with the surgeons. The two firmly agreed that Laheeb should receive every possible opportunity despite the poor prognosis, and the decision was made to go forward with a very delicate surgery involving the placement of metal plates and screws into the leg at the elbow joint. If surgery succeeded, the leg would have to remain off the ground for a long time afterwards. Following surgery and throughout the entire ordeal, Laheeb’s phenomenal character made all the difference. He demonstrated amazing courage and tolerated whatever was asked of him. A model patient, he stoically accepted the pain and the physical restraints necessary to remain immobile. Despite Laheeb’s complete cooperation, the bone itself became badly infected and once again the experts advised euthanasia, believing that the stallion would not make it. After countless long distance calls to experts from all over the world, another fateful decision was made. “We asked the clinic not to put Laheeb down, so that a second surgery could be performed,” recalls Chen. “This time the plates were removed to let the bones knit together as best they could. Our strategy was to try to at least salvage Laheeb as a breeding horse. The final outcome would depend mostly on Laheeb’s own determination and toughness, with an added element of luck.” Following this second surgery Laheeb spent the next several months confined in a stall, immobilized in such a way that Desert Heritage Magazine • 25

Photos by Menashe Cohen

Photo by Chen Kedar

26 • Desert Heritage Magazine

he could neither walk nor turn around. He was also kept as thin as possible to keep weight off the affected leg. Chen describes being shocked and extremely pessimistic when she travelled to see him. “I thought I was ready to see Laheeb in bad condition, but I could not believe it when I saw him; he was half the size he used to be. And I never saw a horse cringe so much.” Laheeb spent about nine months at the clinic and later went to a special rehabilitation centre for another six months, where he continued to recover and underwent intense physical therapy. But no one could predict whether or not the horse would ever be sound again. Then came a glimmer of hope. Frank phoned Chen after a visit to the clinic; he had been surprised at how well Laheeb looked. He suggested that perhaps it would be possible to show him again in the future. Chen remained skeptical and awaited Laheeb’s shipment back to Israel, which took place in May 2002. As it turned out, Frank proved to be a good prophet and Laheeb was well enough to compete at the 2003 Israeli Nationals. Chen described how surreal it was to be standing once again in a show-ring with Laheeb: “… and Laheeb was there standing beside us, standing on all four legs – perfectly sound! It was an incredibly emotional, unforgettable moment for us both, and it seemed only fitting that Laheeb was the judges’ unanimous choice for 2003 Israeli National Champion Stallion.” Although much of his siring career took place abroad, Laheeb sired close to two hundred foals in Israel and is still a leading Israeli sire of show champions and winners. Many of his Israeli-born get have competed successfully in some of the world’s toughest competitions abroad. His very first foals arrived in 1999 and among them was an exceptionally exotic and refined colt called Al Lahab, out of Ariela’s own Thee Desperado (The Minstril x AK Amiri Asmarr) daughter The Vision HG (ex Belle Star by The Minstril). Al Lahab was destined to grow up to become one of the world’s most highly decorated stallions, holding, among others, the titles of World Champion Stallion, All Nations’ Cup Champion, and Dubai International Arabian Horse Show Champion and has established himself as a major international sire for his owners, the Friedmann family of Germany.

The cross of Laheeb with The Vision HG was repeated several times and the results consistently proved excellent, producing one daughter, the exquisite mare Al Halah AA. Through Al Halah’s daughter Helwah AA (by Al Ayad by Moheeb) and granddaughter EKS Bint Helwah, also by Laheeb, traces the 2019 World Champion Colt EKS Farajj (Ibn Farid x EKS Bint Helwah). Farajj is a great example of the excellent results achieved by linebreeding to Laheeb. Al Halah’s four full brothers Al Lahab, Al Hadiyah AA (now deceased), Al Raheeb AA, and Al Wahab AA, went on to succeed in show-rings in Israel and abroad. Each then went on to establish himself as a highly sought-after breeding sire for major programs the world over. Ariela still retains the youngest of the four, Al Wahab AA for their own program, and this exciting horse is currently on lease in Spain with Phillip Looyens of the Shiodome Group who commented: “When we heard about the possibility of leasing Al Wahab AA, the decision for us at Shiodome was very quickly made. Knowing his pedigree well, being admirers of Laheeb’s complete look and the consistency of the Ariela program, we believe Al Wahab AA, with his smooth conformation, small ears and big black eyes, can contribute to any breeding program, from straight Egyptian to mixed blood programs around the world.” It goes beyond the scope of this tribute to list all of the national and international champions that Laheeb sired in Israel, but one particular mare must be mentioned: the straight Egyptian Laheeb daughter Badawiyeh AA out of Bahiha (Baahir x Imperial Imtiarah), Junior Female Champion at the Israeli Egyptian Event and also Israeli National Champion Filly. Although Israel and the UAE only established formal diplomatic relations through the Abraham Accords in 2020, it was over ten years earlier that Badawiyeh was quietly purchased by the Ajman Stud, UAE, with the help of European middlemen. She went on to win several prestigious championship titles in the Arabian Gulf as well as Europe for her Emirati owners. This beautiful Laheeb daughter proved the old adage that Arabian horses can, and do, bring people together in extraordinary ways. Renowned American judge, breeder and bloodstock agent Raymond Mazzei, a respected world authority on Polish bloodlines, noted the consistency of Laheeb’s first Polish get while they were still very young. He finally got his chance to

Desert Heritage Magazine • 27

Photo by Chen Kedar on Laheeb’s 25th birthday

see their sire first-hand during a private visit to Israel in 2003 and recalls: “I was so completely taken with Laheeb that it made no difference to me what his breeding was; I already knew his foals, and I realized that I was looking at a major phenomenon.” Raymond returned to Israel one year later to serve on the judging panel that would eventually award Laheeb with his third Israeli National Championship title. Following the show, he proposed to Laheeb’s owners that the horse should travel to America to stand at public stud under his own management. A deal was struck with Ariela Arabians and Laheeb flew to California during the summer of 2005 to prepare for the 2006 and 2007 breeding seasons at Furioso Farms and Ferlita Arabians. Raymond always maintained, and still believes, that Laheeb was the most important Arabian breeding stallion of his generation and remains forever grateful to Ariela for entrusting him with their treasured stallion: “Laheeb is a rare ‘cross-over’ stallion,” he explained to me in an earlier interview. “He was not only able to create great straight Egyptians, but was so prepotent in type, style, quality, and movement that he improved horses from whatever Arabian strain he was used on. “Although Laheeb represented what is best in the straight Egyptians, he passed on none of the straight Egyptians’ typical weaknesses. Laheeb had it all: unsurpassed breed type; dignified presence; an ultra-exotic, perfectly proportioned 28 • Desert Heritage Magazine

head; a high-set, gracefully arched neck; superb balance and strength of coupling; smooth shoulders and quarters of good length, strength and slope; a well-muscled, horizontal topline with a highly placed and proudly carried tail; good three-dimensional substance with plentiful width, depth and muscular development; squarely placed limbs with clean, dense bone and wide sinewy tendons; and a free-moving, animated stride with a distinct aristocratic carriage.” While in America Laheeb was shown only once, at the prestigious Egyptian Event in Lexington, Kentucky, where he was awarded the title 2006 Egyptian Event Reserve Supreme Champion Stallion behind his own son, Al Lahab. In February 2008, after finishing his breeding obligations in California, Laheeb once again headed for Michałów Stud in Poland. Laheeb’s story seemed almost to come full circle when Egyptian breeder Dr Nasr Marei again visited Israel as one of three distinguished judges presiding over the 2007 Israeli National Championship Show. When the final results were in, four out of the eight national champions selected turned out to be sired by Laheeb. In a previous interview, Nasr recalled feeling: “... kind of proud of myself… for not having been wrong in my first assessment of Laheeb eleven years earlier, at just three months old.” When he left Israel following the show, Nasr was wondering how he might incorporate Laheeb’s blood into his own straight Egyptian program. Deciding he had nothing to lose, he telephoned Chen who immediately agreed to an historic

Laheeb’s paiting from Poland

Photo by Dr. Nasr Marei

Photo by Shalomi Nissim

lease exchange. This deal sent Laheeb to Egypt and Nasr’s own stallion, the Australian-bred Simeon Sharav (Asfour x Simeon Shuala), to Israel and established a precedent for future lease exchanges between Israel and Egypt. “The second time I ever laid eyes on Laheeb was at the Cairo International Airport, the day he arrived to stay with me for a breeding season,” Nasr recalled. “From the moment I saw him, I was awestruck. He looked so impressive, gentle, magnificent, and regal. I hugged him and rushed him to the farm, to his new, freshly painted stall that gave him a view of the garden and swimming pool. I could look down from my bedroom window and see him there, enjoying the beautiful garden. He was flanked by my two major stallions, Farid Albadeia (Ameer Albadeia x Farida) and Magd Albadeia (Rashdan x Bint Makhsous). An awesome trio. I was extremely proud and thankful to have them at my farm.

“Laheeb is a dream horse. He is beautiful, very complete and without defects. His disposition is unbelievable. I have never seen a stallion as gentle and peaceful as Laheeb, all without losing a bit of any of the traits that you want in a stallion. He is tremendously charismatic and always the perfect gentleman.” Following his stay in Egypt, Laheeb ended his globetrotting abroad and from then on remained at home in Israel where he was heavily used on the farm herd and by other Israeli breeders. Laheeb had a lot of siring waiting for him back home, and although we cannot cover all of his more recent Ariela progeny, we can touch on some of the most prominent. The farm had prepared for Laheeb’s return by purchasing mares specifically with him in mind, in particular, the American-bred straight Egyptian Mishaal HP (Ansata Sinan x Mesoudah M) daughter Saniyyah RCA (ex My Desert Heritage Magazine • 29

Shooting Star by Thee Desperado). Saniyyah’s tail female line is bred quite similarly to that of Laheeb’s, and the two nicked extremely well, producing the full sisters Safiyyah AA and Salsabil AA. Safiyyah was a Gold Champion Filly and is the dam of three straight Egyptian champion fillies, Sinaya AA (by Frasera Mashar) Sajida AA and 2021 Israel Egyptian Event Gold Champion Filly Sanaa AA (by Al Ayal AA), as well as the lovely Egyptian-cross fillies Sarai AA (by Jyar Meia Lua) and Sarah AA (by Emerald J). Her younger sister, Salsabil AA, has had a stellar show career, garnering prestigious Gold Champion Filly titles in Israel, Germany, and Belgium. The Ariela team had hoped that Salsabil would produce as well as Safiyyah, but unfortunately, as of today she has produced no living foals. Laheeb’s influence is also strongly felt through his progeny from The Vision HG’s Baahir (Ibn el Mareekh x GF Nasra Bataa) daughter Al Baraqai AA, producing offspring of enormous importance to the Ariela program. Al Baraqai AA’s Laheeb daughter Baraaqa AA was bred to Al Ayad to produce the internationally acclaimed show stallion Baha AA, who won gold championship titles in Israel and Germany before going on to be named Supreme Champion at the USA Egyptian Event, Gold Champion at the European Egyptian Event, and Scottsdale unanimous Gold Champion at the International Egyptian Breeder’s Classic. Baraaqa AA is also the dam of Badriyah AA (by Nader Al Jamal), dam of the 2019 straight Egyptian World Champion Colt Baahir AA, sired by Al Ayal. The Laheeb x Al Baraqai AA cross also produced the beautiful mares Basmah AA and Balqis AA. Basmah is a Gold Champion Filly in Israel and Silver and Bronze Medal winner in Europe and has established her own prolific family including foals sold to Italy, South Africa, and Qatar. Balqis AA is one of Laheeb’s youngest daughters, and recently started her broodmare career by foaling a lovely grey filly by Kenz Al Baydaa ( Jamil al Rayyan x Kareemah Saqr); just a few days ago she was bred to Al Ayal. The Laheeb daughter Malikah AA, an Israeli Bronze Champion out of Atiq Adara (Al Ayad x Alhambra B), established a valuable family at Ariela Arabians including Israel Egyptian Event Gold Colt Foal Mameluk AA (by Frasera Mashar) and full brothers Mahab Al Lahab and Marzuk AA (by Nader Al Shamal AA), before her sale overseas. The farm is retaining her daughters Nile Maha AA (by Ansata Nile Pharaoh) and Malikat AA (by Kenz Al Baydaa) to preserve her bloodlines in the Ariela herd. Another mare that crossed exceedingly well with Laheeb is Nashwah AA (Al Ayad x Insha Sha Latifa) out of the Ariela homebred Naffada (Imperial Imdal x Imperial

Naffata); their first offspring was the colt Laheeb Al Nar, an individual of extraordinary charisma and quality, and presumably Laheeb’s heir apparent. Unfortunately, he was tragically lost very young after garnering several Israeli Gold Colt titles. His full sister, the ultra-exotic mare Nefertiti AA, placed at the prestigious European Egyptian Event as a yearling and just last month began her breeding career by producing Nasmah AA, an outstanding filly of tremendous promise sired by Moaiz Al Baydaa (Ezz Ezzain x Magda Sakr by Tallahsman). This filly is so far the star of this year’s foal crop and appears to have a bright future ahead of her. The Egyptian-cross mare Dafina AA (Al Bilal x Dumka by Laheeb) carries on the Polish branch of Laheeb’s progeny at Ariela Arabians. She is the dam of Daliyah AA (by Nader al Jamal), Durar AA (by Gazal al Shaqab), Israeli Silver Champion Mare Damdiyah AA (by Ajman Moniscione), Daania AA (by GT Shardh), and Dinarah AA (by Emerald J). Considered one of the farm’s finest mares, Israeli Silver Champion Damdiyah AA is the dam of two fillies: the overseas champion Despina AA (by Jyar Meia Lua) and the elegant Darine AA (by Emerald J). Finally, the exotic Shams Sharav AA (Simeon Sharav x Saniyyah RCA) son Shams al Din AA, out of the Laheeb daughter Raliya (ex Sahara PG by Botswana) is a Gold Champion both in Israel and South Africa, where he recently finished his lease to Elkasun Arabians. Shams al Din AA is very reminiscent of Laheeb, with his long legs, excellent neck and shoulder, and very dry and refined head. He is an irreplaceable element in Ariela’s future breeding plans and we await his first Israeli foal crop with great interest. During his lifetime Laheeb sired almost three hundred foals worldwide and with every passing year his global impact proves ever more impressive: At the 2017 German National Championship Show, three different Laheeb sons sired champions: Sorella El Hadiyah, sired by Al Hadiyah AA (Laheeb x The Vision HG) was named Gold Champion Mare; Alia Lahab RSA and F Tayyar Ibn Al Lahab, both sired by Al Lahab, were Silver Champion Mare and Silver Champion Stallion respectively; and the Bronze Champion Stallion was El Ninjo, sired by the Polish-bred Emiliusz. And finally, 2019 Paris World Champion and Aachen Gold Champion Colt, EKS Farajj, bred by Willie and Lisa Brown of Elkasun Arabians in South Africa and owned by AlKhashab Stud in Kuwait, is also strongly linebred a Laheeb. EKS Farajj was sired by Ibn Farid (RFI Farid x Asawir) out of the straight Egyptian mare EKS Bint Helwa, herself a Laheeb daughter out of the mare Helwah AA (Al Ayad x Al Halah AA by Laheeb out of The Vision HG), purchased

Laheeb at age 24 and ten months. Photo by Bar Hajaj.

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Photo by Shalomi Nissim

by Elkasun from Ariela. This year Ariela will breed some of their own mares to Farajj in order to incorporate more Laheeb blood back into their herd from a new and novel direction. Throughout his lifetime Laheeb proved not only to be a sire of show champions but also a sire of the very highest calibre of breeding stock, making the sheer scope of his global legacy nearly unfathomable. Now that his loss has been fully realized and accepted, Chen can fondly look back and reminisce about this special stallion: “More than a quarter of a century has gone by in the blink of an eye and it seems that only yesterday, on a cold and dark winter night in 1996, he was born. We named him Laheeb, ‘the flame’ in Arabic; a name that suited him very well. 32 • Desert Heritage Magazine

“Laheeb’s qualities were evident from day one and from that day forward, never disappearing even for a moment. And no, we are not talking about his qualities as a breeding animal – on this many words have been written and remain to be written in the future. “I am speaking about Laheeb from another perspective entirely. Beyond his physical beauty Laheeb always had an extraordinary, almost spiritual presence, a unique character radiating peace, love, and serenity. “Over many eventful years, Laheeb became a wonderful ambassador for our farm in countries near and far, spending time in Germany, Poland, Egypt, and the US. Everywhere he went, Laheeb entered deeply into the hearts of all who cared

Photo by Shalomi Nissim

for him and all, without exception, spoke unceasingly about his exceptional character and his extraordinary connection with humankind. “For us, the years unfolded and Laheeb simply became an inseparable part of our family. We remained at his side during very difficult and painful times, including those when it already seemed as if all hope was lost and even we had lost our faith-but no, not Laheeb. He never surrendered, whether to pain or to the poor prognoses of the experts, and demonstrated how an unquenchable spirit can conquer even when the body is battered and broken. “Laheeb was with us through good times and bad. He was

always our rock of stability in a life so full of ups and downs that it sometimes seemed like a crazy carousel ride. “And of course, Laheeb has been a major part of all the successes we have enjoyed throughout the years. His contribution to our program will remain immeasurable! We recognize how fortunate we have been to have lived alongside such an incredible horse, a once in a lifetime horse. To experience this is truly a gift from heaven, one that not many breeders enjoy. Mere words can never express our gratitude to have been so chosen. “Thank you, Laheeb, for all that you gifted us. You blessed all of our lives for many happy and healthy years. Your flame will burn inside my soul until my final breath.” q Desert Heritage Magazine • 33

laheeb progeny

Multi-Champion and 2018 Bronze World Champion Mare, Wadad Zamani (Laheeb x Zena Al Buraq). Photo by Elisa Grassi

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Bahiya AA (Kenz Al Baydaa x Balqis AA by Laheeb). Photo by Bar Hajaj

Balqis AA (Laheeb x Al Baraqai AA). Photo by Bar Hajaj

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Multi Champion Mare Sajida AA (Al Ayal AA x Safiyyah AA by Laheeb). Photo by Elisa Grassi

Reserve Champion Colt at the Israeli Egyptian Event, Al Wahab AA (Laheeb x The Vision HG). Photo by Antonia Bautista

36 • Desert Heritage Magazine

Multi Champion Stallion Baha AA (Al Ayad x Baraaqa AA by Laheeb). Photo by Javan

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Shams Al Din AA (Shams Sharav AA x Ralya by Laheeb). Photo by Bar Hajaj

Malikat AA (Kenz Al Baydaa x Malikah AA by Laheeb). Photo by Bar Hajaj

38 • Desert Heritage Magazine

One of the most important Laheeb daughters at Ariela Arabians, Safiyyah AA (Laheeb x Saniyyah RCA). Five of her daughters have been retained for the Ariela program. Photo by Bar Hajaj.

Badawiyeh AA (Laheeb x Bahiha) Multi-Champion Mare and 2014 Silver World Champion Mare. Photo by Gigi Grasso

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Multi-Champion and 2014 Bronze World Champion Mare Emira (Laheeb x Embra). Photo by Elisa Grassi

Multi Champion Stallion and Polish National Champion Poganin (Laheeb x Pohulanka). Photo by Irina Filsinger

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Multi Champion and 2006 World Champion Stallion Al Lahab (Laheeb x The Vision HG). Photo by Gigi Grasso

2005 Polish National Champion and World Champion Mare. Galilea (Laheeb x Georgia). Photo by Emma Maxwell

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Nasmah AA (Moaiz Al Baydaa x Nefertiti AA by Laheeb). Photo by Bar Hajaj

Nefertiti AA (Laheeb x Nashwah AA). Photo by Bar Hajaj

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EKS Bint Helwah (Laheeb x Bint Helwah AA (Al Ayad x Al Halah AA by Laheeb) Dam of World Champion EKS Farajj. Photo by Alessio Azzali

2019 World Champion Junior Colt EKS Farajj. Strongly linebred to Laheeb. Photo by Alessio Azzali

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Sarai AA (Jyar Meia Lua x Safiyyah AA by Laheeb). Photo by Bar Hajaj

Multi Champion Mare Basmah AA (Laheeb x Al Baraqai AA). Photo by Bar Hajaj

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Multi Champion Mare Dafina AA (Al Bilal x Dumka by Laheeb). Photo by Bar Hajaj

Nile Maha AA (Ansata Nile Pharaoh x Malikah AA by Laheeb). Photo by Bar Hajaj

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Sara AA (Emerald J x Safiyyah AA by Laheeb). Photo by Bar Hajaj

Sanaa AA (Al Ayal AA x Safiyyah AA by Laheeb). Photo by Bar Hajaj

2018 Gold Champion Yearling Filly at the All Nationals Cup International Egyptian Event in Kuwait, Bosmat AA (Frasera Mashar x Basmah AA by Laheeb)

Sinaya AA (Frasera Mashar x Safiyyah AA by Laheeb). Photo by Bar Hajaj

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Badriyah AA (Nader Al Jamal x Baraaqa AA by Laheeb). Photo by Bar Hajaj

Multi Champion Mare Salsabil AA (Laheeb x Saniyyah RCA). Photo by Bar Hajaj

Ariela Arabians Moshav HaYogev - 1923200 Israel - ph.: 00972 523399175 ariela.arabians@gmail.com - www.ariela-arabians.co.il

Desert Heritage Magazine • 47

“With the publication of this latest work on Laheeb, we would like to extend a huge thank you to our longtime friend and close neighbor, the veteran Arabian horse breeder, Tzviah Idan, the author of this tribute.” Tzviah loves to write, and anyone who follows our program is aware that this is by no means the first time Tzviah has written about our farm and our most iconic horses. For nearly forty years she has witnessed all the happenings here from up close; and for over two decades she has been the eloquent voice that has shared our story with the greater Arabian horse public. We gratefully acknowledge Tzviah’s unique contribution over so many years, and look forward to collaborating with her on many more such projects in the future.

Celebrating Laheeb’s 20th birthday at Ariela. Photo by Dikla Levi

Moshav HaYogev - 1923200 Israel - Ph. 00972 523399175 E-mail: ariela.arabians@gmail.com - www.ariela-arabians.co.il

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Katara International Arabian Horse Festival

Arabian Peninsula Horse Show photos by Simone Bergamaschi, Fabio Brianzoni, Ewa Imielska-Hebda

Desert Heritage Magazine • 77

People

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Katara International Arabian Horse Festival

Arabian Peninsula Horse Show

Gold Medal Yearling Fillies D MASHEE’AH SAFEER AL WADI X D MASHA’AALLAH B/O: DUBAI ARABIAN HORSE STUD

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Gold Medal Yearling Colts SINAN EL ALYA SINAN AL RAYYAN X NOOR AL RAYYAN B: EL ALYA STUD O: SHIEKH MESHAAL ISSA T I AL-THANI

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Katara International Arabian Horse Festival

Arabian Peninsula Horse Show

Gold Medal Junior Fillies YAMAMA AL NASSER NASSER AL RAYYAN X JURIE AL RAYYAN B: AL NASSER STUD O: AL WAJBA STUD

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Gold Medal Junior Colts D K’HAILAN ROYAL COLOURS X D AFAF B/O: DUBAI ARABIAN HORSE STUD

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Katara International Arabian Horse Festival

Arabian Peninsula Horse Show

Gold Medal Senior Mares MENOUAH AL RAYYAN FARES AL RAYYAN X BINTMESOUDAH M HP B/O: AL RAYYAN FARM

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Gold Medal Senior Stallions NASEEM AL RASHEDIAH AL ADEED AL SHAQAB X NABAWEYYAH EZZAIN B: ABDULRAHMAN ALJASMI - AL RASHEDIAHSTUD O: SHEIK THANI BIN HAMAD BIN KHALIFA AL THANI

Desert Heritage Magazine • 87

Katara International Arabian Horse Festival

Arabian Peninsula Horse Show

Silver Medal Yearling Fillies NK LARA

NK NABHAN X NK LINA - B: DR. HANS NAGEL - O: DOHA STUD

Bronze Medal Yearling Fillies GAZAA AL SHAQAB

AL AYAL AA X ZENAB ALBADEIA - B/O: AL SHAQAB 88 • Desert Heritage Magazine

Silver Medal Yearling Colts THEEBAN AL RAYYAN

EZZ ALDANAT X SAHLA ALRAYYAN - B/O: AL RAYYAN FARM

Bronze Medal Yearling Colts SHEHAB AL FARRES

NASEEM AL RASHEDIAH X DANA AL FARRES - B/O: MANSOOR MASOUD ALMARRI Desert Heritage Magazine • 89

Katara International Arabian Horse Festival

Arabian Peninsula Horse Show

Silver Medal Junior Fillies D AMEEREYYAH

ASFOOR AL WAAB X ROYAL EMIRA - B/O: DUBAI ARABIAN HORSE STUD

Bronze Medal Junior Fillies AMEERA AL WAAB

FARHOUD AL SHAQAB X AMAAL AL WAAB - B: SHEIKH ABDULLA KHALID H A AL THANI - O: DOHA STUD 90 • Desert Heritage Magazine

Silver Medal Junior Colts NIBRAS ALJASSIMYA

NASEEM AL RASHEDIAH X SADE ALKHAMSA - B: SORRENTINO GIULIA - O: ALJASSIMYA FARM

Bronze Medal Junior Colts YAZEED AL RAYYAN

FARHOUD AL SHAQAB X MURJANAH ELALYA - B/O: AL RAYYAN FARM Desert Heritage Magazine • 91

Katara International Arabian Horse Festival

Arabian Peninsula Horse Show

Silver Medal Senior Mares SALMA AL BAWADY

HILAL AL NAKEEB X MAHA ALKHALED - B/O: AL BAWADY STUD

Bronze Medal Senior Mares NARDENE AL NAIF

SAHIB X JOHARA AL NAIF B: ABDULLA BIN NASSER AL AHMED ALTHANI - O: SHEIKH ABDULLA BIN NASSER AL THANI 92 • Desert Heritage Magazine

Silver Medal Senior Stallions ASAYEL RASHIQ

FRASERA MASHAR X PSE RASHEEKAH - B: AZ AGR IL PALAZZOTTO - O: AL REEH STUD

Bronze Medal Senior Stallions NHAAR AL NASSER

ANSATA NILE ECHO X MAISA AL NASSER - B/O: AL NASSER STUD Desert Heritage Magazine • 93

A Hyperrealistic Approach to the Arabian Horse

Shortly ago I came across the Belgian sculptor Francis Geeroms. Although he is a newcomer to the Arabian horse art scene, I was immediately fascinated. His hyperrealistic way of showing the beauty of the Arabian is special indeed. Hyperrealism is the young art form of creating illusions by enhancing reality. In this genre, the artist takes his works beyond purely photographic quality. Moreover, he adds focus on visual, social and cultural details of everyday life. Hyperrealism is considered an advancement of photorealism, which is its more naturalistic predecessor.

n by Judith Wich-Wenning

Francis Geeroms was born in Brussels in 1963. Asked after his artistic beginnings, he explains: “I discovered sculpture quite by chance five years ago, far away from academies and masters. Initially I copied abstract characters, then I sculpted some others out of my imagination.” With a smile Francis Geeroms remembers: “2017 was the year of a radical turn, I started to explore the equestrian world. To be honest, such a choice was obvious to me, it was dictated by the personal story of my life. You have to know

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that a great deal of my lifetime I have been surrounded by horses. My parents owned a riding school and I helped them a lot. I took care of the horses, loved to ride and eventually competed in show jumping. I even graduated as a farrier later on. This practical background allowed me to thoroughly know horses and their anatomy. Already as a child I loved to draw horses, I used every material I could work on, not even cardboard coasters escaped me. Customers found everywhere drawings of horses under the coasters.”

The last step at the foundry. Here the patina, which consists in a very complex process to apply, typically oxides and nitrates using a gas torch and a brush

The artist and Nabil during the exhibition in Zangersheide

Desert Heritage Magazine • 95

Dalil

Then he ponders: “Later life took me away from this world. When I returned, sculpture could only have been a hobby but no, it quickly became a passion, it was soon part of my life.” Asked after his love for the Arabian horse, Francis Geeroms explains: “I started sculpting horses in 2017. Because I was fascinated by the natural beauty and elegance of Arabian horses, I decided to create my first one in 2018. At that time I appreciated a lot the expert advice of Glenn and Tom Schoukens from Schoukens Training Centre (STC) regarding the characteristics and standards of Arabian horses.” When talking about his personal style, Francis Geeroms points out: “Although it is very demanding for myself, my hyperrealistic approach rhymes with thoroughness and refinement. I am always in search for details and trying to reproduce scrupulously the anatomy. Important to me is also to respect the correctness of an expression or an attitude of the horse. As self-taught, without any academic artistic technique, my hands just reproduce what my eyes see. “ Nariin

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The sculpture is finished and ready for the making of the mold

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The first layer of the silicone mold is very important, it will capture the smallest details of the sculpture

The mold is finished

His working techniques need a lot of preparation: “My creations are the result of a careful observation of dozens, sometimes hundreds of photos. I draw, take pictures, film, measure and study my models. I want my sculptures to give back a singular movement, to capture a particular attitude, to immortalize a unique fraction of a second. And so I hope they will touch people or at least evoke an emotion.” A sculptor is only as good as his foundry. Therefore, Francis Geeroms continues: “My work would not be as accomplished if it wasn’t for the outstanding talent and skills of the foundry craftsmen, they are the unsung heroes that breathe life into my sculptures. I expect as much from them as I do from myself.” Francis Geeroms also gets involved in the different stages of the bronze casting. He equally enjoys this part of the creation process: “It’s exciting and fascinating to watch the slow transformation from clay (I use plastiline) to bronze”, Francis Geeroms reports. “After three years of tight collaboration with the Harzé art foundry we now build a strong team. Each collaborator is aware of what I want to achieve and understands my vision of the sculpture.”

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Removal of the epoxy mold which reveals the silicone mold

Although his career is still young, Francis Geeroms had already notable success with his work: In 2018 he had the opportunity to exhibit his work in Monaco for the first time. He displayed at the International Show Jumping event of Monte-Carlo, which was followed by some other international show jumpings. “In 2019, during an important equine event in Zangersheide (Belgium), Tom Oben from Obi Training Centre admired my work “Nabil”, a life-size chest of an Arabian horse. Following this he invited me to exhibit at his booth during the All Nations Cup in Aachen (Germany). Here I had the great opportunity to meet Mr. and Mrs. Charly and Shirley Watts from Halsdon Arabians (United Kingdom), who honoured me by acquiring and showing one of my sculptures in their gorgeous stables”, Francis Geeroms explains. Then he continues: “2020, the Covid year, synonymous of no show jumping events and no exhibitions. Nevertheless, my desire and need of creating are still intact and I am longing to show my new sculptures as soon as possible. My current project is a life-size bronze of a young Arabian horse.”

The beginning of the patina process

The patina is finished, to protect it a wax is applied

The latest work by Francis Geeroms, a sculpture of a young Arabian horse

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Removal of the original sculpture from the silicone mold

Nabil is ready to leave the foundry

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The silicone mold reveals the negative of the original

A sketch is the base of the realization of any sculpture

Francis Geeroms lives in Gooik, a small town located in the middle of Belgium. “I am married and I have a lovely daughter, Kelly, who strangely has never been attracted to horse riding”, Francis Geeroms explains. “Pascale, my wife, who was also a rider, is the first critical eye of my work, she’s often a good advisor but especially my first fan. Sculpture is an all-consuming passion for me.” Asked about his dream concerning art, Francis Geeroms smiles: “My ultimate aim is to reach perfection or to get the closest possible, knowing well that, as José-Maria David, a famous French animal sculptor that I admire a lot, said: “la perfection n’existe pas” (perfection does not exist).” q

Francis Geeroms working as a farrier in his youth

The Talking Kilims and Carpets of the Nomads in Iran by Monika Savier

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About the Lost Relationship Between Nature and Man and What we Can Learn From the Nomadic Tribes of the Orient. We already know that Persian carpets can fly from the oriental fairy tales of “One Thousand and One Nights”. This mythical means of transport has fascinated many generations of readers and fired our imagination, even though we didn’t really want to believe in it. It is quite different with the talking carpets from Persia, or rather the talking kilims of the nomads (called Bedouins in the Arabic-speaking countries), which have actually been around for thousands of years and whose language sends messages in the form of tribal symbols on blankets, carpets or kilims. This symbolised information was the origin of nomads’ culture, it represented the life, the thinking and the feeling in a mystical, animalistic or religious way as a way of communications with the supernatural forces. For behind every natural event, whether life-threatening or beneficial, there had to be angry or good spirits or gods who were to be pacified or to whom one was indebted. The nomads tried out various ways of cultural representation to overcome the difficulties in life.

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MoSa. People can also convey symbolism through their tattoos, which can have an important function when it comes to warding off danger or promoting happiness. These two women from the Bedouin tribe of Anaze in eastern Syria have it written all over their faces that they are widows and no longer want to smile.

In the Arabian world, tattoos on women’s faces were also a tried and tested means of asking the spirits and gods for good luck and averting misfortune, since they had no way of knowing scientifically about natural forces or misfortunes scientifically and to develop counter-strategies. The nomads lived in a faith-based society of small groups in which everyone knew everyone else and there were manageable rules of ethics, morals and survival needs. They did not have to compete in anonymous knowledge societies where life is very complicated and the social and cultural differences between people, and even more so between people and animals, are enormous. The fascination of many Arab breeders for the culture and way of life of the Bedouins, nomads or other pastoral peoples, some of whom still existed in the tradition of “gatherers and hunters” and until a few decades ago lived entirely without producing CO2 and in harmony with their nature and wildlife, shows the longing of the population from industrialised areas of the world for the simplicity of life. Who would not like to roam (once) on foot according to the seasons with Arabian horses, camels, perhaps Salukis and falcons in search of food through the vastness of the steppes, the Badias, the deserts of the Orient? Today we call the invention of sedentarisation and agriculture “mankind’s greatest mistake” ( J. Diamond). It was a dramatic turning point in human evolution

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through the emergence of property, inequality, power and patriarchy. Animals were domesticated, diseases jumped to humans and from 4 million of the world’s population 10 thousand years ago, we are now at almost 8 billion. (C. van Schaik). Nevertheless, this civilisational leap is celebrated as progress. Today, we see the result of this “success story” in the worldthreatening climate change and for this reason as well as others, the romantic tales of nomadic life around the campfire take on a serious place in our consciousness. “The nomadic way of life and economy keeps closest to the original long way of life of humans as gatherers and hunters. It can be assumed that ancient essential experiences from the beginnings of human history were most likely stored and preserved through ancient symbols in nomadic rugs and can be revealed if necessary. These kilims and carpets and the archepathos symbols they contain thus contain symbolic representations of elementary patterns of experience and behaviour. In this function, they are carriers of basic structures of human patterns of imagination and action and thus they correspond to the basic requirements of human existence. They are universal archetypal symbols that can serve as a bridge or at least as a source of inspiration to enable access to people’s inner resources”. (Hejazian p. 93) In my search for new connections between historical

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artefacts of Bedouin or nomadic culture and our cultural problems today, I met Dr. Razi Hejazian, an international expert on the symbolic language of the kilims and has conducted research in Iran, Anatolia, Central Asia and the Caucasus on the life of the nomads and their universal visual language Kilims and carpets. It was only on the basis of extensive excerpts from his fascinating book “Kilims and Carpets of Nomads and Peasants, Universal Images in the Service of Prudence, Connectedness and Aesthetics” that I was able to write this text for Desert Heritage Magazine. Those who breed asile or straight Egyptians from the countries of origin have probably often thought about the cultural context in which Arabian horses originated and how the Bedouin or nomadic tribes

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lived in harmony with nature and their animals. The nomads themselves saw themselves as part of this nature and their respect of the forces of nature, their living in harmony with their animals and the barren nature, also stemmed from necessity in the context of the daily toils of survival. After reading Hejazian’s exciting book I realised the connection to the history of our horses. And the fact that Kelims can talk made me curious. I am one of the Arabian breeders who have researched with great interest where these horses come from and who made them what they partly still are today, intelligent, beautiful, functional and sensitive animals from the vastness of the deserts and steppes, part of a culture of people who raised and used them in partnership. Arabian horses, along with camels and perhaps goats and sheep, characterise the nomadic Bedouin culture, whose saddle blankets

and saddle bags, tents, carpets represent their living environment in artistic form and symbolic language. The pictorial language of the (illiterate) nomads, to process their messages in kilims, is undoubtedly an art. “They did not distinguish between beautiful or applied art. They did not have an art that was fundamentally detached from practical purposes. In the Western world, this approach to life, which knew no boundaries between beauty and practicality, between work and rest, is increasingly seen as enviable and desirable.” (Hejazian p.118) Life in the steppes and deserts was characterised by many risks. Nomads, or Bedouins, had a clear division of labour, which had both pragmatic and

religious origins. The men worked as shepherds and moved with horses, camels, sheep or goats through the vastness of their boundless environment. The women organised life in the tents, they gave birth and cared for the children, looked after the food, wove the textiles for the winter or summer tents, wove the kilims and with the help of the girls they also worked on carpets and kilims, the sale of which had to cover the living costs of the tribe to a large extent. But not only did the women do this, as we can see from the talking kilims, they also mastered knowledge, for it was they who passed on the art of symbolism. “It is precisely in the creation of ever new variations that the strength of those nomadic women who made

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carpets and kilims lies. Their works mainly followed the respective iconographic themes and rules which made them interpretable and comprehensible to the members of society.” (Hejazian p. 103) But this book is not only about the authentic kilims and carpets of the oriental nomads as symbol bearers. It is also about nomadic coexistence with nature and the respect and will to preserve that the nomads have for nature. “These kilims are significant at the same time in view of the aspect that the nomadic way of life and economy keeps closest to the original long way of

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life of humans as gatherers and hunters. Humans have spent about 99 percent of their history (from hunting and gathering nomads of Homo erectus about 500,000 BC to their sedentarisation and domestication of plants and animals about 5000 years BC) as gatherers and hunters. Given this fact, his intellect, interests, passions and the basis of his social life are all indebted to the hunter-gatherers of prehistory. It can be assumed that the symbols and signs in the nomadic rugs contain, at least in part, ancient essential experiences from the long-lasting beginnings of human history”(Hejazian p.12). The respect and attention of these people for their

animals of every kind with whom they live is sadly history in our industrialised world today, yet it is impressive and understandable. Hejazian writes: “In the 1990s, I visited the remnants of some Shahsawan nomads in northwestern Iran a few times. The first thing that always struck me during such encounters was the simplicity of daily life and the contentment of the people. After my arrival at a family’s home, the grandmother was given the task of killing a chicken for dinner with the guest (with me). I observed how the old lady first separated the chosen chicken from the rest of the chickens and then practically held the whole flock of chickens in such a

distance that the animal and the flock of chickens no longer made eye contact with each other. This, the host told me in response to my curious question about this practice, was to prevent the animals from being frightened by the killing of a conspecific. In the second step, she offered the animal she wanted to kill a drink of water so that it and its soul would not suffer thirst. The animal, it is believed, will then move on and tell others about how well it was treated to the end of its life. Then she held a mirror to the chicken’s face so that the animal would not feel lonely and afraid. The animal’s feelings of fear and fright can even make its meat inedible, I was told. In the end, while killing the animal, she turned its head towards the south,

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Fields, grids and net patterns have a defensive function against potential dangers during the night, especially in sleeping mats and ponds. The evil is supposed to get caught in the grid or net.

Especially the diamond and the four-part diamond symbolise the magic eye against the evil eye, because most misfortunes, failures and illnesses were attributed to the evil eye.

Zigzag lines or wavy lines on the kilim signify flowing water or symbolise the blessing of thunderstorms and lightning.

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namely Kaaba (direction of prayer), as the ritual prescribes. This example illustrates that in the animal relations of the nomads, the active part ultimately does not necessarily lie with the people, but predominantly with the animals. These rituals testify to a perpetual dialogue between all living things, which formed the basis of these people’s habits of belief and behaviour. With this ritual, it seemed to me that one honoured the animal that one had to kill at the same time. The faith of the nomads demanded a reciprocal relationship between the people and their living environment. The feeling of domination is thereby reduced to a minimum through the awareness of dependence. This illustrates and underlines the importance of the nomads’ and their society’s striving for balance with the surrounding nature. This idea also played an important role for nomads and agrarian societies that had partly settled down and formed the core of numerous mythological and ceremonial practices. Corresponding rituals were developed that were less about people exercising power over nature than about living together with it. The artefacts and images and symbols they contained played a key

role in demonstrating and maintaining this balance. In nomadic and peasant societies, this gave rise to narratives in which one’s interconnectedness and even dependence on the natural environment was respectfully acknowledged. As a result, these societies were able to develop behaviours that expressed how sparingly the whole community used nature. The need to find harmony and balance with nature through symbolic linkage is one of the specific conditions of human existence. It is primarily about man’s fundamental desire for relatedness or the feeling of being embraced in nature. He tries to counteract the insecurity and disengagement that come with his existence by relating to and being bound by nature. The unity with nature or the bond and integration with nature used to be largely established and supported by mythologies and religions. These have gradually fallen away through processes of rationalisation and secularisation and their effect has been greatly diminished. As a result, the transcendental and spiritual paths for fulfilling the integrative existential basic needs of people in their search for meaning, orientation and identity in nature have become obsolete

for some and considerably more difficult for some. The disruption or removal of the relationship, bond and rootedness of human beings to nature leads to disintegration processes that have increased in intensity in the course of industrialisation. More and more technologies are being pushed between humans and nature, making a direct relationship and connection difficult, if not impossible. Ultimately, our interaction with nature today is shaped by the consumer-centred market economy. “We’re consuming ourselves to death, and it’s not even amusing us.” The Washington Worldwatch Institute came to this conclusion in its report back in 2004: “The spread of Western lifestyles threatens not only ecosystems, but also the development opportunities of poor countries.” This study considered consumption to be the criminally neglected environmental issue. The success of today’s growth economy owes much to a form of economy that has been able to be so uniquely successful because no one has thought about the fact that its basis for success is not unlimited. All products are the results of material transformation - everything comes from mines, forests, waters and soil. But no visions

or utopias have been thought up to sustain this form of economy without ruining the natural conditions for it all. Instead, the growing eco, climate and sustainability issues have led more to chronic discontent among people, which itself has driven hyper-consumption.” (Hejazian p.45). Horse lovers and horse breeders today are always trying to counter this distance through positive connection with their animals. But even today’s animal husbandry, which is not subordinated to the food industry, is struggling with animal husbandry that meets the animals’ natural needs. It is too late for a “back to nature”, nature itself no longer exists in its original form and we humans also live in other realities. Nevertheless, the story of the nomads is a key to understanding how we can still encounter nature with respectGaplan-Muster, today and of what Filzteppich, Turkmenen an inspiring language and artistic approach this story of the nomads tells. “In so-called scriptless cultures, like the nomadic ones, the realms of jewellery Tigerfell-Muster, and ornamentation on the Kelim-Ausschnitt, Mazandaran one hand and signs and symbolism on the other merged fluidly. Thus, on the one hand, the patterns tell both of the cosmological Skorpion-Muster, Kelim-Ausschnitt, Gaschgai

The large rhombus means a well or pond. The sprinkles (rag) mostly on the monochrome kilims stand for the request for rain.

treten auch die Motive wie Drachen und Fabelwesen (Mischwesen) auf, die als Totem-Tier die Gefahren abwenden. So sind Tiermotive Träger von Eigenschaften, die dem Menschen fehlen oder die er sich wünscht, um das Unheil abzuwehren. Die wichtigen Schutzfunktionen leisteten wolf is worshipped byExistenzangst the Shahsawan verhindieseThe Symbole, im dem sie nomads as a guardian spirit, just as strong derten. Sie schafften als schützende Kraft das animals such as lions, leopards and tigers serve as symbols ward off Überzeugung, danger. beruhigende Gefühltound die dass die Ordnung im Kosmos gesichert ist.

Wolf teeth motif on the tent door in

north-west Iran. Zelttür, Schahsawan, Nordwest-Iran Wolfzähnen-Motiv,

Von den Streifen des Tigerfells (Babr) ist Streifen-Muster in den Teppichen mancher nomadischen Gegenden inspiriert.18 Das gepunktete Muster deutet auf das Leopardenfell (Palang) hin. Die beiden Tiere gelten bei vielen Nomaden als ToDesert Heritage Magazine • tem. Es bestand bei den Turkmenen die Auffassung, dass der Leopard (Gaplan) vom Menschen abstamme.19 Die Vorstellungen über die Verwandt-

Relikt des Brauch zieren, und den da stellungen des Ü Qualitäten des To

Die Schahsaw Gaschgai im Süd Stücke, die das Sk Amulett magische Das Skorpion-Mo lichen Skorpion, d chen abwehren m Gleichzeitig symb köpfe, die wegen mentalen) Wirkun werden. Wichtig is ses Motives, wodu fährlichen Tier zu d licht wird. Ihr Glau auf einem Gewebe de, Gefahren und durch das Skorpi das Stück als mag Schwangeren neb Wesen (die schwa Kind zu töten ode

Bei manchen delt es sich gleichz 111 Sicherheit, Gesun appellierten sie an den Drang nach G

world explanations valid for the nomads and of their individual life stories and events. At the same time, nomads also played a no less important role in producing something beautiful for themselves and their families. The carpet or kilim was a means of language, a medium of expression and at the same time a work of jewellery. In Europe, its status in the Orient as a medium of expression and language corresponds not only to that of panel painting but also to that of the written work. Thus, a nomadic carpet or kilim was a pictorial work, a written work

112 • Desert Heritage Magazine

and a decorative work at the same time. The nomadic producers of textiles covered many of their daily needs - from clothing to housing - by weaving and knotting the wool of their animals. At the same time, textiles, especially carpets and kilims, were the most important - if not the only - forms and media of their artistic and cultic creation. Material, form, pattern and colour were appropriately symbolic. They acquired their own abstract language of signs, through which their artistic work could develop in genuine independence. Nomad’s symbolic visual language also developed

MoSa.

widely among the nomads because there was no written language. For this reason, their visual language is called the “script of the scriptless”. The function of acting as the script of the scriptless has given these works a physical and contentrelated density and an immense symbolic radiance. The art of the nomads can also be considered one of the oldest surviving forms of artistic creation of mankind.... In the course of time, the nomads developed a predominantly abstract formal language to represent their habitats and living conditions, which were dominated by nature. This enabled them to transfer their neediness, joy, fears, desires, life, death, the cosmos and the supernatural, but also their real world such as their economic well-being, into their carpets and kilims. Various criteria can be used to categorise the symbols.

Desert Heritage Magazine • 113

Thus, symbolism can refer to different contents, which can also overlap, such as: Material content, nature impressions and dangers, chronicles (power, family, marriage, birth, death) or immaterial content such as sacred, metaphysical, spiritual themes. Here is an example: As always in my travels to nomadic regions in the Orient, I curiously asked the owner, who was a woman of about 70 years of age, about the age, the origin and especially about the pattern of this kilim.

114 • Desert Heritage Magazine

I wanted to find out what was depicted on this kilim, what meaning the characters woven and embroidered on it might have? She began to tell me in detail that although the kilim was made and used as a “sofreh” (bread towel), it is primarily a carrier of important messages. The light background represents the desert and the barren landscape that is omnipresent here in this region. In her descriptions, the harsh living conditions associated with the barren landscape were

palpable. In the kilim, she continued, the patterns are “amulets” and show snake motifs as a deadly danger in the desert, but at the same time they are lightning symbols and represent the blessing of water. Snakes transform into lightning and into rain, which is then sent down from heaven to earth. In this function, the nomads took this kilim every year to a sacred place near their summer quarters (Emamzade Magsud) to use it once as a base for the offerings and then to consecrate it. The main purpose of this ceremony was to intercede for the rain and the flourishing of nature, on which the survival of all their animals and thus their existence depended. Thus, with the help of the snake and lightning motif, the storm that would bring salvation was conjured up. According to the descriptions, the kilim served both practical and cultic purposes in daily use. The symbolic imagery of this kilim with the “snake-lightning motif ” or “snake-rain motif ” obviously involves magical or animistic practices. It consists of a worship of natural phenomena (lightning) and the animal (snake), to which the nomads attributed active souls that they

Dr. Razi Hejazian studied art history and anthropology and completed both with a doctorate. He is a professor at the University of Tabriz, Iran and has taught at the Humboldt University in Berlin on the nomadic culture of the tribes in Iran and on the symbolic language of the kilims. He has conducted research in Iran, Anatolia, Central Asia and the Caucasus on the life of the nomads and their universal visual language and culture. He has a kilim and carpet gallery in Berlin, a place that has a unique atmosphere due to the original kilims of the nomads. See www.hejazian.de - Contact: info@hejazian.de

wanted to influence through the symbolism in their cult rugs. The symbols functioned as mediators between humans and nature. This produced “a liberating experience of the unrestricted possibility of a relationship between man and the environment”. But it did not stop at this act of relating and connecting to nature. The decisive moment in this cultural process is also the act of substitution or metaphorisation, so that the poisonous snake is transformed into the life-affirming rain. Here, it is clearly the connection between the death-bringing snake and the blessing rain that matters. The symbolic transformation created the prudence space and enabled the taming of danger and violence.” (Hejazian p.10) For the nomads, belief in magic and its powers was the basis for improving their situation, averting disaster and, in the best case, fulfilling wishes. Their close connection to nature, especially to their animals, made it possible to experience a subjective taming of danger through magic in everyday life. We humans are also herd animals, and the family is only one of the many ways in which people can experience cohesion and group membership through the combination of activities, knowledge and beliefs. Here, too, the culture of symbolism and commonalities plays a major role. Cult, style, symbols and identification help us to resolve and harmonise differences and we also believe in the almost magical power in groups. What is urgently needed in today’s industrialised society, however, is to re-establish the lost link between nature, environment and people. A look at the lost world of the nomads could be helpful. Bibliography Jared Diamond, “The Worst Mistake in the History of the Human Race”. Discover Magazine 1987 Razi Hejazian, “Kilims and Carpets of Nomads and Peasants, Universal Images in the Service of Connectedness, Prudence and Aesthetics”, Berlin 2019 Carel van Scheik & Kai Michel, „The Good Book of Human Nature”, New York 2016

Desert Heritage Magazine • 115

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Arabian Horses in Italy Una Storia in tre episodi ~ A Story in Three Episodes

La storia e lo sviluppo del cavallo Arabo nel Mediterraneo è anche la storia della nostra civiltà e della nostra cultura The History and Development of the Arabian Horse in the Mediterranean is also the History of our Civilisation and Culture Monika Savier

Parte I dal 700 a.C. al 7000 d.C.

Part I from 700 BC to 700 AD

Non c’è alcun cavallo arabo la cui ascendenza documentata sia più antica di 300 anni. Quindi, da dove provengono i cavalli arabi? Come e dove ha avuto origine questa nobile razza e che ruolo hanno avuto i popoli della regione mediterranea nella sua diffusione? Non solo la penisola arabica, ma anche l’Italia e soprattutto la Sicilia, che fu musulmana per quasi 400 anni, potrebbero fornire una risposta.

There are hardly any Arabian horses whose documented ancestry is older than 200 years. So where did they come from? How and where did this noble breed of horse originate? And what role did the peoples of the Mediterranean region play? Not only the Arabian Peninsula, but also the history of Italy and especially Sicily, which was Muslim for almost 400 years during the Middle Ages, could provide an answer.

118 • Desert Heritage Magazine

Graphic relief of a bas-relief with a Babylonian chariot Tablet of the period Seleucid

Ancient nautical map

Il cavallo arabo in Italia è il risultato del tempo e dell’ambiente e quindi fa parte della storia culturale della civiltà umana nel Mediterraneo. Ma dobbiamo guardare più da vicino il passato per capire il presente e tentare quindi di scoprire l’origine di questi animali. Per la maggior parte degli allevatori attuali questa straordinaria razza equina proviene dal Medio Oriente; nella pa-

The Arabian horse in Italy is a result of time and environment and thus part of the cultural history of human civilisation in the Mediterranean. But we need to look more closely at the past to understand the present and thus the origin of the Arabian horses. For most breeders today, the origin of Arabian horses lies in the darkness of Middle Eastern history. In official palaeontolDesert Heritage Magazine • 119

Phoenician trading area

leontologia e nell’archeologia ufficiali viene menzionata solo come fenomeno marginale, cioè quando i ricercatori si imbattono in tombe e corredi funebri di nobili e generali che si sono fatti seppellire insieme al loro cavallo per avere ancora con sé nell’aldilà il loro fedele compagno. Fin dal VII secolo d.C., con l’emergere dell’Islam nella penisola araba e la sua diffusione, i cavalli arabi sono venuti alla ribalta della storia. Il loro allevamento, i criteri di selezione e la loro diffusione facevano parte del credo religioso islamico, addirittura si riteneva che un grande potere emanasse da questi animali. Ma l loro significato evolutivo per l’umanità era iniziato molto prima. Nella “culla della cultura” del vicino Medio Oriente, la Mesopotamia, situata a nord-est della penisola arabica

ogy and archaeology, they are only mentioned as a marginal phenomenon, namely when researchers come across the graves and grave goods of noblemen and generals of history who had themselves buried together with their horse in order to still have their faithful companion with them in the afterlife. It was not until the 7th century AD, with the emergence of Islam on the Arabian Peninsula and its successful spread, that Arabian horses came to the forefront of history. Their breeding, the selection criteria and their spread were part of their religious beliefs. Slowly an outstanding ethnically consolidated breed was formed. It was said in many accounts that great power emanated from these Arabian horses. But their evolutionary significance for mankind had begun much earlier.

Bronze band with reliefs , Balawat, Assyria 883-859 B.C. 120 • Desert Heritage Magazine

Bas-relief of a Phoenician ship, 4th century BC Table of symbols and iconographic representations of the Assyro-Babylonian culture

tra i fiumi Eufrate e Tigri, nacquero non solo la scrittura, l’architettura e la medicina, ma anche l’arte di allevare i cavalli, secondo i bisogni e le diverse necessità del tempo, diverse migliaia di anni prima di Cristo. Anche dall’inter-

From the “cradle of culture” in the Near and Middle East, Mesopotamia, the Mesopotamian land in the north-east of the Arabian Peninsula between the Euphrates and Tigris rivers, arose not only writing, architecture and medicine, but also the art and necessity of breeding horses, according to the needs of their riders and the requirements of the time, several thousand years before Christ. Also from the interior of the Arabian Peninsula, the Nejd, came with the Bedouin tribes to Mesopotamia during the hot seasons in search of fodder for their animals. Over the centuries, this breed of horse was shaped by its environment, which made the necessary adaptations possible for the survival of its species. From the Arabian Peninsula to the eastern Mediterranean coast and Anatolia, as well as far into northwestern Persia, horse-breeding peoples already existed in the Bronze Age. A new era in human history began when horses were domesticated and ridden. In Mesopotamia, the Sumerian, Hittite, Assyrian and Akkadian peoples laid the foundation for the use of horses in cavalry. This set in motion horse breeding and its special selection and led to an accelerated development of man and his cultural evolution. The ridden horse made possible the effective migrations of peoples of that time, which were preceded by hordes of horsemen - whether they were threatened by famine, motivated by war or coDesert Heritage Magazine • 121

Ceramics, Greece, Athens mid-6th century BC (Los Angeles County Museum of Art)

no della penisola araba, i cavalli Nejd si spingevano con le tribù beduine in Mesopotamia, durante le stagioni calde, in cerca di foraggio. (*) Nel corso dei secoli, questa razza è stata modellata dal suo ambiente e ciò ha reso possibile la sopravvivenza della specie. Dalla penisola araba alla costa orientale del Mediterraneo e all’Anatolia, così come fino alla Persia nord-occidentale, i popoli che allevavano cavalli esistevano già nell’età del bronzo. Una nuova era nella storia dell’umanità iniziò quando questi animali furono addomesticati e cavalcati. In Mesopotamia, i popoli sumeri, ittiti, assiri e accadici posero le basi per la nascita della cavalleria. Questo generò l’allevamento dei cavalli e la loro selezione speciale portando ad un veloce sviluppo dell’uomo e della sua evoluzione culturale. L’animale cavalcato rese efficaci le migrazioni dei popoli che vennero minacciati da carestie e da orde di cavalieri che si muovevano per scoprire, conquistare e stabilirsi in nuove terre. La regione mediterranea, con il suo clima mite e le sue 122 • Desert Heritage Magazine

lonialism - to discover, conquer and settle in new lands. The Mediterranean region with its mild climate and fertile areas corresponded to the prey pattern of the equestrian peoples from the Orient. The seafaring peoples also cultivated their horse breeding, as they were dependent on these noble animals for fighting on land. Well-organised cavalry from the Orient swarmed out, reached Greece and present-day Italy by sea or land and spread their advanced civilisation in the climatically temperate zones. The development of agriculture, farming and animal husbandry, including horse breeding flourished. They had brought their oriental horses with them on their sailing ships. This created a Neolithic cultural revolution along the Mediterranean coast and accelerated civilisational development on the Italian peninsula and especially in Sicily, the ancient island in the centre of the Mediterranean. Thus, horses from the Arabian Peninsula also came to Italy, Sicily and the North African coast. As early as the 9th century BC, the Phoenicians began to establish trading settlements on the west coast of Sicily. They came

Horse and rider from an Attic amphora of the 5th century B.C. Equestrian lesson depicted on an Attic red-figure kylix from Vulci, c. 510 BC. (Munich, Staatliche Antikensammlung) Attic amphora (Agrigento, Sicily) Detail of an Attic Lekytos (Sicily)

with their sailing ships from the eastern Mediterranean coast, today’s Syria and Lebanon, and brought their oriental horses with them. In 814 BC, a group of Phoenicians founded the city of Carthage in today’s Tunisia, south of the island of Sicily. According to Herodotus, the historian of the time, they were extremely skilled horsemen and, together with the Numids, a people close to them, rode such well-balanced and welltrained horses that they could lead them into battle by their voice, balance and the simple pressure of their legs. This left their arms and hands free to hold a bow and arrow or a lance to attack. The now greater efficiency of ships facilitated trade in horses, which had always existed in the Mediterranean. The oriental influence on the cavalry of the tribes was further consolidated by the wars of conquest in the Mediterranean and trade with Carthage, Sicily and Italy was intensified. In this respect, it can be assumed that horses from the Orient were also ridden in the Maghreb, the north of Africa, even at that time. In the course of time, different environmental and living conditions and different geographical directions allowed them to spread in the areas around the Mediterranean coast, resulting in several type variants of the same original Oriental breed. Desert Heritage Magazine • 123

The Temple of Segesta, Calatafimi, 5th century BC, in Sicily with its fertile and lush valleys

zone fertili, era la preda favorita degli eserciti dell’Oriente. Anche i popoli marinari coltivarono l’allevamento di cavalli poiché dipendevano da questi nobili animali per combattere sulla terraferma. La cavalleria ben organizzata proveniente dall’Oriente sciamò, raggiunse la Grecia e l’attuale Italia via mare o via terra e diffuse la sua evoluta civiltà nelle zone climaticamente più temperate. Fiorì lo sviluppo dell’agricoltura, dell’allevamento della zootecnia, e anche l’allevamento dei cavalli che, trasportati via mare, contribuirono a provocare una vera e propria rivoluzione culturale e accelerarono lo sviluppo nella penisola italiana e in Sicilia, l’antica isola al centro del Mediterraneo ma anche nella costa nord africana. Già nel IX secolo a.C. i Fenici cominciarono a stabilire insediamenti commerciali sulla costa occidentale della Sicilia. Arrivarono con i loro velieri dalla costa orientale del Mediterraneo, l’odierna Siria e il Libano, e portarono con sé i loro cavalli orientali. Nell’ 814 a.C., un gruppo di Fenici fondò la città di Cartagine nell’odierna Tunisia, a sud dell’isola di Sicilia. Secondo Erodoto, lo storico dell’epoca, erano cavalieri estremamente abili e, insieme ai Numidi, un popolo a loro vicino, cavalcavano cavalli così equilibrati e ben allenati che potevano condurli in battaglia con la voce, l’equilibrio e la semplice pressione delle gambe. 124 • Desert Heritage Magazine

Coins with depictions of Pegasus, horses and chariots (Sicily) Attic cup with equestrian scenes (Sicily)

Sicily: Approximately 188 km long, 288 km wide and has 1,637 km

Questo lasciava le loro braccia e mani libere di tenere un arco per scoccare una freccia o una lancia per attaccare. La maggiore efficienza delle navi facilitò il commercio dei cavalli, che era sempre esistito nel Mediterraneo. L’influenza orientale sull’allevamento del cavallo fu ulteriormente consolidata dalle guerre di conquista nel Mediterraneo e il commercio con Cartagine, la Sicilia e l’Italia ne risultò intensificato. A questo proposito, si può supporre che, anche a quel tempo, i cavalli provenienti dall’Oriente fossero utilizzati anche nel Maghreb, il nord dell’Africa. Nel corso del tempo, le diverse condizioni ambientali e di vita e le diverse direzioni geografiche hanno permesso loro di diffondersi nelle zone intorno alla costa mediterranea, dando luogo a diverse varianti di tipo della stessa razza orientale originale. La Sicilia è stata teatro di molte civiltà con diverse culture, religioni e tradizioni. Non solo le incursioni e le guerre lasciarono cavalli e persone nelle terre straniere del Mediterraneo, ma anche un vivace commercio tra le tribù arabe d’Oriente, la Turchia, la Grecia, il Maghreb e la Sicilia. Secondo Diodoro Siculo, quando i Troiani invasero la Sicilia, organizzarono giochi equestri e corse di cavalli a Segesta. Si dice anche che Ercole il Tebano abbia cavalcato lì un cavallo arabo ricco di sangue e creò giochi e corse di cavalli con le bighe in Sicilia ancor prima della fondazione dei giochi olimpici. I giochi olimpici di Atene (776 a.C.) erano anche, almeno in origine, intesi come una prova cerimoniale dei cavalli del Mediterraneo. Nel III secolo a.C., il filosofo e generale greco Senofonte, allievo di Socrate, ci ha lasciato opere scritte sull'allevamen-

Sicily was the scene of many civilisations with different cultures, religions and traditions. Not only did raids and wars leave horses and people in foreign lands of the Mediterranean, but also a lively trade between the Arab tribes of the East, Turkey, Greece, the Maghreb and Sicily shaped the Mediterranean cultures. According to Diodorus Siculus, when the Turkish Troians invaded Sicily, they founded equestrian games and organised horse races in Segesta, Sicily. Hercules the Theban is also said to have ridden an Arabian horse there, which was high in blood. He organised equestrian games and horse races with chariots in Sicily even before the Olympic Games were founded. The Olympic Games in Athens, (776 BC) were also, at least originally, intended as a ceremonial test of the horses of the Mediterranean. In the 3rd century BC, the Greek philosopher and general Xenophon, a pupil of Socrates, already

Equestrian games, graphic relief from an Attic amphora (Sicily) Desert Heritage Magazine • 125

to dei cavalli e il loro addestramento, come il libro Hipparco, una guida alla gestione dei cavalli giovani, e L’arte della cavalleria(*). I libri scritti da Senofonte sull'addestramento dei cavalli e dei cavalieri, sono validi ancora oggi. Egli pretendeva che il cavallo fosse visto come un partner e che fosse trattato di conseguenza, in modo che il cavaliere potesse contare sulla propria cavalcatura nei conflitti bellici. La violenza era considerata controproducente, la ricompensa, invece, l'unico modo per costruire la fiducia. I cavalli provenienti dall'Oriente erano leggeri e veloci con una intelligenza altamente sensibile, popolari e ricercati non solo per la loro nobiltà e bellezza, ma anche per la loro “umanità”. Erano senza dubbio il mezzo di trasporto più veloce e più nobile per gli uomini di allora e nessuna guerra poteva essere vinta senza questi cavalli. Per questo hanno avuto un ruolo di primo piano anche nella letteratura, nella poesia e nelle saghe eroiche. Dalla mitologia greca sappiamo che la dea Demetra donò

left us written works on horse breeding and their training, such as the book Hipparchicus, a guide to the handling of young horses, and “On horsemanship”. The books written by Xenophon on the training of horses and riders, are still valid today. Xenophon called for the horse to be seen as a partner and to be treated accordingly, so that the rider could rely on his horse in warlike conflicts. Violence was considered counterproductive, reward, on the other hand, the only way to build trust. Horses from the Orient were light and quick with highly sensitive minds, popular and sought after not only for their nobility and beauty, but also for their humanity. They were undoubtedly the fastest and noblest means of transport for people in those days and no wars could be won without these horses. That is why they also played a prominent role in literature, poetry and heroic sagas. From Greek mythology we know that the goddess Demeter gave the island a horse, which at that time was symbolically regarded as the bearer of civilisation. This horse Arion, son of

Amazons in combat, 4th century B.C. 126 • Desert Heritage Magazine

Graphic reliefs of Attic vase paintings (Sicily) Punic coin with depiction of Triptolemus

alla Sicilia un cavallo, che all'epoca era simbolicamente considerato il portatore della civiltà. Questo cavallo di nome Arione, era figlio di Poseidone e Demetra, il suo incarico era di trasportare le folgori di Zeus, con un colpo dei suoi zoccoli era in grado di far sgorgare l’acqua delle sorgenti. Nella mitologia era responsabile del trasporto, attraverso la notte e il freddo inverno, del seme di grano, cioè dello spirito delle messi, è il protettore dell'agricoltura e associato al culto del raccolto. La natura siciliana, capace di produrre grano e nobili cavalli, fu associata dai poeti antichi a Trittolemo che ricevette da Demetra il dono di domare i cavalli e coltivare il grano. (*) Il Mito attribuisce a Trittolemo anche delle norme che raccomandavano di trattare i cavalli con delicatezza e di non ferirli mai, metodi simili erano noti in Mesopotamia. (G. Pucci-Maiorano, storico siciliano). "Molte città siciliane avevano il cavallo come simbolo sulle loro monete. Per distinguersi, i popoli orientali vollero anche aggiungere la palma da dattero, antico emblema della Fenicia, allo stallone libero che simboleggia la Libia.

Poseidon and Demeter, carried Zeus’ thunderbolt and made the waters of the springs jump with one hoofbeat. In mythology, he is responsible for carrying the spirit of the grain seed unharmed through the night and the cold winter. He is the protagonist of agriculture and associated with the cult of the harvest. Sicilian nature, capable of producing grain and noble horses, was associated by the ancient poets with Triptolemus, who received from Demeter the gift of taming horses and growing wheat. Triptolemus also left regulations recommending that horses be treated gently and never injured, methods that were similar in Mesopotamia. “Many Sicilian cities had the horse as a symbol on their coins. To distinguish themselves, the Oriental peoples also wanted to add the date palm, the ancient emblem of Phoenicia, to the free stallion symbolising Libya. Carthage chose the horse as a symbol on all its coins because the original maritime power was particularly proud of its successful cavalry. In the numerous Sicilian artists of the time who engraved the coins, we see a subjective interpretation of the oriental horse. The representation of the head was of great importance to them, Desert Heritage Magazine • 127

Detail of a representation of a quadriga on an Attic lekytos (Sicily)

Cartagine scelse il cavallo come simbolo su tutte le sue monete, l'originaria potenza marittima era particolarmente orgogliosa della sua cavalleria di successo. Nei numerosi artisti siciliani dell'epoca che incisero le monete, vediamo un'interpretazione soggettiva del cavallo orientale. La rappresentazione della testa era di grande importanza per loro, poiché rappresenta l'intelligenza, la sensibilità, la vista, l'udito, l'olfatto e il gusto. Infatti, il cavallo è l'animale in cui la testa, più che in qualsiasi altro, esprime i sentimenti dell'anima, il carattere e la nobiltà d'origine". (G. Pucci Maiorano) Alla fine i greci conquistarono l'Italia meridionale e la Sicilia. Il popolo siciliano al tempo dell'occupazione greca, amava il cavallo e venerava l'arte di allevarlo, addestrarlo e tenerlo in forma per il giorno della guerra. Il poeta Pindaro racconta del grande prestigio di cui godeva la Sicilia per il suo immenso allevamento di cavalli, ed Erodoto scrive che Gelone, il tiranno siciliano di Siracusa, offrì alla Grecia diecimila cavalli per difendersi dall’invasione di Serse I. La tradizione di allevamento del popolo siciliano è attestata anche da Diodoro Siculo e Da Virgilio apprendiamo che il Mediterraneo era un prezioso serbatoio per assicurarsi le risorse genetiche dei cavalli orientali. Appiano, uno storico di Alessandria d'Egitto, scrisse quello che fu probabilmente il primo e più antico resoconto sulle razze equine del II secolo d.C. che sia giunto fino a noi, citando la razza siciliana (Sikeliotic) come una delle più veloci e resistenti. 128 • Desert Heritage Magazine

as it represents intelligence, sensitivity, sight, hearing, smell and taste. Indeed, the horse is the animal in which the head, more than in any other, expresses the feelings of the soul, the character and the nobility of origin.” (G. Pucci-Maiorano, Sicilian Historian) Eventually the Greeks conquered southern Italy and Sicily. The Sicilian people at the time of the Greek occupation, the Sicilians loved the horse and revered the art of breeding it, training it and keeping it ready for the day of war. Pindar tells of the great prestige that Sicily enjoyed for its immense horse breeding, and Herodotus writes that Gelon, the tyrant of Syracuse in Sicily, offered Greece ten thousand horses to wage war against Xerxes I. The breeding tradition of the Sicilian people is also attested by Diodorus Siculus. From Virgil we learn that the Mediterranean was a valuable reservoir for securing the genetic resources of Oriental horses. Appian, a historian from Alexandria in Egypt, wrote what was probably the first and oldest account of horses in the 2nd century AD. Appian, a historian from Alexandria, Egypt, wrote what is probably the first and oldest text on horse breeds that has come down to us, listing the Sicilian (Sikeliotic) breed as one of the fastest and hardiest. Flavio Vegezius, in the fourth book of his veterinary treatise from the IVth century AD, draws up a list of horse breeds in which he states that only the Sicilian and the Persian belong to the group of noble purebreds of oriental breed.

A marble frieze from the Pergamon Altar (Asia Minor), Pergamon Museum, Berlin Equestrian scene on an Attic lekytos (Agrigento, Sicily)

Flavio Vegezio, nel quarto libro del suo trattato veterinario del IV secolo d.C., redige un elenco di razze di cavalli in cui afferma che solo il siciliano e il persiano appartengono al gruppo dei nobili purosangue di razza orientale. Il successivo Impero Romano d'Oriente con la sua capitale Bisanzio (successivamente Costantinopoli e oggi Istanbul), dominava i Balcani, la Penisola Arabica, il Nord Africa e la regione del Mediterraneo durante la tarda antichità, e quindi anche la Sicilia e l'Italia meridionale. Dal 700 d.C. circa, i Saraceni invasero il Mediterraneo e occuparono Pantelleria, un’isola vicina alla Sicilia. Venivano dalla penisola arabica con i loro veloci cavalli e diffusero con successo la loro religione, l’Islam.

The following Eastern Roman Empire with its capital Byzantium (in the meantime called Constantinople and today Istanbul), dominated the Balkans, the Arabian Peninsula, North Africa and the Mediterranean region during Late Antiquity, and thus also Sicily and Southern Italy. But then at the end of the 7th century the Saracens invaded the Mediterranean and Sicily. They came from the Arabian Peninsula with their fast horses and successfully spread their religion, Islam.

Potete leggere la seconda parte di questa storia d’avventura sulla conquista della Sicilia e le conseguenze per l’allevamento dei cavalli arabi in Italia nel prossimo numero di DeSert HerItaGe MaGaZINe.

You can read in the next issue of DeSert HerItaGe MaGaZINe the second part of this adventure story about the Islamic conquest of Sicily and Southern Italy and its consequences for the breeding of arabian horses in Italy. Desert Heritage Magazine • 129

www.desertheritagemagazine.com

Noble Mares of Katharinenhof

The

n by Dr. Hans J. Nagel - photos by Joanna Jonientz

NK Katharinenhof ’s Arabian brood mares are of a very particular quality. Each one of them is a member of a carefully elaborated breeding concept, which is unique in its selection method, its application and its later monitoring procedures. Therefore, no other mares existing worldwide which are comparable to them due to the following detailed facts:

25 breeding horses; they are ordered into 4 families and one single stallion line; they all trace back to the El Zahraa Arabian Horse Stud in Egypt.

Only one closed private population has been exist for 40 years; it is the one of NK Arabians at Katharinenhof in Germany. It is composed of about

The beginning of the stud goes back to the 60’s and started with the import of several carefully selected yearling fillies. They were chosen from such families, which had proven to be very important and essential for the success of the El Zahraa Stud in the past. Four of these fillies became finally the root mares of the Katharinenhof stud.

NK Nerham

NK Nasrin

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NK Nahla

NK Habiba

On the paternal side, stallions from Egypt are listed - sires of the imported yearling fillies as Alaa El Dine - and later on stallions stationed in Europe or in the USA as Madkour I, Ghazal, Ansata Halim Shah. Only these ones became a part of the breeding program, not any other stallion of the existing Egyptian sire lines are involved in Katharinenhof ’s breeding program. It is important to note that only those stallions, which are members of the “Nazeer stallion line” have been used in this closed population.

genetic imprint of each Arabian in the stud, showing the influence of the ancestors on each horse and allowing to determine the prevailing ones. Further studies on similar topics are in preparation. It is felt that by applying such a narrow breeding concept, monitoring is a necessity and very essential.

After a testing and selection period of 15 years in Germany, enough results were collected, which would allow to choose those horses which looked to be suitable for a closed population. It was very essential that all the unwanted characteristics and features had to be detected and if possible, removed during this time, either for constitutional or health reasons. Since then, only stallions and mares bred by Katharinenhof have been introduced into the breeding stock. In cooperation with the University of Göttingen and later with the University of Florida under the guidance of Prof. Samantha Brooks, the development of the herd was studied in detail mainly by investigating the speed of rate of homozygosity over a period of 20 years and establishing its status in that year of testing. At the same time the studies focused on the

The decision for a closed population was triggered by the fact, that a certain type of breeding and even inbreeding was applied in history on many occasions by the Bedouin breeders and that this happened according to old records (Abas Pasha Manuscript and others) mostly in the southern part of Arabia, that means in the Arabian Peninsula. Certain Bedouin tribes were very keen on their own breed, guarded it with great jealousy and kept it away from other breeding stock. It is an interesting fact, when looking to a single Bedouin family or a tribe, which such a family belongs to, that they all lived also in a closed society and were used to such a system. Finally, under these conditions the Arabian breed emerged. It is a great challenge to choose such a historical concept as a breeding goal, the corresponding model of such an Arabian horse would be characterized by a certain type, a noble head, a very light constitution, an overall dryness and a firm mental constitution. All selections for these features should be also strictly controlled

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following today’s scientific knowledge. By time and after several generations, a herd with a high increased homozygosity would show up and consequently similar offspring of a well proven quality. The respective mare families at Katharinenhof have until now produced four to six generations under this closed program. From each generation, those mares were selected for further testing which corresponded to the required overall quality, but also, they had to show the type of the family they belonged to. The prevailing mating in this herd follows the principle of breeding “equal to equal”. Due to the fact that only four families are involved, inbreeding as generally specified is not applied. In addition, attention is paid to the fact that certain differences in type and conformation remain; such a variation is required to give room in order that new and interesting characteristics and features could show up in the future. The same principles apply for the stallion candidates. This breeding concept could be carried out until today without any mayor setbacks. Even the contrary is true, a high percentage of good typical foals were born in every season; certainly, a result due to the fact that the choice of the four foundation mares from the Egyptian El Zahraa stud was carried out with great care. At this time, it should be mentioned that this breeding stock of El Zahraa in Egypt goes largely back to mares which were brought in the 19th century from Bedouin breeders in the Arabian Peninsula to Egypt, a population always under the pressure of heavy natural selection due to a hostile environment; heat, drought and shortage of feed. This rigorous selection allowed that only the toughest horses survived, in terms of physical constitution and health. To build a program on such a history and rich heritage is a great challenge by using these already existing generous gifts of nature.

stud and is still the greatest attraction for most of the visitors. People like her lively and overwhelming expression, shown as best in her style of movement. This mare is dancing upright on the spot and when moving forward, she lifts the front legs high up and her acting is unique in this respect. She raises her head high up, snoring loudly and intensive when she is in full activity. NK Nadirah is a daughter of Adnan, a Sala El Dine son, and her mother, the charismatic chestnut-colored Nashua; one of the finest mares ever born in this stud, a daughter of Lotfia once imported from Egypt. Still NK Nadirah exposes her own type, a perfect mixture between sire and dame line. As a brood mare she was very prolific, some of her offspring went to Kuwait and later to Qatar. Her latest daughter stayed in Germany: The four-year old NK Naala. She the closest to her mother in look, in movement and in character. It is good luck for any breeder to have such a worthy successor of a perfect mare. NK Nadirah produced as well two impressive stallions, both by NK Hafid Jamil. The first one is NK Nadeer. He is really his “mother’s son”, grey and elegant and of finest character. The second follows the look of his father NK Hafid Jamil. His name is NK Nizam, of bay colour, of powerful movement, in total of strong confirmation and attractive but different type. In total NK Nadirah can be named as

These are the mares which were very influential in Katharinenhof ’s closed breeding concept and they created the type of which the NK Arabians are known for. They are the following: The greatest group in the concept are the Arabians of the Hadban family best represented today by NK Nadirah. She is with 19 years the oldest mare in the

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NK Nadirah

NK Ninnifee an exceptional typical Arabian mare, a mare of finest “desert type”. Her sister NK Nasrin was different; she is her father’s daughter not only on pedigree paper, but also in reality. She exposes Adnans strong back and croup, his powerful movement from behind in perfection and his overall type. She became a producer of four excellent fillies, and one colt. The stud retained her last daughter NK Nazli; very much similar to her mother in type, expression and again in her exciting movement. NK Nazli’s first daughter NK Nawaal can be considered as one of the most impressive yearling fillies at this time. It is a delight to look to such a gracious Arabian. There is a third member of the Hadban family which had opened so to say another branch of the Hadban group. Again, the lovely mare NK Nashua was this time bred to NK Nahaman, a tall dark gray stallion by Saala El Dine out of the Madkour daughter Ameera. Ameera was a full sister to Hanan’s first son Jamil, a very well-known sire in the past. Out of this

cross three daughters were born, one of them “NK Nabeela”; she was kept for the stud. Again, like her father, a dark-colored grey mare, tall like her father NK Nahaman, about 154 cm. NK Nabeelah’s first daughter by NK Hafid Jamil became the reason of many arguments between interested buyers. Mr. Osama Al Kazemy was finally the lucky man, who could bring this mare NK Nakeebya to Kuwait. Her daughter Nabaweyah Ezzain was sold to Rashediah Stud in Bahrain and became the mother of the famous stallions Naseem Al Rashediah and also Ezz Al Rashediah. Finally, NK Nabeelah produced the mare NK Nerham by Jamal El Dine. She remained at Katharinenhof and by surprise this time a bay colt was born by NK Nadeer which was named NK Nabhan. He developed to be one of the best stallions which Katharinenhof has owned. In summary the mare Lotfia, an Alaa El Dine daughter out of Bint Kamla, member of the famous Hadban line in El Zahraa made history due to her

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NK Lina marvelous daughter Nashua. Her six daughters, three by Adnan and three by Nahaman, brought this family up to the top of Egyptian breeding. Three mares are representing today the Obayan family at Katharinenhof. NK Abla, her daughter NK Amsha and NK Ninnifee. They carry onwards the reputation of her late ancestor, the root mare Hanan. This bay mare became a legend due to her three sons and five daughters. Jamil was the first stallion of Katharinenhof and was later on leased to Ansata Arabians in the US. Asfour, the second, was chief sire ant Simeon Stud in Australia and finally Ibn Galal, was bought by the Hungarian stud Babolna and his influence on all the mares in Babolna was very obvious. Out of Hanans five daughters it was Ghazala by Ghazal and Ameera by Madkour I, which were the ones which brought this family into further generations. Ameera with her son Nahaman, as mentioned before, and Ghazala through her daughter Amroulla by Jamil.

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This Amroulla could look back to seven beautiful daughters when she passed away at the end of 20 years, daughters which went to England, to Kuwait, to Qatar and the two ones which stayed in Germany. This family became a solid flee-bitten grey group as colour stayed very uniform in size, type and conformation. The living three mares NK Abla, NK Amsha and NK Ninifee are solid columns of the NK Arabian breeding concept. The next and third family belongs to one of the oldest Egyptian blood lines, the Siglawis, world-known due to her famous member Moniet El Nefous. This mare was a dream for all admirers of Egyptian Arabians in the 1960ies – 70ies. Definitely due to her son Morafic, the chief stallion of Gleannloch Farm in Texas US. It was Mahiba, again an Alaa El Dine daughter, which was chosen for the breeding program. A mare which qualified later perfectly for the closed concept. The two full sisters NK Lina and NK

NK Nazli

NK Nachita Desert Heritage Magazine • 135

Nk Lamya

Nk Abla 136 • Desert Heritage Magazine

Lateefa, both by NK Kamal El Dine and the young mare NK Lamya by NK Nabhan filled out an important position in the concept. All three are of chestnut colour like Moniet El Nefous. However, all the three are in their overall conformation different from the two previous families. The Hadbans are always the tallest ones, followed by the Obayans and then come the Siglawis. They show a wonderful strong body, good necks and a fine head, they are broad in the breast, but of shorter legs, which gives them a height of about 148 – 149 cm. A well-formed solid body makes them look taller as they are. This is true for Moniet El Nefous, her daughter Mona, which was the dam of Mahiba; they all had the same size. NK Lina is the one which people like due to her wonderfully shaped head, elegant in its typical concavity. This family is very calm, friendly and extremely healthy. No trouble at all with infections, with birth problems or intestinal accidents. All these are very noticeable and appreciated characteristics since it was easy to produce and to keep such family successfully going. Mahiba created, distributed overall Germany her own important population

through her children, grandchildren and furtherer on in many other studs. The last family which Katharinenhof favored to be a part of its breeding concept was a member of the Egyptian famous Dahman Shawan strain. In Egypt one can find two families, the one tracing back to the mare El Dahma, the other back to Bint El Bahrain, both were very different. The El Dahma is a very refined one. Regrettably this family in Egypt showed not the type which was expected. Stallions were used which brought this family into another direction. However, the preferred type was available in Ansata Arabians in the US. Two young mares Ansata Gloriana, a taller one and Ansata Primarose, middle in size and both Jamil daughters, where bought. Both belonged to the Bukra-Nazeer-Ibn Halima cross. While the three other families in the concept developed as usual, this one remained a problem. Ansata Gloriana produced only two daughters, both by Sala El Dine, and passed away. One of them was

NK Nadirah Desert Heritage Magazine • 137

NK Nawaal

NK Amal El Dine 138 • Desert Heritage Magazine

Helala. She was fertile in bringing four daughters. They all were very much asked for and became brood mares in Kuwait and Qatar. Regrettably shortly after Helala died due to a stroke at only nine years of age. Ansata Primarose went back and forth to the US, finally her daughter Ansata Ken Ranya could be bought back by the stud. She became a good stallion mother as the mother of Kamar El Dine and Jamal El Dine. From her two daughters NK Habiba by NK Nadeer was finally a good consolation. This beautiful mare has now all the future on her shoulder. Her latest foal was NK Houssain El Dine, now a strong powerful stallion, similar to her type which should assure that her genetic potential does not get lost. A few years before a good friend of mine made a list of all foals which were born in Katharinenhof since the beginning. The figure came to a total of 450 foals, 221 females and 229 males. Considering some later mortality about 200 registered females carry the blood of these four families, which originally came from Egypt. Only 20 of them are grouped together in Katharinenhof ’s stud and will be bred further

on under a well-considered and controlled concept as a closed population. This comparatively small breeding population, in comparison to so many bigger ones, is bringing the stud into the direction to be a more and more equal population and to become a source of very fine Arabians, with a high rate of homozygosity. q

Dr. Hans J. Nagel - office@nagels-arabianstud.de

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The Katharinenhof Arabians

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are Setting a New Standard

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The Stallions of Katharinenhof Arabians

NK Nizam

NK Houssain Al Dine 142 • Desert Heritage Magazine

NK Nabhan

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(Frasera Mashar x Frasera bint Nefisa) Hadban Enzahi

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