Jeddah museum displays 1,000 rare artifacts spanning Islamic history

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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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The House of Islamic Arts features a collection that spans several eras of Islamic civilization. (SPA)
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Updated 09 July 2025
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Jeddah museum displays 1,000 rare artifacts spanning Islamic history

  • First gallery traces the evolution of ceramics and glassmaking from the 1st to the 10th century AH (7th to 16th century)
  • Second gallery highlights Islamic metalworks featuring intricately decorated items and daily-use vessels

JEDDAH: The House of Islamic Arts, the Kingdom’s first museum solely for Islamic art, houses a collection that spans several eras of Islamic civilization.

Located in Jeddah Park, the museum displays over 1,000 artifacts offering insight into Islamic values and the region’s cultural and historical heritage, the Saudi Press Agency reported.

The museum includes six galleries, each exploring a distinct facet of Islamic heritage.

The first gallery traces the evolution of ceramics and glassmaking from the 1st to the 10th century AH (7th to 16th century), showcasing pottery, a craft in antiquity that saw major development under Muslim artisans.

The second gallery highlights Islamic metalworks featuring intricately decorated items and daily-use vessels.

The third displays 500 coins from the Prophet Muhammad’s era to modern times, offering a glimpse into the economic history of the Muslim world.

The fourth gallery focuses on the influence of Islamic art on other civilizations and how European cultures engaged with Islamic artistic traditions.

The fifth presents rare Qur’anic manuscripts, Arabic calligraphy pieces and wooden tablets used in Qur’an memorization.

The final gallery showcases Islamic textiles, including pieces from the interior and exterior coverings of the Holy Kaaba and a rare curtain from the Shammi Gate of the Prophet’s Mosque in Madinah, crafted during the Ottoman era in the 13th century AH.

The museum tour ends at the library, which offers a wide selection of Arabic and English books on Islamic history, culture, and literature.


Highlights from Saher Nassar’s ‘Chronicles from the Storm’ exhibition in Dubai

Updated 27 February 2026
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Highlights from Saher Nassar’s ‘Chronicles from the Storm’ exhibition in Dubai

DUBAI: Here are three highlights from Saher Nassar’s ‘Chronicles from the Storm,’ which runs until March 18 at Zawyeh Gallery in Dubai.

‘Chronicles No. 1’

In his latest solo exhibition, the Palestinian artist “reimagines events that push past emotional capacity toward moral exhaustion, questioning the ethical certainty of the human spirit when faced with immense suffering,” according to the show catalogue, with works that “contemplate the devaluation of hope as a fundamental factor of human survival, sometimes revealed as currency for escape, sometimes seen in people resorting to their primal instincts to endure.”

‘Chronicles No. 8’

“Drawing from both personal and collective experiences, the exhibition unfolds as a layered reflection on how repeated trauma reshapes perception, belief, and the instinct to survive,” a press release for the show states. “Nasser translates lived realities into visual studies that move beyond immediate reaction. Rather than seeking resolution or catharsis, the works dwell in a state of moral exhaustion.”

‘Chronicles No. 3’

In “Chronicles from the Storm,” the UAE-based multidisciplinary artist is not attempting to offer answers, the press release suggests; rather, he is “bearing witness” and “inviting viewers to sit with unresolved questions and the uneasy persistence of the human spirit in the aftermath of the storm.” The works on show “carry a restrained intensity, resisting spectacle in favor of contemplation,” the release continues.