Ali Zaman, a 54-year-old artist originally from northern Iraq, finished the monumental manuscript in Istanbul, a city long regarded as a global center for the art of Islamic calligraphy. The project represents years of meticulous effort, carried out with deep reverence and focus.

The completed Qur’an consists of 302 double-sided scrolls, each measuring around four meters in length and one and a half meters in width. Every sheet was specially prepared using traditional materials, giving the manuscript a parchment-like texture suited for long-term preservation.

Zaman worked on the manuscript from early morning until late evening for six years. He used a small room in a historic mosque as his workspace, maintaining a disciplined routine that allowed him to remain fully immersed in the process.

For the calligrapher, the project was not simply an artistic task but a spiritual journey. He described the experience as deeply fulfilling, expressing gratitude for having the strength and time to complete such an ambitious and meaningful work.

Islamic calligraphy holds a special place in Muslim artistic traditions. Over centuries, it has been used not only to preserve the Qur’an but also to decorate mosques, manuscripts, and architectural spaces with elegance and devotion.

In Turkiye, calligraphy flourished during the Ottoman era when it received strong institutional support. This legacy has continued into the present, with Istanbul remaining a hub for artists who practice and preserve this classical art form.

Art scholars describe calligraphy as more than visual expression. It is widely viewed as an act of worship, especially because Islamic artistic tradition emphasizes non-figurative representation, allowing script to become a central form of beauty and meaning.

Zaman developed his interest in calligraphy during childhood and later decided to move to Istanbul to refine his skills. He felt the city offered a more supportive environment for traditional Islamic arts and provided access to mentors and institutions.

The scale of the manuscript has drawn attention from art observers and cultural enthusiasts. Although it has not yet received official global recognition, it is being described as one of the largest handwritten Qur’an manuscripts ever created.

Throughout the six-year process, Zaman’s family witnessed his intense commitment. Long hours meant limited time at home, but the completion of the manuscript has brought a sense of relief and pride to those closest to him.

The scrolls are now carefully stored and protected from environmental damage. Zaman hopes the manuscript will eventually be displayed publicly in a museum or cultural institution where it can be appreciated by visitors from around the world.

Throughout the year, Ithra positioned craft not merely as an object of beauty but as a living language that reflects identity, heritage, and the continuity of knowledge across generations.

More than 100 local and international artists participated in over 25 thoughtfully curated programs and events, including seven major exhibitions that explored craftsmanship from historical, social, and contemporary perspectives.

These initiatives highlighted how traditional practices continue to evolve, adapting to modern creative expressions while retaining their deep-rooted cultural significance.

One of the most immersive exhibitions, Eternal Crafts: The Art of the Manuscript, introduced audiences to the refined world of Islamic illumination through papermaking, calligraphy, and gilding by master artisans.

The exhibition was complemented by interactive workshops that allowed visitors to experience the discipline and patience behind manuscript art, bridging theory with hands-on learning.

Eternal Crafts: Communal Weaving offered another dimension, presenting weaving as a collective cultural act shaped by shared labor, inherited skills, and social connection.

By reinterpreting weaving through a contemporary lens, the exhibition emphasized how communal traditions remain relevant in today’s creative landscape.

The dialogue between tradition and innovation continued through Crafts in Conversation, an exhibition that brought together contemporary artists who reimagined traditional crafts through experimental artistic practices.

Displayed alongside historical Islamic artworks from Ithra’s collection, the exhibition underscored the fluid relationship between heritage and modern creativity.

Saudi cultural identity was further explored in Continuation of a Craft: Saudi Traditional Costumes, which showcased regional attire and jewelry as expressions of craftsmanship, symbolism, and local diversity.

The exhibition revealed how materials, techniques, and ornamentation serve as visual narratives of the Kingdom’s varied cultural geography.

Women’s artistic voices took center stage in Horizon in Their Hands: Women Artists from the Arab World, which revisited the relationship between craft and modern art from the 1960s to the 1980s.

Featuring works by fifty Arab women artists, the exhibition connected personal memory with broader modernist movements shaping the region’s artistic history.

A pivotal highlight of the year was In Praise of the Artisan, which traced the evolution of Islamic crafts while positioning artisans as vital links between past knowledge and future creativity.

This theme was echoed in Baseqat: The Palm Tree Exhibition, which explored palm-based crafts and demonstrated how nature, environment, and innovation intersect in artistic practice.

Ithra’s commitment to creative development extended to the Khoos Residency, bringing artisans, designers, and artists together to reimagine palm heritage through contemporary design thinking.

The residency culminated in the documentary Sa’fa, offering a reflective visual narrative on the cultural and emotional dimensions of palm weaving.

On the global stage, Ithra expanded its cultural dialogue through exhibitions and forums in London, Dubai, and Barcelona, highlighting Islamic craftsmanship and intangible heritage.

These international engagements reinforced Ithra’s role as a cultural bridge connecting Saudi heritage with global artistic conversations.

Educational outreach remained central, with programs like the Ithra Summer Camp introducing children to crafts through interactive learning and creative exploration.

Panel discussions and guided tours further enriched public understanding, emphasizing the importance of safeguarding handicrafts as a living and evolving cultural legacy.