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20261011 213000 UTC
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[00:01:01] I kept publishing this magazine for about 12
[00:01:05] years. After that, when Noor Microfilm
[00:01:08] came here, they called me.
[00:01:12] After that, he became associated with that
[00:01:15] organization, and I have been working
[00:01:19] there for almost 12 years
[00:01:22] since I joined that
[00:01:25] organization. I have done various
[00:01:28] types of work. Initially,
[00:01:41] I have two daughters and three sons,
[00:01:45] among whom one is preparing for the B.
[00:01:48] Tech entrance exam. He has applied to three places: one in IP,
[00:01:52] one in JMI, and one in UP Board. Now, the
[00:01:56] fourth one, Hussam, will be at Jamia Millia
[00:02:00] Islamia on the 13th. My family consists of my wife, who
[00:02:03] is a housewife. I work alone. My family lives
[00:02:07] in this small room. You can
[00:02:10] see how we are living, but
[00:02:13] this is a short-term problem. Insha'Allah, Allah
[00:02:17] will make it easy. Pray that Allah
[00:02:20] makes it easy.
[00:02:32] One of the other sections of the Noor Microfilm
[00:02:36] Center is the art section. Islamic
[00:02:39] art has served India for more than 800 years.
[00:02:43] Calligraphers, painters, illuminators, and
[00:02:46] various artists who came from Iran have created art
[00:02:49] here. Examples of Iranian Islamic art in
[00:02:53] India can be found everywhere in this country. Wherever
[00:02:57] we go, there is a trace of Iranian Islamic art.
[00:03:00] But later, after India's independence and after the changes that
[00:03:04] came about,
[00:03:06] many of these artists lost their
[00:03:10] jobs.
[00:03:16] as colonial influence penetrated different layers of Indian
[00:03:19] society, the people of this land faced numerous
[00:03:22] challenges to the extent that even today many of India's
[00:03:26] population of more than a billion people continue to bear the consequence
[00:03:30] of the policies of that era.
[00:03:33] The seven-member family of Muhammad Yusuf lives in a room measuring
[00:03:37] roughly 10 square meters.
[00:03:41] After finishing his working hours,
[00:03:44] lineages, including those of Muhammad Yusuf continues creating his works of art at home in this very modest little
[00:03:48] room. His children are doing their homework beside
[00:03:52] him, while his wife is preparing food and taking care of the everyday
[00:03:55] affairs of the
[00:03:56] household.
[00:04:00] For most people in India, this kind of life is quite common and
[00:04:03] accepted. They have learned how to manage their lives through
[00:04:07] hardship with the fewest possible
[00:04:09] resources.
[00:04:13] Since it was necessary in keeping with the center's objectives to take
[00:04:17] action to preserve the shared heritage of Iran and India
[00:04:20] and to ensure the continuation of artistic traditions, rooted
[00:04:24] in authentic Iranian art, we began identifying
[00:04:28] the last surviving artists of...
[00:05:00] Choosing and finding these was a very difficult
[00:05:03] task. Even many of those
[00:05:07] who were
[00:05:09] among the statesmen of India or researchers.
[00:06:12] were great influencers in India, but
[00:06:15] unfortunately, but unfortunately, in
[00:06:19] recent years, all these names have been lost,
[00:06:22] meaning no one knows them. The Noor Microfilm
[00:06:25] Center did the work of compiling the genealogies
[00:06:28] of Iranian Sayyid
[00:06:31] immigrants in India. Some of these
[00:06:35] genealogies are up to 300 meters
[00:06:38] long. The genealogies that have been
[00:06:41] rewritten are various genealogies about Zaydis, Taqvi,
[00:06:44] Naqvi, and the genealogy that we are
[00:06:48] currently in the presence of is the genealogy
[00:06:52] of the Hasani Sayyids. It is a separate
[00:06:55] collection for each family.
[00:06:58] A genealogy has been written for each family.
[00:07:02] The genealogy starts with Bismillah and then Ayah
[00:07:06] al-Nur al-Samawat. It comes
[00:07:09] down and mentions all the ancestors of the
[00:07:12] Prophet up to Adnan in this genealogy. Khwaja-e-Kainat,
[00:07:16] the essence of creation, Sultan al-Anbiya, Abu al-Qasim,
[00:07:19] and from here it comes to Amir al-Muminin Ali (peace be upon him) and
[00:07:23] Lady Fatimah (peace be upon her). Then it
[00:07:26] mentions the children of Lady Fatimah (peace be upon her) and
[00:07:29] Amir al-Muminin: Imam Hasan, Imam Husayn,
[00:07:32] Zaynab, Umm Kulthum, and it is interesting that Muhsin is also mentioned in these genealogies.
[00:07:36] From there it comes to Imam Hasan, with a brief description
[00:07:40] of the life of Imam Hasan (peace be upon him), and from
[00:07:43] there the genealogy begins.
[00:08:15] Perhaps if it had not been for the skill and dedication of the
[00:08:18] papermakers, the calligraphers,
[00:08:20] illuminators, gold leaf artists and other craftsmen,
[00:08:24] the results of years of painstaking library research
[00:08:28] would have remained abandoned and forgotten on the shelves, but the
[00:08:31] collective efforts of these artists have made it possible for
[00:08:35] the facts of history to be presented beautifully and elegantly
[00:08:38] before the eyes of the public. Many genealogical charts of this
[00:08:42] kind have been prepared, each one displaying a part of the shared
[00:08:46] heritage of these lands in a magnificent, richly
[00:08:49] ornamented form. The genealogical works created at the
[00:08:53] newer center deal with different
[00:08:56] the Sayyids, mystics, scholars,
[00:08:59] physicians, kings, writers and other prominent families and
[00:09:03] figures. Each has its own distinctive characteristics.
[00:09:06] Some are written on leather, others on cloth or specially prepared
[00:09:10] paper, and they are decorated with illumination and unique
[00:09:14] ornamental designs. Some of these genealogical charts extend
[00:09:18] to as much as 300 meters. If we had not made the
[00:09:21] effort to identify these anonymous and largely forgotten
[00:09:25] artists of India, many of them might still be struggling through the
[00:09:28] routines of daily life, while the artistic traditions would
[00:09:32] eventually have disappeared forever. would eventually have disappeared
[00:09:35] forever. It is clear to us that people like to live their lives in some
[00:09:39] forgotten corner of a poor neighborhood, but finding them...
[00:09:51] The important point for us is that we should record
[00:09:54] the cultural services of Islam and
[00:09:58] Iran in India here, because if these are lost,
[00:10:01] we will have no knowledge of who came, what
[00:10:05] they did, and what services they provided. This is the root
[00:10:09] that Sayyids and Iranian immigrants have throughout India.
[00:13:18] or has written "Bismillah al-Rahman al-Rahim" in Kufic script or 500
[00:13:22] salawats in Kufic script. This
[00:13:25] artist is truly unparalleled. When we
[00:13:28] found this man, we saw that
[00:13:31] he was working in a place that was almost
[00:13:35] like a servant. We called him, and he came
[00:13:39] here and we asked him, "Why did you give up your art and profession?" He
[00:13:42] said, "There is no work. With the advent of computers,
[00:13:45] all the work is done through computers.
[00:13:48] There is no work for us." I asked him, "How much do you get there?"
[00:13:52] He told me a large amount. I said, "If it's this much, will you
[00:13:56] be ready?" He got ready. Today he has created
[00:13:59] the most beautiful art.
[00:14:05] every corner and every available space of the center is put to
[00:14:08] use whether for creating new works or restoring existing
[00:14:12] ones. In one corner of the facsimile book storage area, for
[00:14:16] example, we could see the restoration of a precious
[00:14:19] Quran underway. I am working at the International Noor
[00:14:22] Microfilm Center. I have been working here
[00:14:26] for almost 10 years and I am working in the calligraphy section, the calligraphy
[00:14:30] department. So this Holy Quran is approximately
[00:14:33] 400 years old and may be even older.
[00:14:36] So it got damaged because it was not properly
[00:14:40] taken care of. A handwritten document has a very long
[00:14:44] life, its lifespan is long, but where it was, it came
[00:14:48] from Gujarat to us. One of our colleagues here bound
[00:14:51] it and repaired
[00:14:54] it. This was completely ruined. Some
[00:14:57] pages were completely torn and damaged.
[00:15:00] You can see that all these patches
[00:15:04] are applied to it. We are making it look completely new.
[00:15:07] We are working very hard to restore
[00:15:11] it to its original condition.
[00:15:24] हैं
[00:15:50] This Quran is on
[00:15:51] skin.
[00:15:55] Both its illumination and calligraphy are by one
[00:15:58] person. Each part of the Quran
[00:16:01] here is on one sheet. That means
[00:16:05] one sheet of this Quran is one part of the Quran.
[00:16:09] And besides being a paper Quran,
[00:16:12] all the lines of this Quran are also written with
[00:16:16] Alif.
[00:16:18] The time taken to write this Quran was approximately
[00:16:22] one year and a few months. Its script
[00:16:24] is Naskh.
[00:16:28] This is another Quran that has been
[00:16:31] written. It is a Quran
[00:16:34] in Naskh script with a golden background.
[00:16:38] Its illumination and all are done by one person.
[00:16:42] He is one of the calligraphers of this center.
[00:16:46] 30 parts of the Quran on 30 sheets, meaning
[00:16:49] one sheet is one part of the Quran.
[00:17:02] Another Quran that has been written here is in
[00:17:06] Suls script. with
[00:17:09] gold water.
[00:17:17] The papers are also handmade papers that we make
[00:17:20] ourselves here. The types of paper are the same papers
[00:17:24] that we make here. The script is Suls.
[00:17:27] All the illuminations are also done by one person,
[00:17:31] both the calligraphy and the coloring
[00:17:33] of the paper and the illuminations that it has. We sometimes
[00:17:37] publish between 8 and 9 Qurans on different
[00:17:41] sites by different calligraphers
[00:17:45] in different places where they are. Some of them
[00:17:48] work in this center, but because
[00:17:52] our space here is not that large, there are also
[00:17:55] some people who work at home under
[00:17:59] our supervision and bring them here. This has
[00:18:03] caused their families to be encouraged,
[00:18:06] some of them.
[00:18:09] to do ancillary calligraphy work, and this
[00:18:13] is an opportunity for us to be able
[00:18:16] to revive Islamic art alongside other arts.
[00:18:19] They are hardworking, active,
[00:18:22] and talented people who can
[00:18:26] do this work.
[00:18:29] I have written this Holy Quran, and it has
[00:18:32] been almost two years since I started writing
[00:18:36] it, and it will take another five months. This
[00:18:39] will be 5 meters long and 3 meters wide.
[00:18:43] When this book is finished, it will be 5 meters long and
[00:18:47] 6 meters wide. On each page, there will be one
[00:18:50] chapter. There will be 30 pages of the Holy Quran.
[00:18:54] This is being written in Sulus script. It takes
[00:18:57] 10 days to write one page. It takes a full 10 days to write one
[00:19:01] page.
[00:19:10] writing a Quran of this size, especially in such a small
[00:19:14] environment, is certainly not an easy task, but
[00:19:17] Sad Faraz Ahmed carries out this work with extraordinary
[00:19:21] patience, making use of every available resource in his living
[00:19:25] environment. To prepare each piece of cloth measuring
[00:19:28] 15 square meters, he has to climb onto the roof of his
[00:19:32] house, and under the scorching Delhi sun put the cloth
[00:19:35] through five lengthy preparation.
[00:19:45] The Quran has been written in various scripts: Suls script,
[00:19:48] Ruqa script, Nasta'liq script, Rayhan script, even Diwani
[00:19:52] script. The Qurans are written in various
[00:19:55] sizes. The largest Quran that has been written by
[00:19:59] artists and calligraphers is a Quran that is
[00:20:03] 5 meters by 3 meters. When this Quran is opened,
[00:20:07] it will be 5 by 6 meters. It is written on
[00:20:11] fabric. The fabric has been prepared beforehand. All the
[00:20:14] illumination work, the gold work, and
[00:20:17] all the work from the beginning of the Quran
[00:20:21] to the end is done by this artist himself,
[00:20:24] and perhaps this is the largest Quran
[00:20:28] that has ever been written in the world. Another
[00:20:32] Quran has been written by the same calligrapher, 2 meters by
[00:20:35] 3 meters, which is in this script.
[00:20:50] and these don't have it.
[00:21:10] The creation of magnificent works of art at the newer center
[00:21:14] extends far beyond these Qurans. In addition
[00:21:17] to the precious Qurans, another group of...
[00:21:31] This is the largest Shahnameh
[00:21:39] that has ever been written by artists. The paper is handmade paper that has been made in this center. All its work is handmade. Its ink
[00:21:43] is handmade ink. The colors that have been used
[00:21:46] are also natural colors. It is interesting to
[00:21:50] know that in each page
[00:21:54] there is a special illumination. This Shahnameh
[00:21:58] has about 600 sheets and 600 types of illumination.
[00:22:28] The calligraphy and artistic supervision of this Shahnameh are under the
[00:22:32] direction of master Shamim Ahmed Bojnourdi.
[00:22:36] Two independent teams of eight artists, each based in
[00:22:39] Jaipur in the state of Rajasthan, worked its illumination and
[00:22:43] illustrations. So far, they've created around 70
[00:22:47] miniature paintings to accompany the poems. The time
[00:22:50] considered for this
[00:22:53] work was about 4 years, and perhaps
[00:22:57] the most images that exist in Shahnamehs are in this
[00:23:01] Shahnameh. After this, they are working on a Khamseh Nezami,
[00:23:05] which is also in the same dimensions. We have considered
[00:23:08] about 52 images for it. We
[00:23:12] have actually employed all the calligraphers, illuminators, and
[00:23:16] calligraphers for these works.
[00:23:20] Thousands of manuscripts, more than 100 thousand pages of
[00:23:24] historical documents, thousands of old Persian newspapers and
[00:23:28] magazines and hundreds of works of art are the
[00:23:31] result of more than 20 years of continuous work by the
[00:23:35] newer Microfilm Center and the family behind it.
[00:23:39] Today, through various means and especially with the help of the center's new
[00:23:43] website, this entire cultural and historical treasure
[00:23:46] can be made readily available to researchers, professor.
[00:25:20] Our art department, all the works that have been done
[00:25:23] in this center by our calligraphers, our painters,
[00:25:27] our artists have done
[00:25:30] some of them, not all of them, in
[00:25:33] the gallery of our art department, or we put their pictures in the
[00:25:37] exhibitions we participated in. This is our
[00:25:41] publications section, where the books that we
[00:25:44] ourselves printed and published here are put up for
[00:25:48] introduction. Actually, Indian people, lots of Indian people
[00:25:52] use our website, and lots of in
[00:25:55] Iran, more than Iran,
[00:25:58] in Iran, actually, some Indian people directly come.
[00:26:32] Many of our applicants are from America.
[00:26:35] We email them. It's a very simple
[00:26:39] process, and they can achieve their goals
[00:26:42] and use this book.
[00:26:56] I no longer dream of seeing fire consuming the books.
[00:26:59] Today hundreds of hands belonging to artists, hundreds
[00:27:02] of watchful eyes and hundreds of beating hearts are at
[00:27:06] work, using the limited resources and budgets
[00:27:09] available to preserve a shared heritage that has
[00:27:13] emerged from centuries of cultural and religious
[00:27:15] ties between Iran and India. Yet, in any
[00:27:19] case, we must recognize that all these efforts are still
[00:27:23] small compared with the immense volume of work that remains to be
[00:27:26] done. Perhaps the presence of researchers and their use
[00:27:30] of this unparalleled culture, real treasure, can help make up for
[00:27:34] part of what we have neglected and once again and bring the
[00:27:38] spiritual and cultural relations between these two
[00:27:41] nations to their former heights.
[00:28:19] At the cradle of Western Civilization, US
[00:28:22] Secretary of State, Marco Rubio tells a familiar
[00:28:25] story: Persians as villains, Athenians
[00:28:29] as heroes, but is that history or just Washington's preferred
[00:28:33] vision?
[00:28:35] Persians plundered the temples, they burned the shrines, they razed
[00:28:39] the Acropolis to the ground. Case closed, not so
[00:28:42] fast. History has a habit of talking
[00:28:45] back.
[00:28:48] Alexander, he had great respect for the Persian culture, a
[00:28:51] little inconvenient for a narrative that reduces Persia to an army
[00:28:55] of barbarians, and Oscar-winning filmmaker, Oliver
[00:28:58] Stone has a message for those lecturing the world its past.
[00:29:02] "I think Westerners don't understand completely the history of
[00:29:06] Iran and Persia. I would suggest this book is a
[00:29:10] great place to
[00:29:10] start.
[00:29:16] Washington may think it can dictate the narrative, but history has
[00:29:19] outlasted empires before, and it has a warning for those who
[00:29:23] think they can rewrite it. You cannot change history. You'll be
[00:29:27] defeated by the forces of history, which are inevitable. They can change
[00:29:30] that. This is insane. They can change that. This is
[00:29:33] insanity. This is, it defeats us every time.
[00:30:04] Your headlines on Press TV. Iran's security chief tells Press
[00:30:07] TV that the US response to Tehran's conditions for reopening the
[00:30:11] Strait of Hormuz is inadequate and contains
[00:30:14] ambiguities that must be cleared. The
[00:30:17] IRGC Navy warns all vessels not to turn off their navigation
[00:30:21] systems during Hormuz transit, saying all ships
[00:30:24] doing this will be considered hostile and
[00:30:27] targeted.
[00:30:29] And the Yemeni Armed Forces spokesman says a major set
[00:30:33] of long-range missile and drone strikes has targeted key airports and
[00:30:37] energy infrastructure across Saudi Arabia.