oman - a pictorial souvenir

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Published with the supportand encouragement of

Oman A P I C T O R I A L S O U V E N I R

www.thewavemuscat.com



Oman A P I C T O R I A L S O U V E N I R

JAAP CROESE



Published by Motivate Publishing

Dubai: PO Box 2331, Dubai, UAE Tel: (+971) 4 282 4060, fax: (+971) 4 282 0428e-mail: [email protected] www.booksarabia.com

Office 508, Building No 8, Dubai Media City, Dubai, UAE

Tel: (+971) 4 390 3550, fax: (+971) 4 390 4845

Abu Dhabi: PO Box 43072, Abu Dhabi, UAE Tel: (+971) 2 627 1666, fax: (+971) 2 627 1566

London: Acre House, 11/15 William Road, London NW1 3ERe-mail: [email protected]

Directors: Obaid Humaid Al Tayer and

Ian Fairservice

Senior Editor: David SteeleEditor: Pippa SandersonDeputy Editor: Jennifer Evans

Assistant Editor: Zelda Pinto Art Director: Andrea WillmoreDesigner: Cithadel FranciscoBook Publishing Manager: Jeremy Brinton

© Jaap Croese and Motivate Publishing 2006

All rights reserved. No part of this publication may be reproduced in any materialform (including photocopying or storing in any medium by electronic means)

without the written permission of the copyright holders. Applications for thecopyright holders’ written permission to reproduce any part of this publicationshould be addressed to the publishers. In accordance with the InternationalCopyright Act 1956 and the UAE Federal Copyright Law No 40 of 1992, any person acting in contravention of this will be liable to criminal prosecution and

civil claims for damages.

ISBN: 1 86063 175 4

British Library Cataloguing-in-Publication Data. A catalogue record for this book is available from the British Library.

Printed by Rashid Printers & Stationers LLC, Ajman, United Arab Emirates



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Cover: Many young Omani girls wear a cape-like, heavily embroidered

silk or cotton head covering called a kimmah before they marry.

Back cover: This iconic mosque is a landmark along Matrah Corniche.

Half-title page: The khanjar (curved dagger) is part of the Omani

national dress and is worn at the front of the body on a special belt.

The silver ceremonial khanjar pictured, with its intricate pattern, is a widespread form of decoration.

Title page: A Bedouin weaver spins coarse, but extremely durable, goathair, which is used to make tents. Holding the wool in her left hand, she

rotates the spindle with her right.

This page: The White Stork is a frequent autumn visitor and many flocks

enjoy their winter sojourn along the coast, especially in southern Oman.

Following spread: An old man sits in the shade as he repairs the door

of his shop in the old souk at Al-Hamra.

Acknowledgements The author would like to thank Nella Croese for her assistance in writing the captions for this book; Cathryn Ashton, for her patienceand company during the many photo trips they made together; DrPatricia Groves for her valuable advice; and the friends who helped

him bring this book to fruition. Thanks also go to The Wave, Muscat, without whose encouragement and support the publicationof this book would not have been possible.



Introduction he longer I live in the Sultanate of Oman, the more the culture,landscape, flora and fauna reveal themselves in all theirrichness and beauty. This book is the result of many years of

photography, with the help of the people of the Sultanate who, oncethey got to know me, were always willing to share the most beautifuland interesting treasures in their neighbourhood. Their hospitality issomething you cannot capture in a picture, but their generosity was

critical to the photography you see throughout the pages that follow. Travelling round Oman and taking photographs was like a journey

into the unknown. It was never possible to foresee how a trip wouldend, what I would encounter along the way and what the results wouldbe. I could, for example, be at the camel races and, suddenly, the light

would be so beautiful that it was possible to capture exquisite images. The next day, completely different photographic opportunities couldbe found in the diverse birdlife resulting from Oman’s geographicposition on the migratory route between Asia and Africa.

In fact, each one of Oman’s eight main regions has its own highlights,be it the date harvest, the old forts and the history they represent, thecoastal vistas and marine life, the dhows and their construction, thecraft workshops, the atmospheric souks or the colourful dresses of theOmani women. All have their own beauty.

Oman’s civilization dates back several millennia. Today, the

Sultanate’s enduring traditions and fascinating archaeology, set withina breathtaking landscape, draw tourists from around the globe.Oman’s natural wonders are a significant factor in attracting visitors;and the country is developing a sustainable tourism sector whileconserving its natural surroundings. Integrated developments suchas The Wave, Muscat epitomize the architectural traditions of whichOman is proud.

It is the goal of this book to salute the Omani people and their

rich heritage and culture, and to encourage visitors to the Sultanateto respect what they see. The culture of Oman is unique and shouldnot be viewed from the perspective of Western customs and values.

The richness of Oman’s heritage should be explored with the respectand care it deserves; and this, in turn, will enhance the wonderfulexperience Oman has to offer you.

Jaap Croese

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Heritage, Craft & Religion



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he people of the Sultanate of Oman have a longand proud history spanning more than 7,000

years, a history which is engraved in settlementsin the mountains and on the plains, in the desert and

on the coasts. Oman’s heritage and culture continue toflower in the country’s craftsmanship, costume, folkloreand cultural habits.

Although their hospitality is renowned throughout

the region, in earlier times the people of Oman wereobliged to defend themselves by constructing forts and

watchtowers for military and security purposes, and

by fortifying their castles. Many of these fortifications

survive to this day, proudly standing as monumentsof days gone by. There are more than 1,000 defensive

structures still in existence across the country, a tellinglegacy of more bellicose times.

Since 1970, with the accession of His Majesty

Sultan Qaboos bin Said, the country has undergonea renaissance with unprecedented development andevolution. Yet, at the same time, Oman has maintained

its respect for time, for people and for nature. Omanishave a strong sense of self, while their nation retainsthe traditional essence of its tangible and intangible

culture in the midst of a modern infrastructure.Keeping heritage relevant to the next generation of

Omanis, who enjoy a far more comfortable existence

than their forefathers, has been a challenge; and one

that, to all intents and purposes, has been achievedsymbiotically and harmoniously.

Traditional craft industries are very much alive, andgive modern Omani artisans a means of expressingtheir identities and beliefs.

While safeguarding its traditional arts and crafts,Oman’s Ministry of Heritage and Culture has beeninvolved in a pioneering programme to restore historic

sites using traditional materials and methods.In 1972, Oman became a member of UNESCO, the

United Nations Educational, Scientific and CulturalOrganization; and it now is privileged to have fourinscribed UNESCO World Heritage Sites: the Arabian

Oryx Sanctuary in the Jiddat al-Harasiis; the fort and

oasis at Bahla in the central interior; the 3,000-year-

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old tower tombs at Bat, Al-Khutm and Wadi al-Aynin the western interior; and the ancient frankincense

trade route of southern Oman, which includes thearchaeological sites at Shisr, Khor Rori and Al-Balid,

as well as a unique natural habitat that nurturesfrankincense trees at Wadi Dawkah.

The Ministry of Tourism has designated 22 fortsand castles for development as tourist attractions.

Muscat has several museums that feature the history,archaeology, heritage and traditions of the country, witha cornucopia of artefacts and mementoes. The historic

harbours of Muscat and Matrah, as well as the Port of

Sohar and the continuing boat-building activity at Suron the far eastern tip of the country are reminders of

the importance of seafaring in Oman’s history.Oman was one of the earliest countries to accept

Islam, embracing the Prophet’s (PBUH) message in

632 AD. Most Omanis follow Ibadhism, a branch of Islam named after its founder, Abdullah ibn Ibadh wholived during the 7th-century AD, although there are

some Sunnis and a small number of Shi’a. Omanis aretolerant of other branches of Islam and allow residentexpatriates to practice their religions in the Sultanate.

Beyond compare in beauty and dignity, the SultanQaboos Grand Mosque opened in 2001. A gift fromHis Majesty Sultan Qaboos bin Said to the people of

Oman, the mosque can hold up to 20,000 worshippers.Hanging from inside its magnificent dome is the largestchandelier ever created, eight metres in diameter, 14

metres in length and weighing eight tonnes. It shinesupon a magnificent carpet spanning an area of 4,263square metres. The Grand Mosque is not only a place

of prayer, but also a place of learning with a library andan Institute for Islamic studies.

A distinctive blend of clothing and accessories

constitute the national costume of Oman. For men it isa simple, ankle-length, collarless gown with long sleevesknown as a dishdasha, in colours which vary from typical

white to a spectrum of shades, including beige, brown,black, blue and lilac. It is usually adorned with a tassel,or furakha, at the neckline, which is often infused with

perfume. Omani men typically wear a mussar or turban,

sometimes with a kummah, an intricately embroideredcap, underneath. For an Omani, the colour and pattern

of his turban has as much significance as the tartandesign has for a Scotsman.

The national dress is not complete without thekhanjar , or curved dagger, which is usually worn atthe front of the body around the waist, attached to aspecial belt often decorated with silver thread. This

weapon played an important role in Oman’s history and currently is worn ceremonially at importantpublic engagements and festivals. Significantly, it is

incorporated as an emblem in the national flag.

Women’s costumes vary in style from region toregion, with some containing vivid colours and vibrant

embroidery. Depending on the area, women may weara dishdasha, or tunic, over their sirwal (long trousers);or, an overdress called a thawb which also functionsas a head shawl or lihaf . Many Bedouin women still

wear large masks, or burqas , for fashion as well as forprotection against the sun. Today, mostly in urban

areas, colourful vibrant attire or ordinary clothes areusually hidden under a long black cloak or abaya.

Previous spread: Weaving a warp-faced shepherd rug ( sahah ), fashioned from natural and dyed wool, in a village in

Jebel Shams. Weaving is concentrated in the Western Hajar

Mountains, particularly in the hamlets of Jebel Shams and Jebel Kawr, and in the Wadi Ghul and Wadi Sahtan areas.



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Oman is blessed with magnificent mosques. The one above is a simple, yet

elegant monument, typical of many smaller examples, while the mosque to theleft is the Sultan Said Mosque, named after Sultan Qaboos’ father who ruled

from 1932 to 1970. Opened in 1999, it can accommodate some 2,000

worshippers, including women in their own area. It is the first mosque inOman built in the Turkish style and encompasses elegant decoration and tiling.

oman - a pictorial souvenir

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