This is a rudimentary translation of articles from my book “Two that are One – the story of Omar Rais and the Shadeli Yashruti Zawiya in Acre”. While is far from ideal, it serves a purpose given the significance of the topic and the distinctiveness of the information contained. I have chosen to publish it in its current state, with the hope that a more refined translation will be available in the future.
The Shadeli Yashruti Zawiya in Acre
Thus far, we have explored the Sufi tradition within Islam, the history and leaders of the Shadeli Yashruti order, the spiritual journey and practices, along with the narrative of Omar Rais. The concluding section of this book will shift our attention to the physical aspects of the Zawiya in Acre, examining its various components and delving into its sacred architecture and art. However, before we proceed, it’s pertinent to reiterate the definition of a Zawiya.
A Zawiya serves as a Sufi center, where Dervishes live with the Sheikh, gatherings and ceremonies take place. Known as Khanqah in Persian and Tekke in Turkish, Zawiyas are widespread across the Muslim world, numbering in the tens of thousands. Notably, in Jerusalem alone, during the era of Saladin, there existed over seventy Zawiyas.
An 18th-century traveler to Jerusalem provided this account of the Sufis and their Zawiyas: “They (the Sufis) bear resemblance to Christian monks. Their ‘monasteries’ (the Zawiyas) along with their dwellings are well-maintained, boasting gardens where flowers and plants are cultivated for distilling various perfumes. Music holds a significant place in their philosophy, with the majority engaging in musical performances and singing… The Sufis are highly esteemed within the local community, with many dedicating their wealth to them. Local governors and patrons also hold them in high regard and forge friendships with them, valuing their company highly. They join the Sufis in enigmatic ceremonies, during which a rosary of beads is passed from one hand to another while invoking the names of Allah…”
The Galilee region, particularly Safed, was historically home to many Zawiyas. The Zawiya in Acre is part of this rich heritage that spans across the globe. Fatima Yashruti elucidates: “The Zawiya serves as a focal point for religious ceremonies. It is a sanctuary for prayer, fasting, overnight vigils, meditation, supplication, and deep concentration on God. Within its walls, blessings are invoked, circles of remembrance are formed, and practices are undertaken to detach the devotee from all but the exalted God. The Zawiya is a beacon of knowledge and enlightenment. It embodies and realizes the union with the majestic and boundless God. Here, the disciple is consumed by his love for God and His Messenger.”
From a physical perspective: “Disciples who dedicated themselves solely to the worship of God resided in the Zawiya. These individuals were known as recluses and often lived there alongside their families, including wives and children. A majority of these recluses hailed from noble and privileged backgrounds. My father (the Sheikh) required them to commit entirely to their studies and immerse themselves fully in the love of God and His Messenger. He regarded them as his own children.”
The Zawiya in Acre, expansive yet concealed within the city’s alleyways, sprawls over five dunams. It stretches from Ali Nur Al-Din Yashruti Street in the south to the moat in the north, bordered by the citadel to the east and the Majdala Mosque to the west. Its entrance is unassuming, belying the grandeur within. Inscribed above the gateway, which marks the threshold between the sacred and the mundane, are the words “holy place.” Beyond this gate lies a spacious courtyard, destined for a water fountain. To the right, a prominent building capped with Acre’s second-largest dome (after the Al-Jazar Mosque), painted blue and visible from many vantage points in the city, houses the order’s meeting hall. This building, known as the Takiya, leads to a complex of additional structures. Directly opposite the entrance is the “Mashhad,” a majestic building adorned with six white domes and two colorful octagonal dome skylights, serving as the final resting place of the order’s founders. To the entrance’s left stands a significant residence with blue windows, once the home of Sheikh Ali Nur Al-Din Yashruti. A central avenue from the front courtyard guides visitors to a rear yard, flanked by large halls that abut a moat. The architectural design reflects the North African Andalusian style, distinguished by its splendor and elegance.
Omar often described the Zawiya as a nexus for transitioning from a journey on one plane—the physical—to another dimension, the spiritual. The term “Zawiya” itself means an angle or corner, symbolizing the pivotal turn a person undergoes in life towards embracing Sufism. For Omar, the Zawiya was synonymous with encountering the Sheikh, a meeting that, before the war of liberation, was typically linked to a specific location. Fatima Yashruti encapsulates this concept: “Zawiya is both a sacred space and a holy individual, representing a vertical axis amidst the mundane. According to Ibn Arabi – the medieval mystic whose teachings underpin the Shadeli Yashruti order – when the Kaaba descended from the heavens, it punctured the earth, creating a conduit for prayers to ascend. In Zawiya’s context, the Kaaba symbolizes the perfected human, the Kutub of his era, the spiritual pivot. This individual not only resides but is also interred within the Zawiya.”
As previously discussed, particularly in reference to the Zawiya in Tarshiha, a typical Zawiya was a residence for a Sheikh and his disciples, serving as a communal hub for all believers, in addition to being a sanctuary where aid was extended to society’s needy. Traditionally, Zawiyas operated large kitchens aimed at feeding the impoverished. Every esteemed Zawiya housed accommodations for guests, a room designated for study and ritual practices, and the tombs of saints. The Zawiyas bore resemblance to Orthodox or Tibetan monasteries, acting as socio-spiritual epicenters where religious and community activities were conducted year-round. In essence, Zawiyas fulfilled a dual function: they were sites of spiritual endeavor and transformation, with the Sheikh at its core during his lifetime and through his burial site, and they were vibrant social venues offering support to the less fortunate, welcoming guests, providing general education, and resolving community disputes.
Clinton Bennett, a scholar, observes that within Islam, the division between the sacred and the “ordinary and everyday” is not distinctly demarcated, reflecting the religion’s emphasis on unity. Islam endeavors to infuse daily life with sanctity, a notion akin to that found in Judaism, thereby integrating holy sites with educational and charitable institutions as part of their fundamental structure—essentially making them “halal” (permissible). Consequently, Zawiyas are recognized not only as spiritual centers but also as hubs for social services, mirroring the household of Prophet Muhammad where earthly and divine undertakings were interwoven. This integration might be seen as reflecting the dual nature inherent within humans, encompassing both the spiritual and the material, the body and the soul.
Fatima Yashruti, raised within the confines of the Zawiya in Acre, characterizes it as a center of both mystical and formal religious education: “The Zawiya’s eminence stemmed not from its physical beauty, but from the sanctity of the Sheikh, who was divinely blessed with profound insights, mystical illumination, and knowledge. Each evening, study circles convened where Islamic jurisprudence, Quranic exegesis, hadith, and Sufi literature were meticulously explored. During that era, the Zawiya was recognized as an educational hub, catering not only to seekers on the spiritual path but also to diverse groups seeking to enrich their religious and secular knowledge. Both adherents of the esoteric tradition and those following the orthodox religious path congregated for the remembrance ceremonies. Government officials, the affluent, and the destitute alike frequented these gatherings, often resulting in a packed hall where finding a seat became a challenge amidst the throng of attendees eager to hear the Sheikh’s teachings.”
In Fatima Yashruti’s recollections, the Zawiya embodies the presence of Shekinah: “During my father’s tenure, the Zawiya exuded a spiritual ambiance enriched by devotion, contemplation, sacred rituals, and divine revelations. Manifestations of grace and sanctity permeated the spaces dedicated to religious discourse, whether internal or external, during the Zikr gatherings, scholarly sessions on literature and art, meditative practices, and religious chants. This divine presence was palpable, lingering in the very atmosphere of the Zawiya.”
The restoration of the Zawiya aimed to manifest the sacred essence described by Fatima Yashruti through architecture and art. The intricate design elements, the prevalence of geometric patterns, and symbols like the spiritual sun, water features, and vibrant marble pillars all contribute to a cosmological narrative, instilling a sense of order and creation. Beauty, aesthetics, and artistic expression serve to evoke a heavenly sensation in individuals, forging a connection to the divine and the sacred within. This sentiment is echoed in the ornate floral motifs, symbolic vessels representing divine intoxication, and exquisite calligraphy adorning the space. The atmosphere of sanctity is further heightened during the regular gatherings for singing and Zikr ceremonies held within the Zawiya, particularly during significant religious occasions such as the birth (Mawlid) of the Prophet Muhammad and other significant events.
It’s worth noting that during the construction process, archaeological excavations unearthed ancient artifacts, including remnants from the Crusader period and relics associated with water, such as components of the Ottoman aqueduct and an ancient fountain structure. These discoveries are now showcased and celebrated within the new structure. According to Omar, this emphasis on preservation symbolizes an acknowledgment of the layered nature of human culture, recognizing that each era has contributed its own illuminating elements.
Furthermore, special care was taken during the Zawiya’s reconstruction to incorporate ancient stones and original components that existed prior to the 1948 War. As a result, the current structures embody the spiritual essence and historical significance of the founding Sheikhs, carrying forth the sacred energy and presence from that era.
The Takiya hall
Upon entering the Zawiya, one is immediately struck by a prominent structure to the right: a towering building adorned with an expansive blue dome that commands attention against the Acre skyline. This edifice is none other than the Takiya hall, the central hub of the complex and the venue for the order’s gatherings and ceremonies. Contrary to common misconception, the Takiya is not a mosque, as it lacks a Mihrab (prayer alcove), but rather serves as a dedicated space for Sufi congregations and rituals.
Bennett highlights that in Muslim Sacred architecture, a dome symbolizes the divine grace descending upon the devout. The circular form, represented by the dome, embodies Tawhid (unity), the core principle of Islam affirming the oneness of God. The dome’s harmonious shape signifies eternity, while its vast interior often features calligraphy showcasing verses from the Quran, symbolizing the Quran’s revelation on the night of al-Qadr, a manifestation of divine grace. In essence, the dome serves as a symbolic representation of the celestial realm.
In my interpretation, the Takiya hall within the Zawiya of Acre serves as an axis Mundi, with its circular, blue dome symbolizing a world center that connects the realms above, below, and the present reality. Moreover, the Takiya hall facilitates a transition from one plane (horizontal) to another (vertical), serving as a conduit between heaven and earth, bridging the world of archetypes with the earthly realm.
The expansive interior of the Takiya, coupled with the majestic lamp suspended from its dome, epitomizes the divine radiance known as “Hadrah Muhammadiya.” Within the Zawiya, this is where calligraphy attains its pinnacle. Encircling the base of the dome is a broad strip adorned with the verse of light, which holds profound significance among Sufis: “God is the light of the heavens and the earth, the likeness of his light is like a wall bowl containing a lamp, the lamp in glass, the glass as a shining star, they will light it from a blessed tree, olive oil, neither from the east nor from the west , Behold, our name shines even if fire does not touch it, light upon light, and God allows to light whomever He wills” (Surat 24:1 Nur, verse 35).
Below the Verse of Light, Surah al-Fatihah, the opening chapter of the Quran, is inscribed. This surah holds profound significance akin to the “Our Father” prayer in Christianity. It begins with the invocation: “In the Name of Allah—the Most Compassionate, Most Merciful. All praise is for Allah—Lord of all worlds, he Most Compassionate, Most Merciful, Master of the Day of Judgment. you alone we worship and You alone we ask for help. Guide us along the Straight Path, the Path of those You have blessed, not those You are displeased with, or those who are astray.”
In each of the four corners supporting the dome, rhymed verses of the order are inscribed. During the time of Sheikh Ali Nur Al-Din Yashruti, there were additional rhymes along with specific dates and numbers, resembling magical formulas.
The dome is supported by eight external arches, reminiscent of the architectural motif found in the Dome of the Rock, a prominent feature in Muslim Sacred architecture. Within Sufi belief, it’s understood that God’s throne is upheld by eight angels. According to Omar, God’s throne symbolizes humanity itself. If the dome signifies the connection between earthly and celestial realms, with one’s feet grounded and head in the sky, then its eight arches represent the complete human. This completeness invites the Shekinah, capable of residing within. This design parallels God’s throne being upheld by eight angels. It underscores a symbolic correlation between the structure of the spiritual human and the cosmic order. Essentially, the activation of the Takiya hall is contingent upon the individual within it; standing beneath the dome, one can receive heavenly grace and forge connections between realms..
On the outer wall of the Takiya (facing the boulevard on the north side), there are three pointed arches embedded in the wall, protruding from it and supported by marble columns that are also embedded in the wall and protruding. Above these three arches is a larger sunken arch that spans the entire wall, embedded within it. Essentially, we have a relief (the three arches) and an engraving (the larger arch). Within the three arches, one can observe proportions adhering to the golden ratio, evident in the ratio between the height of the central arch and the height of the two flanking arches.
The configuration of the three arches and their proportions are mirrored in the arches between the columns encircling the neighboring Mashhad structure. This establishes a connection between the Takiya and the Mashhad: one serving as a place of study (the Takiya), and the other as the final resting place of the teachers (the Mashhad). Moreover, both buildings feature identical marble columns, further solidifying their architectural connection. Additionally, the flooring of both halls incorporates elements that tie them together.
Historically, the Takiya was erected before the Mashhad, albeit in smaller dimensions than its present size. Following the commencement of renovation works in the Zawiya in 2006, the Mashhad emerged as the central and larger edifice, although the Takiya remains more prominent due to its taller stature and adorned blue dome. The designers sought to emphasize a connection and continuity between the Takiya and the Mashhad by incorporating similar elements in terms of dimension, shape, and material usage in both structures. As Hatem Harouf suggests, the Takiya represents the Sheikh’s enduring legacy, while the Mashhad embodies his sanctified presence.
Omar once elaborated that the trio of arches adorning the entrance to the Takiya signifies the Sufis’ connection to Jesus, revered by them as a symbol of the spirit. However, delving deeper, these arches also narrate a miraculous event attributed to Sheikh Ali Nur al-Din Yashruti, symbolizing the transformative process unfolding within the Takiya—a spiritual reawakening. According to legend, Sheikh Ali Nur al-Din Yashruti whispered the word “Allah” three times into the ear of a man who had been deceased for several hours, prompting the man to be restored to life. Upon his revival, the man’s first utterance was “Allah,” emerging from the depths of his being. This remarkable incident, witnessed by many, aligns with the three pillars representing the tripartite repetition of God’s name.
Upon entering through the Takiya door into the hall, one encounters three additional arches supporting the balcony attached to the north wall. Unlike the exterior arches, which are pointed and integrate with the wall’s columns, the interior arches along the northern wall are rounded, with columns standing independently. This symbolizes the spiritual journey undergone by individuals influenced by the order and treading the Sufi path, leading to transformation. Before joining the order, individuals are akin to the external arches—pointed and unrefined. However, upon embracing the Sufi path and entering the Takiya (meaning “study”) and the order, their edges become rounded, mirroring the shape of the internal arches. Outside the Takiya and the order, individuals are part of the world and lack self-sufficiency. Through the transformative journey facilitated by Sufi teachings and encounters with the Sheikh within the Takiya, they learn independence and stand firmly in the presence of God.
From the dome of the Takiya descends a magnificent, oversized chandelier, underscoring the significance of light symbolism in Sufi mysticism, as reflected in the verse about light within the dome. Throughout the Zawiya, numerous special chandeliers can be found, with the largest situated beneath the Takiya dome. Encircling the dome are eight expansive windows adorned with stained glass in shades of yellow and blue, casting a spellbinding glow within.
In Muslim religious architecture, particularly during the Ottoman period, light emerges as a prominent motif. Muslim Sacred architecture typically embodies two themes: one emphasizes simplicity and earthly connection, while the other seeks to bridge the gap with heavenly realms. This aspiration is vividly illustrated by the glow of lamps at night and the filtered daylight streaming through the colored windows, illuminating the dome. Beneath this enchanting dome lies a vast expanse of floor adorned with a simple prayer rug, devoid of any distractions. The orientation of the prayer rug on the horizontal plane contrasts with the vertical alignment of the chandelier and the dome, symbolizing the connection between the horizontal and vertical journey akin to “Al Isra’ Wal Mi’raj”.
Remembrance (Zikr) ceremonies have been and continue to be conducted in the Takiya hall. These ceremonies entail forming a circle, holding hands, and rhythmically swaying forward and backward while invoking the names of God, accompanied by chanting and recitation. Concluding the ceremony is a unique dance known as Hdra Magrabiya. Additionally, the Takiya hosts classes, meditations (Fikr), and occasionally individual prayers. Despite not being a mosque, the Takiya serves as a venue for significant social gatherings as well.
Every year, during the Mawlid, the birthday of the Prophet Muhammad, Sufis belonging to the Shadeli Yashruti order from across the country convene in the spacious Takiya hall, capable of accommodating hundreds of individuals. They form a circle, with the representative of the Sheikh (the Mukadem) positioned at its center, and reverently invoke the name of God with devotion, affection, and resolve, until the divine presence permeates the hall and the hearts of all present. Additionally, weekly Zikr ceremonies take place every Thursday, occasionally conducted in adjacent smaller halls.
On the western side of the Takiya, a concealed staircase within the wall ascends to the roof, offering a splendid vista of the old city. Near its outset, an aperture leads to the balcony adjoining the northern aspect of the Takiya hall, where the entrance door is situated. This balcony, supported by three separate columns, likely once served as the designated area for women attendees.
In the wall of the balcony, two windows are evident, flanked by a small and distinct circular window positioned above them beneath the arch of the wall. Unlike the blue and yellow hues of the others, this window stands out with its green and red colored glass. In Shiite tradition, these colors represent Hassan and Hussein, the Prophet Muhammad’s grandsons who exemplified sacrifice for the faith—one through physical martyrdom in the battle of Karbala, represented by red, and the other through a life dedicated to service, symbolized by green. For Sufis, these colors embody love (red) and spiritual renewal (green), often associated with the revered figure of the Sheikh—the spiritual guide.
The Mashhad
In the center of the Zawiya stands the Mashhad, a great hall that extends over a very large area with six white domes and two colored octagonal domes on top. This is the place of the graves of the heads of the order, and therefore the holiest place in the complex. The Takiya is large and impressive, and stands out in the skyline of Acre, but the Mashhad, which is the heart of the Zawiya, is bigger and more impressive in its art and feeling of sanctity. This is seen in the play of colored light that enters the hall from the two octagonal glass colored domes in the ceiling, and also from the glass colored windows, it is apparent as well as in the decorations, symbols and geometric shapes of the place. When one enters the Mashhad, there is a feeling of being somewhere else, in heaven, the presence of the Sheikhs is strengthened by the Sacred aesthetics and architecture, in heaven arises, and this is the traditional role of Muslim Sacred art and architecture (as it appears for example in the Dome of the Rock in Jerusalem), to remind us where we came from and where we go.
The Mashhad serves as the final resting place for the revered Sheikhs, the complete Human, embodying the culmination of spiritual enlightenment symbolized by the “Hadrah Mohammadiya,” as eloquently inscribed before their tombs. Within the Zawiya, the presence of these Sheikhs, whether in life or in death, constitutes the true axis that bridges the celestial and terrestrial realms. From the perspective of the Shadeli Yashruti tradition, the Mashhad stands as the epicenter of the world, embodying profound spiritual significance. In contrast, the Takiya represents an external manifestation of this divine presence, evident in the architectural design and symbiotic relationship between the two structures.
The Mashhad boasts a spacious hall flanked by three octagonal burial structures on each side, with three occupied and three vacant graves. Positioned in the southwest corner lies the tomb of Sheikh Ali Nur Al-Din Yashruti, nestled directly beneath his former residence—a customary practice among Sufis of that era, entombing individuals within the confines of their homes. This initial burial marked the genesis of the hall’s development. Adjacent to him rest his son, Sheikh Ibrahim Yashruti, and his grandson, Sheikh Al Hadi Yashruti, illustrating the tradition that the grandson holds a closer bond to the grandfather than the son. Additionally, three unoccupied tombs stand ready, awaiting the future leaders of the order: Sheikh Ahmed Yashruti, his son Sheikh Ali Yashruti, and his grandson Sheikh Al Hadi Yashruti, all currently residing in Jordan and leading the movement.
The uniformity of the grave buildings symbolizes the unity of the Sheikhs as a singular entity, representing one truth—the presence of “Hadrah Muhammadiya”. Each building’s entrance features an arch adorned with a blue marble slab, bearing a circular motif inscribed with Arabic verses detailing the name and lifespan of the interred individual. Executed in exquisite calligraphy, these verses imbue the letters with vitality, particularly noteworthy is the inscription adorning the tomb of Sheikh Ali Nur al-Din Yashruti, reportedly crafted by Abd al-Baha, the son of Bahaullah and an associate of the Order. Encircling the circular motifs on the marble slabs are engravings of the four names representing the complete man (Insan al-Kamel), credited with sustaining the entire world.
The decorations flanking the inscriptions on the marble slabs depict two goblets adorned in blue and gold hues, facing each other with interlaced flowers between them. According to Muslim art scholar Rosen Ayalon, the essence of a structure is unveiled through its adornments, inscriptions, and the interplay between them. In Muslim Sacred art, cups symbolize divine intoxication—a theme echoed in the religious poetry of Persian Sufi luminaries like Omar Khayyam and Hafiz. This allegorical motif is also prevalent in the wine-inspired verses of renowned Arab Sufi poet Ibn al-Farid, revered as a significant figure among the Shadeli Yashruti. Additionally, cups paired with flowers represent a person’s virtuous deeds, which serve as his testament before God on the Day of Judgment, ushering him into paradise.
In Islam, the flower embodies the mystical path, representing beauty and the potential for a direct communion with God. The ninety-nine names of God are generally categorized into two groups: those denoting power and those representing beauty. Power signifies God’s transcendence, the manifestation of His attributes, and the bestowal of power from the divine realm to the earthly realm. Conversely, beauty signifies God’s immanence, the return of His attributes from the earthly realm back to the divine realm—a cycle of creation returning to its source. This underscores the role of the complete human being, regarded as the representative and culmination of God’s divine attributes.
Delving into this subject, it becomes apparent that humans uniquely perceive a flower and exclaim, “How beautiful,” whereas other creatures, like a cow, might simply think, “There’s something to eat.” God seeks the appreciation of beauty that arises within humans, and as individuals progress along the spiritual journey, they become increasingly capable of praising the creations of God. Recognizing beauty in all things allows one to perceive the divine handiwork in the world, thereby uniting the manifold appearances of creation.
According to the Quran, God bestowed upon humanity a significant role: to assign names to all things. “He taught Adam the names of all things” (Surah 2: Al Baqara, The Cow, verse 31). This transcendent process distinguishes the general from the particular, the singular from the manifold, assigning each entity a name. However, the complete individual has an additional function—to perceive in everything the name of God, embodying unity and beauty. This represents the immanent, mystical process.
The complete Human perceives divine beauty and the order of creation in all things, leading to an understanding of unity. This is why beauty holds such significance in the immanent process. Consequently, the Shadeli Yashruti order allocates significant resources to enhance the aesthetics of the Zawiya. The grandeur serves not for ostentation, but to evoke in us a sense of the divine through the extraordinary beauty of the surroundings. The flower symbolizes beauty and good deeds, hence its inclusion as a symbol on the inscriptions of the graves.
The Quran contains a Surah dedicated to Joseph (Surah 12-Yusuf), revered by Sufis for his extraordinary beauty, said to have deeply moved Egyptian women to the point of self-harm. Potiphar’s wife, in particular, was so captivated by it that she became obsessed, a condition akin to desired states like that of Majnun and Leila. The Prophet Muhammad himself embodied beauty, and Sheikh Ali Nur al-Din Yashruti was also renowned for his physical and spiritual beauty. This beauty extended beyond the physical realm, encompassing spiritual grace. It finds expression in the design of the Mashhad, which exudes harmony and aesthetic appeal, aligning with one of William James’ criteria for holiness: “shifting the emotional center towards a realm of harmonious feelings and affection, from the void to the real.”
Inside the six octagonal tomb structures are the tombs themselves covered with a green veil and above them a chandelier. At a deep level, the color green symbolizes spiritual revival, the life that emerges from dormancy into action, and this was the power of the Sheikhs – to resurrect the spirit and soul of the people and the whole world. The veil is changed from time to time and is considered to have magical and mystical properties.
Within the octagonal tomb structures, marble slabs adorned with Quranic verses in exquisite calligraphy adorn the rear walls, surrounded by decorative motifs in blue and gold. Above each octagonal tomb structure rises a small dome, totaling six white marble domes that distinguish themselves atop the expansive Mashhad building’s roof. Additionally, there are two octagonal domes in the center, composed of three levels of transparent colored glass panels allow enchanting light to filter through. In total, there are eight domes present.
In Muslim Sacred architecture, the number seven symbolizes the natural order, reflecting the Prophet Muhammad’s ascension through the seven heavens. Conversely, the number eight represents the miraculous and divine, signifying Muhammad’s encounter with God on the eighth heaven. The presence of the number eight, manifested in the octagonal domes, the total count of domes, and various diagrams throughout the Zawiya, signifies the potential for divine connection within the Zawiya through the presence of the Sheikhs, representing the complete man.
The entrance to the Mashhad is on the concealed north side, separate from the general entrance to the Zawiya complex and courtyard on the south. It’s accessed through two sizable arches symbolizing the inherent duality in God’s manifestation in the world. This duality is further echoed in the two colored domes at the heart of the Mashhad, representing the hidden God and the Hadrah Muhammadiya, the feminine emanation from Him. Their dynamic relationship sustains the entire world, not as a stagnant duality but as a loving interaction essential for creation. In Zawiya’s architecture and art, duality is a central motif, mirrored in the relationship between the Mashhad and the Takiya: one serving as the source (the Mashhad) and the other as its worldly expression (the Takiya) — two that are one.
The Mashhad is flanked on three sides (north, west, and south) by magnificent marble-columned porticos, with the western side bordered by additional buildings not part of the Zawiya. The portico ceilings feature wooden moldings adorned with small colored light bulbs in red, yellow, blue, and green. The marble columns boast a range of colors including black, white, and red-brown.
The longest portico with marble columns, situated on the east side of the Mashhad, adjoins a courtyard-like passage on the east side. Plans for this area include seating arrangements and a water channel featuring Alhambra-style fountains. The Mashhad wall within this portico is embellished with beautiful mandalas, details of which will be discussed later. Additionally, the flooring in this portico, as well as throughout the Mashhad and the entire complex, is noteworthy.
In the portico adjacent to the southern wall of the Mashhad, thirteen exquisite marble columns uphold thirteen graceful marble arches. According to Omar, these elements symbolize the beauty of Joseph, who envisioned eleven stars, the sun, and the moon bowing to him. Joseph’s beauty has the power to rouse individuals entangled in worldly distractions, urging them to recognize the existence of a realm beyond our physical senses, one worth aspiring to. Similarly, the beauty of this portico, with its columns, serves as a reminder of the transcendent world awaiting those who seek it.
In the southern wall of the Mashhad, seven splendid stained glass windows, adorned with exquisite wooden moldings, overlook the thirteen marble columns of this portico. According to Omar, these windows symbolize the seven stages of the Sufi spiritual journey. The number seven holds profound significance for the Shadeli Yashruti order: Sheikh Ali Nur Al-Din Yashruti spoke of seven levels of the soul, while his daughter Fatima Yashruti outlined seven conditions necessary for Sufism: repentance, turning to God, asceticism, commitment, satisfaction, honesty, and trust (Tawakkul). These principles are rooted in the tradition of the Prophet Muhammad’s night journey, during which he ascended through seven heavens to commune with God.
Above the windows on the southern wall (and similarly on the other walls), there are window arches adorned with colored glass mosaics in four hues: red, yellow, green, and blue. These colors echo those found in the ceilings of the porticos and particularly in the colored glass of the two transparent octagonal domes soaring above the hall’s center. Across Islamic Sacred art, these four colors symbolize the four elements constituting the world: earth, air, water, and fire.
House of Ali Nur Al-Din Yashruti
From the southwestern side of the Mashhad building, where Sheikh Ali Nur Al-Din Yashruti’s tomb rests, a broad staircase ascends to the house where he once resided. This three-story dwelling faces the sea, its lower levels potentially housing ancient halls from the Crusader era, currently under excavation after serving as warehouses. Sheikh Ali Nur Al-Din Yashruti inhabited the third floor, a spacious chamber offering views of both the Zawiya and the sea. In the 19th century, Acre’s atmosphere was laden with scents and vapors, making proximity to the sea and elevation advantageous for better air quality. Overlooking the sea also facilitated contemplation—Ta’amul—and appreciation of the marvels of creation.
Fatima Yashruti describes the Zawiya as a place with numerous chambers designated for the lodging and habitation of disciples, who reside there in seclusion from the external world. Additionally, small dwellings accommodate the families of these disciples. Special areas are allocated for the elderly, the infirm, the devout, and the impoverished, with a separate section designated for women. Adjacent to the Zawiya stands the Sheikh’s residence, where he resided with his wife and children.
Fatima Yashruti further explains that life in the Zawiya differed from the existence of wandering dervishes. Rather, it entailed a journey of spiritual advancement, encompassing prayers, study, devotion, and enlightenment. It involved fulfilling social responsibilities and steadily ascending the stages of the path toward spiritual perfection, known as the spiritual stations. Within this Zawiya, individuals could attain a profound closeness to God.
Sheikh Ali Nur Al-Din Yashruti devotedly prayed in the room where he resided, especially in his later years after reaching the remarkable age of 100, eventually passing away at 108. His daughter recounted a mystical encounter with him in that very room, occurring two weeks after his demise, imbuing the space with sanctity. During the reign of Sheikh Ali Nur al-Din Yashruti’s successors, access to the room was restricted to those wishing to recite the Quran within its confines. Presently, the room and the entire building are undergoing restoration, with plans to establish a museum detailing the history of the Shadeli Yashruti order. Additionally, on the south side of the third floor, a spacious sun terrace offers a splendid vista of the sea and the ancient city.
Near Sheikh Ali Nur Al-Din Yashruti’s house on the north side stands the Majdala Mosque, a local place of worship where he occasionally prayed. While the Zawiya lacks its own mosque, Islamic law permits prayers to be conducted anywhere during the week. However, on Fridays, men are required to attend the city’s main mosque for congregational prayers and sermons. It is likely that Sheikh Ali Nur al-Din Yashruti attended the Al Jazar Mosque during these times, as it is the largest mosque in Acre and is situated nearby.
Diwan of Sheikh Al Hadi Yashruti
Adjacent to the Takiya hall, in the southeastern corner of the Zawiya compound, stands a sizable building comprising multiple halls and rooms. This was once the residence of Sheikh Ibrahim Yashruti, featuring a diwan in its corner designated for receiving guests. After the leadership of the Order passed to his son, Sheikh Al Hadi Yashruti, Ibrahim Yashruti’s wife and Sheikh Al Hadi Yashruti’s mother continued to reside on the upper floor. Meanwhile, the diwan on the ground floor was repurposed as Sheikh Al Hadi Yashruti’s guest room, now known as the “Diwan al Hadi”.
The positioning of the official reception room of the Sheikhs in the corner of the building holds significant symbolism. It signifies the disciple’s pivotal transition from the horizontal journey to the vertical journey following their encounter with the Sheikh within the Zawiya—the turning point. Moreover, beyond this room, there is no further passage, prompting the disciple to exit in a manner different from their entry, adhering to the Adab by walking backward while facing the Sheikh. Distinguished by its green ceiling, this room embodies the presence of the “Hadra Muhammadiya” and underscores the Sheikh’s role as a spiritual guide. (Green symbolizes spiritual revival and is associated with the Prophet Muhammad and Islam.) Hanging from the ceiling is a distinctive copper lamp, while the floor is adorned with an intricate and captivating mandala symbolizing the spiritual journey.
During the renovations, significant transformations took place in this building, resulting in the creation of a spacious hall on the ground floor. This hall now serves as a venue for hosting groups and also functions as a space for women during public ceremonies. In the process, several windows were opened up between this hall and the Takiya hall, establishing a seamless connection between the spaces. Interestingly, remnants of ancient water pipes and a drinking fountain from the Ottoman period were unearthed during construction. These historical artifacts have been thoughtfully integrated into the floor and walls, effectively bridging the gap between the old and the new. Moving to the second floor, one finds several rooms and another hall boasting large windows that overlook the Takiya hall, offering a breathtaking view from above and allowing visitors to appreciate the intricate calligraphy adorning the dome up close.
Kitchen of the Zawiya
On the eastern side of the Zawiya compound, adjacent to the Diwan of Sheikh Al Hadi Yashruti and extending along the southeastern part of the central avenue, stand expansive arched Crusader halls that once served as the Zawiya’s kitchen. In the past, a dining room occupied the space between these halls and the Takiya building, where a courtyard now lies. This dining room accommodated hundreds of people daily, serving as a communal gathering place for meals.
And this is how Fatima Yashruti describes it: “The Zawiya provided meals for disciples and visitors, often accommodating no fewer than five hundred visitors daily. During holidays, several thousand would arrive each day. They lodged at the Zawiya and were served meals on tablecloths arranged by the resident disciples. Some would serve the food while others circulated with jugs of water, singing spiritual songs. There was a group of singers in the Zawiya who joined the order to enhance their Arabic, learn music principles, and develop musical talent.”
In some of the Crusader halls adjacent to the kitchen, grains and foodstuffs were stored, including donations in the form of agricultural produce. A traditional role of a Zawiya during the Ottoman period was to offer sustenance to the needy. Additionally, it was essential to provide food for the disciples, their families, guests, and the numerous visitors who frequented the premises.
On the exterior wall of the Crusader halls, a staircase ascends to a roof above them, offering a panoramic view of the Mashhad’s roof and the entire complex. From this vantage point, one can also observe the Acre Citadel’s wall to the east, adorned with supports of Crusader arches featuring human-shaped carvings on them. Interestingly, the Sufis refrained from desecrating these images.
In this area, it’s likely that there was a dining room used by the leaders of the Hospitaller Order. Adjacent to it may have been the palace of the head of the Order, known as the “Place of the Covenant.” According to Eliezer Stern, an archaeologist from the North District who participated in the research of Crusader remains discovered during the restoration of the Zawiya, this location was likely the most significant section of the Knights’ Halls Castrum in Acre. The area accessible to tourists is situated beyond this wall.
At the start of the observation roof, there’s a room currently utilized as a warehouse, featuring an opening in the wall that provides access to the Acre Citadel. This passage was historically used by the Ottoman governor of Acre and Israel to enter the governmental premises within the citadel, following a journey through the Zawiya courtyard. At day’s end, he would return through this route to his residence, situated on the opposite side of the Zawiya. On the northern end of the observation roof, remnants of a Hamman, likely used by the Sheikh and his household, can be found. While the house of Sheikh al-Hadi Yashruti once stood in this area adjacent to the wall of the Acre prison, it no longer remains.
Library and research institute
Knowledge holds a significant place in Islam, as evidenced by its frequent mention in the Quran. Islam emphasizes the pursuit of knowledge, which is considered a means to understand the divine through His attributes and names. During the early stages of Islamic civilization, the Abbasid caliphs established institutions like the House of Wisdom in Baghdad, promoting the study of various sciences. It was common for religious scholars to also be well-versed in fields such as medicine and natural sciences. This emphasis on knowledge played a crucial role in the success of Muslims during that era. Knowledge was disseminated from centers like Baghdad’s House of Wisdom through the establishment of madrasas, spreading Greek philosophy, Indian mathematics, and Persian art throughout the empire. Muslims not only adopted these sciences but also contributed to their development and advancement.
Fatima Yashruti mentions that during the era of Sheikh Ali Nur Al-Din Yashruti, the Zawiya housed a substantial library, not limited to religious texts. Moreover, the Sheikh maintained his personal library. When efforts to revive the Zawiya commenced, the concept of establishing a library, along with a research institute and a computer learning center, was proposed. Latif Yashruti, Sheikh al Hadi Yashruti’s brother, endeavored to establish a library in Acre during this period, and Omar also presented the idea to the Sheikh, receiving his endorsement.
The chosen building for this endeavor is situated between the residence of Ali Nur Al-Din Yashruti and the street, adjacent to the Zawiya on one side and the streets of Acre on the other. This selection was made with the intention of enabling access to the library and research institute without the necessity of entering the Zawiya.
The current leaders of the Shadeli Yashruti order are men of science, Dr. Ali Yashruti, a biochemist who pursued studies at universities in the United States, told me. “I am a researcher and a scientist. God gave us intelligence so we can use it, and the ability to investigate so we can investigate and ask questions. I use this ability until I reach a place from where I can no longer proceed with thought, which is the place from where faith and religion begin, but to reach it one must use thought first.”
