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Al-Jamiʿ al-Anwar, also known as the masjid of Imam al-Hakim, is one of the most historically significant Fatimid-era masjid in Cairo, Egypt. Built between 990 and 1012 CE, the masjidmosque represents a major example of Fatimid Islamic architecture and reflects the artistic, religious, and political influence of the Fatimid Caliphate.
The masjid is especially meaningful to the Dawoodi Bohra community, whose religious heritage traces back to the Fatimid Imams who ruled parts of the Islamic world from North Africa and Egypt.
Feature | Details |
Location | Cairo, Egypt |
Construction began | 990 CE under Imam al-Aziz |
Completed | 1012 CE under Imam al-Hakim |
Architectural style | Fatimid Islamic architecture |
Total area | Approximately 13,560 square metres |
Central courtyard | Around 5,000 square metres |
Al-Jamiʿ al-Anwar is the fourth oldest masjid in Cairo and one of the most important surviving Fatimid monuments in the city.
Over a thousand years old, al-Anwar is the fourth oldest masjid in Cairo, and the second Fatimi masjid to be built in the city after al-Jamiʿ al-Azhar (b. 972). The masjid covers an area of 13,560 square metres, with the iconic central courtyard occupying 5,000 square metres.
Al-Anwar is considered an important architectural and religious monument as the only existing Fatimi masjid in Cairo that showcases original contributions made by the Fatimi imams to masjid architecture: a projecting, monumental portal, a tripartite dome configuration and a raised transept referred to as the majāz. It is also the oldest masjid in the world to have two minarets erected together at the time of its construction.
The masjid’s unique inscriptions and novel epigraphic forms, in addition to its architectural features, reflect aspects of Fatimi faith and doctrine. Al-Jamiʿ al-Anwar is noteworthy in its visually prominent inscriptions in Fatimi Kufic script spanning its portal, minarets and walls. Quranic inscriptions are embellished by other arabesque designs, ranging from elaborate foliation to geometric patterns
In addition to the spiritual meaning the inscriptions held for followers of the Imams, these features and inscriptions also became symbols that unified the public under the prosperity of Fatimi rule and, for Muslims, created an environment of Islamic spirituality and worship.
For many centuries following its construction, al-Jamiʿ al-Anwar retained its primary purpose and functionality as a place of worship, albeit with periods of disuse and deterioration interspersed with several major restoration projects by Muslim leaders in Egypt in the 14th, 15th, and 19th centuries.
Subsequently, however, with the passage of time al-Anwar reached a dire state of dilapidation, neglect and ruin, and all but ceased its function as a masjid. The arrival of Europeans in Egypt, particularly, in the 19th and early 20th century, saw the masjid’s precincts being made to serve, at different times, as a fort, stables, a museum, a warehouse, and a school. Various conservation projects were also attempted during this period, recognising al-Anwar as a key Islamic monument within Historic Cairo—and it was added to the UNESCO World Heritage List in 1979.
A complete restoration of al-Jamiʿ al-Anwar was only achieved with the involvement of Syedna Mohammed Burhanuddin and the Dawoodi Bohra community. Prior to the restoration, the community had begun to build a relationship with the Egyptian leadership and people, largely due to the construction and dedication of darihs (ornamental grillwork structures made from silver and gold placed over the burial places of members of the Prophet’s family) at the venerated shrines of Imam Husain and Sayyida Zainab in Cairo. Syedna Burhanuddin had also been presented with an honorary doctorate from Al-Azhar University in 1966 as well as the Order of the Nile by President Mohammed Anwar Sadat in 1978
The masjid is notable for several distinctive architectural elements associated with Fatimid design traditions.
Architectural Element | Description |
Monumental portal | A projecting entrance typical of Fatimid mosques |
Twin minarets | Among the earliest examples of paired minarets |
Tripartite domes | Distinctive dome configuration in the prayer hall |
Raised transept (majāz) | Architectural axis leading to the mihrab (central prayer niche) |
Fatimid Kufic inscriptions | Decorative Quranic inscriptions and epigraphy |
Over its thousand-year history, al-Jamiʿ al-Anwar experienced multiple phases of use, decline, and restoration.
Period | Condition of the Mosque |
Fatimid period (10th–12th century) | Active centre of worship and religious life |
Later medieval period | Continued use with occasional repairs |
19th–20th centuries | Gradual decline and alternative uses including storage and military functions |
1979 | Included within the UNESCO World Heritage listing of Historic Cairo |
By the late 20th century, the masjidmosque had fallen into severe disrepair and required extensive restoration.
The modern restoration of al-Jamiʿ al-Anwar was undertaken with the leadership and support of Syedna Mohammed Burhanuddin, the 52nd leader of the Dawoodi Bohra community.
The restoration aimed to:
The project involved collaboration with Egyptian authorities and conservation experts.
A primary goal of the project was restoring the Fatimi masjid to its original state as far as possible; the scale, layout and form of the renovated structure, therefore, are nearly exactly the same as when the masjid was first built. The renewal of inscriptions, epigraphs, and ornamentation adhered to the original designs where extant—otherwise, elements taken from or inspired by authentic Fatimi epigraphs and designs taken from other structures were used, such as the ‘Tree of Life’ design replicated from the mihrab of al-Jamiʿ al-Azhar.
Beginning in 1978, the restoration project was prefaced with an intensive cleaning programme personally led by Syedna Saifuddin as the first step in restoring the sanctity of the masjid. This paved the way for further work, which included extensive research, planning and design, with numerous site visits by Syedna Mohammed Burhanuddin.
A primary goal of the project was restoring the Fatimi masjid to its original state as far as possible; the scale, layout and form of the renovated structure, therefore, are nearly exactly the same as when the masjid was first built. The renewal of inscriptions, epigraphs, and ornamentation adhered to the original designs where extant—otherwise, elements taken from or inspired by authentic Fatimi epigraphs and designs taken from other structures were used, such as the ‘Tree of Life’ design replicated from the mihrab of al-Jamiʿ al-Azhar.
Several noteworthy events took place during the restoration, such as the discovery of a stone fragment of the masjid’s original foundational inscription, followed by locating and identifying its other existing pieces, such as from the Islamic Museum of Art in Cairo. The text of the fragments that remained missing was completed based on the pieces which were located and this led to the reinstallation of the original foundational inscription. Another key discovery was a well in the masjid’s courtyard, which was utilised for the project’s water requirements and then retained, with a dome-shaped structure built over it.
The process of renewal and restoration of the masjid was termed ihya—literally, bringing to life—signifying a complete revival of form and function. This was befitting as the community’s ultimate purpose behind the restoration of al-Jamiʿ al-Anwar (and the subsequent restoration of other Fatimi masjids such as al-Jamiʿ al-Aqmar) was for the masjid to resume its original function as a place of worship, as the Fatimi imams had intended. More than simply conserving a historical monument, the restoration was inspired by Islamic values and Fatimi historical and philosophical traditions—and was itself understood as an act of worship and the continuation of a living spiritual tradition.
The restoration of al-Jamiʿ al-Anwar was a turning point for the Dawoodi Bohra community, heralding a revival of faith and culture. It was marked by a renewed commitment to Islamic tenets and values as well as a reconnection with the community’s Fatimi heritage and cultural roots. In 1978, coinciding with the commencement of the restoration project, an international educational gathering called al-Multaqa al-Fatimi al-ʿIlmi took place in Aljamea-tus-Saifiyah in Surat, where Bohras resolved to commit to Islamic cultural and ethical principles in all aspects of life, including attire, language, and business practices.
The restoration also brought about a renaissance of Fatimi art and architecture for the community. Al-Anwar’s architectural features, epigraphs and designs, along with those from other Fatimi masjids, began to be used in Dawoodi Bohra masjids and in other community edifices such as mausolea.
The restoration of al-Jamiʿ al-Anwar inspired the revival of Fatimid architectural motifs in Dawoodi Bohra community structures around the world.
Common design elements adopted include:
These architectural features now appear in numerous Bohra masjid, mausoleums, and community centres globally.
Not only was al-Anwar a precedent for the restoration of several other Cairene Fatimi monuments by the community, it was followed by the construction of many new Bohra masjids and community centres worldwide, in addition to the restoration of Ahl al-Bayt shrines, mausolea, and other historic masjids such as that of Imam Ali ibn Abi Talib in Kufa.
The masjid is located in Cairo, Egypt, within the historic Fatimid district.
Construction began under Fatimid Imam al-Aziz in 990 CE and was completed by his son Imam al-Hakim in 1012 CE.
The Dawoodi Bohra community traces its heritage to the Fatimid Imams, making the masjid a key spiritual and historical site.
A major restoration project was completed in 1980, led by Syedna Mohammed Burhanuddin.
Yes. After restoration, the masjid resumed its role as an active place of worship and an important Fatimid heritage monument.
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