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Few religious buildings of the modern era inspire the hush that settles over visitors crossing the forecourt of the Sheikh Zayed Grand Mosque in Abu Dhabi. Commissioned by the founding father of the United Arab Emirates, the late Sheikh Zayed bin Sultan Al Nahyan, the complex opened for worship in 2007 and has since become the spiritual centrepiece of the Emirati capital. The founder himself is buried in a quiet garden just beside the northern minaret, at his own wish, so that the call to prayer continues above him every day. His vision for the mosque was generous and inclusive, a place drawing inspiration from Mughal India, Moorish Andalusia, Ottoman Turkey, and Mamluk Egypt, united on Gulf soil as a gift to the global Muslim family.
Clad almost entirely in Macedonian Sivec marble, its eighty two domes shimmer above pools of dark reflecting water that double the architecture on still nights. Four corner minarets rise to roughly one hundred and seven metres, gilded at their crowns, while the central dome, finished in pale ivory, ranks among the largest in the world. More than one thousand columns line the arcades, many inlaid with lapis lazuli, red agate, amethyst, jasper, and mother of pearl in floral motifs drawn from classical Arab miniatures. The inner courtyard, spread across seventeen thousand square metres, is paved with one of the largest marble mosaics ever laid, its cool whiteness reflecting the desert sun with astonishing softness.
Within the main prayer hall lies a single handwoven carpet, crafted by about twelve hundred artisans in Iran under the direction of the master weaver Ali Khaliqi, stretching more than five thousand square metres in unbroken design. Seven vast chandeliers, adorned with millions of Swarovski crystals, cascade like falling constellations above the worshippers. The mihrab is decorated with calligraphic panels bearing the ninety nine names of God, written in traditional Kufic and Thuluth scripts.
Beyond its visual splendour, the mosque welcomes millions of visitors each year, offering free guided walks, children's learning programmes, and Ramadan iftars that feed thousands of fasting labourers and families beneath the arcades. In every sense, it gathers the breath of many lands into one shared Emirati sanctuary.
Clad almost entirely in Macedonian Sivec marble, its eighty two domes shimmer above pools of dark reflecting water that double the architecture on still nights. Four corner minarets rise to roughly one hundred and seven metres, gilded at their crowns, while the central dome, finished in pale ivory, ranks among the largest in the world. More than one thousand columns line the arcades, many inlaid with lapis lazuli, red agate, amethyst, jasper, and mother of pearl in floral motifs drawn from classical Arab miniatures. The inner courtyard, spread across seventeen thousand square metres, is paved with one of the largest marble mosaics ever laid, its cool whiteness reflecting the desert sun with astonishing softness.
Within the main prayer hall lies a single handwoven carpet, crafted by about twelve hundred artisans in Iran under the direction of the master weaver Ali Khaliqi, stretching more than five thousand square metres in unbroken design. Seven vast chandeliers, adorned with millions of Swarovski crystals, cascade like falling constellations above the worshippers. The mihrab is decorated with calligraphic panels bearing the ninety nine names of God, written in traditional Kufic and Thuluth scripts.
Beyond its visual splendour, the mosque welcomes millions of visitors each year, offering free guided walks, children's learning programmes, and Ramadan iftars that feed thousands of fasting labourers and families beneath the arcades. In every sense, it gathers the breath of many lands into one shared Emirati sanctuary.
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Sheikh Zayed Mosque