The Simorgh Always Rises - Solo Exhibition by Sara AlAbdali

The Simorgh ‫��س‬ ‫ ا��ع ن� ت�اء ت مو دا ئ��ما‬Always Rises

Sarah Mohanna Al Abdali Solo Exhibition

‫سارة مهنى العبدلي‬ ‫ﻣﻌﺮض ﺷﺨﺼﻲ‬

Curated by Jumana Ghouth ‫ﺗﻨﺴﻴﻖ ﺟﻤﺎﻧﺔ ﻏﻮث‬

Designed by: Ibraheem Bin Taleb

Curatorial Text

By Jumana Ghouth

This house in Al-Balad is a space of quiet and determined resilience, where Sarah Al-Abdali invokes a cultural heritage that is both robust and fragile.

The heritage of the Hejaz was once proudly manifested in its buildings. Distinctive houses, unlike anything else in the Arabian Peninsula, stood as a testament to the unique social life of the Red Sea region, where trade and pilgrimage shaped an extraordinary place of ideas, intellect and exchange. In Mecca and Medina, tides of reconstruction have erased the past irrevocably, it is only here in Al-Balad that history is inhabited, its echoes heard in the architecture.

More than remnants or memories, architecture is a structuring force. Shaping and shaped by everyday life, it forms a kind of social fabric. Today, as the home of the two holy mosques, the Hejaz is synonymous with its sacred heritage; this status informs its history, but does not eclipse the wealth of its wider cultural identity. Al-Abdali draws on the sacred and the domestic, the mythic and the quotidian, to reveal the vibrant foundations of her contemporary cultural context.

Invoking the Simorgh, a mythic talisman of endurance that rises time and again throughout diverse world cultures, AlAbdali asserts the resilience of Hejazi culture. Distinct from the phoenix, in the literature of the Arabian Peninsula, the Simorgh, a creature that sustains not only through regeneration and mythic retellings, but also a protective nature.

However, despite the strident vibrancy depicted in these scenes, the delicacy of the materials stands in contrast. Ceramics, works on silk, miniatures on paper, as well as the meticulous, intricate detailing of each scene, demand close attention, urging reverence and protection.

Only through the ashes of its predecessor will the Simorgh return – so too, the past supports and animates the present.

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‫��‬ ‫ر�‬ ‫ن��ص ا مع ن‬

‫ﺟﻤــــﺎﻧــــﺔ ﻏــــــﻮث‬

‫ﻟﻘــﺪ ﺗﻤﻴــﺰت اﻟﻌﻤــﺎرة اﻟﺤﺠﺎزﻳــﺔ ﻗﺪﻳﻤــﺎ ﺑﻄﺎﺑﻌﻬــﺎ اﻟﻔﺮﻳــﺪ اﻟــﺬي ﻳﻈﻬــﺮ ﻓــﻲ‬ ‫اﻟﺒﻴــﻮت اﻟﺤﺠﺮﻳــﺔ ﺑﺮواﺷــﻴﻨﻬﺎ اﻟﺨﺸــﺒﻴﺔ واﻟﻨﻘــﻮش اﻟﺠﺼﻴــﺔ واﻟﺨﺸــﺒﻴﺔ‬ ‫اﻟﻤﺨﺘﻠﻔــﺔ‪ .‬وﻳﻌﻜــﺲ ﻫــﺬا اﻟﻨﻤــﻂ اﻟﻌﻤﺮاﻧــﻲ اﻟﺤﺠــﺎزي ﻧﻤــﻂ اﻟﺤﻴــﺎة‬ ‫ا\ﺟﺘﻤﺎﻋﻴــﺔ ﻟﻠﺤﺠــﺎز ﺧﺎﺻــﺔ وﻣﻨﻄﻘــﺔ اﻟﺒﺤــﺮ ا‪Y‬ﺣﻤــﺮ ﺑﺼﻔــﺔ ﻋﺎﻣــﺔ‪ .‬وﻣــﻦ‬ ‫اﻟﻤﻌــﺮوف أن اﻟﺤــﺞ واﻟﺘﺠــﺎرة ﻛﺎﻧــﺎ ﻋﺎﻣــﻼن رﺋﻴﺴــﺎن ﺳــﺎﻋﺪا ﻋﻠــﻰ ﺟﻌــﻞ‬ ‫ﺑﻌــﺾ ﻣــﺪن اﻟﺤﺠــﺎز ﻣﻜﺎﻧــﺎ ﻓﺮﻳــﺪ‪ k‬ﺗﺠﻤﻌــﺖ ﻓﻴــﻪ اﻟﺜﻘﺎﻓــﺎت واﻟﻌــﺎدات‬ ‫وا‪Y‬ﻋــﺮاق ﺑﺎﺧﺘﻼﻓﻬــﺎ ﻟﺘﻜــﻮن ﻫﻮﻳــﺔ ﺣﺠﺎزﻳــﺔ ﻣﺘﻤﻴــﺰة ﺗﺠﻤــﻊ ﻛﻞ اﻻﺧﺘﻼﻓــﺎت‬ ‫اﻟﻌﺮﻗﻴــﺔ واﻟﻤﺬﻫﺒﻴــﺔ ﺗﺤــﺖ ﺳــﻘﻒ ‪.‬واﺣــﺪ ﻣﺘﺠﺎﻧــﺲ‪.‬‬ ‫وﻣﻮاﻛﺒــﺔ ﻟﻠﺘﻄــﻮرات و اﻟﺘﻐﻴﻴــﺮات ا\ﺟﺘﻤﺎﻋﻴــﺔ واﻟﻌﻤﺮاﻧﻴــﺔ اﻟﺘــﻲ ﺷــﻤﻠﺖ‬ ‫ﻣﺪﻧــ‪ u‬ﻛﺜﻴــﺮة ﻓــﻲ اﻟﻌﺎﻟــﻢ اﻟﻌﺮﺑــﻲ ﻓــﻲ ﺑﺪاﻳــﺔ اﻟﻘــﺮن اﻟﺜﺎﻟــﺚ ﻋﺸــﺮ اﻟﻬﺠﺮي‪،‬‬ ‫ﺟــﺎء اﻟﺰﺣــﻒ اﻟﻌﻤﺮاﻧــﻲ ﻓــﻲ أﻛﺒــﺮ ﻣــﺪن اﻟﺤﺠــﺎز ﻣﺜــﻞ ﻣﻜــﺔ واﻟﻤﺪﻳﻨــﺔ وﺟﺪة‬ ‫ﻣﺘﻌﺪﻳــ‪ u‬ﻋﻠــﻰ اﻟﻤﺎﺿــﻲ ﺑﺄﺻﺎﻟﺘــﻪ وﻧﻤــﻂ ﻋﻤﺮاﻧــﻪ‪ ،‬ﻓﻔــﻲ ﻣﺪﻳﻨــﺔ ﺟــﺪة ﻋﻠــﻰ‬ ‫ﺳــﺒﻴﻞ اﻟﻤﺜــﺎل‪ ،‬ﻟــﻢ ﻳﻌــﺪ ﻟﻠﺘﺎرﻳــﺦ ﻣﻜﺎﻧــﺎ اﻻ ﻓــﻲ رﺣــﺎب اﻟﺒﻠﺪ)اﻟﻤﻨﻄﻘــﺔ‬ ‫اﻟﺘﺎرﻳﺨﻴــﺔ(‪ ،‬ﻟﻴﺴــﻤﻊ ﺻــﺪاه ﻓــﻲ ﺑﻴﻮﺗﻬــﺎ اﻟﻤﻬﺠــﻮرة وازﻗﺘﻬــﺎ اﻟﻌﺘﻴﻘــﺔ‪.‬‬ ‫ﺗﺮﻛــﺰ ﺳــﺎرة اﻟﻌﺒﺪﻟــﻲ ﻓــﻲ أﻋﻤﺎﻟﻬــﺎ ﻋﻠــﻰ ﻣﻔﺎﻫﻴــﻢ ﺗﺒﺤــﺚ ﻋــﻦ ﻣﺴــﻤﻰ‬ ‫اﻟﻬﻮﻳــﺔ ﻓــﻲ ﻟﻐــﺔ ﺗﺘــﺮاوح ﺑﻴــﻦ اﻟﻮاﻗــﻊ وا‪Y‬ﺳــﻄﻮرة‪ ،‬اﻟﻔــﺮد واﻟﻤﺠﺘﻤــﻊ‪،‬‬ ‫اﻟﻔﺎﻧــﻲ و ا‪Y‬ﺑــﺪي ﻓــﻲ ﻟﻐــﺔ ﻓﻨﻴــﺔ ﻣﻌﺎﺻــﺮة‪.‬‬ ‫وﺗﺴــﺘﺤﻀﺮ )اﻟﻌﺒﺪﻟــﻲ( ﻃﺎﺋــﺮ اﻟﻌﻨﻘــﺎء أو اﻟﺴــﻴﻤﺮغ ﻓــﻲ أﻋﻤﺎﻟﻬــﺎ‪ ،‬و‬ ‫ﻫــﻮ اﻟﻄﺎﺋــﺮ اﻻﺳــﻄﻮري اﻟــﺬي ﻳﺠــﺪد ﻧﻔﺴــﻪ ﻣــﻦ اﻟﺮﻣــﺎد‪ ،‬وﻫــﻮ رﻣــﺰ ﻗــﺪ‬ ‫ﺗــﻢ ﺗﺪاوﻟــﻪ ﻛﺜﻴــﺮا ﻓــﻲ ﻣﺨﺘﻠــﻒ اﻟﺜﻘﺎﻓــﺎت واﻟﺸــﻌﻮب وﺧﺎﺻــﺔ ﻣــﻮروث‬ ‫اﻟﺸــﻌﻮب اﻻﺳــﻼﻣﻴﺔ ﺣﻴــﺚ ﺗــﺪاول ذﻛــﺮه وﺗﺼﻮﻳــﺮه ﻋﻠــﻰ ﻣﺴــﻤﻊ اﻟﻜﺜﻴــﺮ‬ ‫ﻣــﻦ اﻟﻤﻔﻜﺮﻳــﻦ وا‪Y‬دﺑــﺎء واﻟﻨﻘﺎﺷــﻴﻦ‪ ،‬وﻟﻌــﻞ ﺧﻴــﺮ ﻣﺜــﺎل ﻟﻬــﺆﻻء ﻫــﻮ‬ ‫اﻻﻣــﺎم أﺑــﻮ ﺣﺎﻣــﺪ اﻟﻐﺰاﻟــﻲ واﻟــﺬي ﺗﻨﺎوﻟــﺖ رﺳــﻼﺗﻪ ”رﺳــﺎﻟﺔ اﻟﻄﻴــﺮ“ ﺗﺄﻣــﻼت‬ ‫ﻓﻠﺴــﻔﻴﺔ ﻋﻤﻴﻘــﺔ ﻳﻄﺮﺣﻬــﺎ ﻫــﺬا اﻟﻤﺨﻠــﻮق‪ .‬وﻗــﺪ ﻛﺎن ﻫــﺬا اﻟﻌﻤــﻞ ﻣﺼــﺪر‬ ‫اﻟﻬــﺎم ﻟﻜﺜﻴﺮﻣــﻦ اﻟﺪارﺳــﻴﻦ‪ ،‬إذ ﻛﺎن ﻣﻠﻬﻤــﺎ ﻟﻔﺮﻳــﺪ اﻟﺪﻳــﻦ اﻟﻌﻄــﺎر‬ ‫ﻟﻜﺘﺎﺑــﺔ راﺋﻌﺘــﻪ“ ﻣﻨﻄــﻖ اﻟﻄﻴﺮ“وﻗــﺪ ﻛﺎن اﻟﻌﻄــﺎر ﻓــﻲ ﻛﺘﺎﺑــﻪ ﻫــﺬا ﺑﺎﺣﺜــﺎ‬ ‫ﻋــﻦ ﻓﻠﺴــﻔﺔ وﻏﻤــﻮض ﻫــﺬا اﻟﻄﺎﺋــﺮ‪.‬‬

‫‪3‬‬

�� ‫م‬ ‫ــ‬ ‫ود‬

Resiliance

Respect for the domestic and the everyday is enacted in scenes that teem with Hejazi women, seen from windows, in gardens, living out lives that were integral to their moment. Often forgotten, these women were scholars and care givers, here are the tabariyat – who lived in Mecca from the 13th– 17th centuries, acclaimed for their intellect and their invaluable roles in knowledge transmission; in another scene, we see the rubbat – charity houses run by and for Hejazi women. Works dedicated to these women provide a powerful counterpoint to received knowledge, challenging anyone who believes that the Hejaz is and has always been male-dominated.

4

‫ﺗﺼــﻮر ﻫــﺬه اﻟﻤﺠﻤﻮﻋــﺔ اﻟﺤﻴــﺎة اﻟﻴﻮﻣﻴــﺔ ﻟﻠﻌﻨﺼــﺮ اﻟﻨﺴــﺎﺋﻲ‬ ‫اﻟﺤﺠــﺎزي‪ ،‬ﻟــﺬا ﻓﺼــﻮر اﻟﻤﺠﻤﻮﻋــﺔ ﺗﻮﺿــﺢ ﻣﺸــﺎﻫﺪ ﻣــﻦ اﻟﺤﻴــﺎة‬ ‫اﻟﻴﻮﻣﻴــﺔ ﻓــﻲ اﻟﺤﺠــﺎز ﻓــﻲ ﻟﻘﻄــﺎت ﻣﻌﺒــﺮة‪ ،‬ﻓﻬــﻲ ﺗﺼــﻮر‬ ‫اﻟﻤــﺮأة ﻓــﻲ ﺑﻴﺘﻬــﺎ ﺗــﺎرة ﻓــﻲ ﻟﺤﻈــﺔ ﻣــﻦ اﻟﺴــﻜﻮن‪ ،‬وﺗــﺎرة أﺧــﺮى‬ ‫ﺗﺘﺴــﺎﻣﺮ ﻣــﻊ أﻓــﺮاد اﻟﺒﻴــﺖ ﺧﻠــﻒ اﻟﺮواﺷــﻴﻦ‪ .‬وﻫــﺆﻻء اﻟﻨﺴــﻮة‬ ‫ﻛــﻦ رﺑــﺎت ﺑﻴــﻮت وأﻣﻬــﺎت ‪ ،‬وﺑﻨــﺎت‪ ،‬إﺿﺎﻓــﺔ إﻟﻰ ﻛــﻮن ﺑﻌﻀﻬﻦ‬ ‫ﻋﺎﻟﻤــﺎت ﻟﻬــﻦ إﺳــﻬﺎﻣﺘﻬﻦ اﻟﻌﻠﻤﻴــﺔ وﻣﺸــﺎرﻛﺎﺗﻬﻦ اﻟﻔﺎﻋﻠــﺔ‬ ‫ﻓــﻲ اﻟﻤﺠﺘﻤــﻊ‪ .‬ﻓﻤﺜــﻼ ﻧــﺮى اﻟﻌﻤــﻞ اﻟﻤﻌﻨــﻮن ب ”اﻣﺮأﺗــﺎن ﻓــﻲ‬ ‫رﺑــﺎط اﻟﺨﻨﺠــﻲ“ و“رﺑــﺎط اﻟﺨﻨﺠــﻲ“ ﻣﺸــﻬﺪان ﻣــﻦ ﻫــﺬا اﻟﺮﺑــﺎط‬ ‫اﻟــﺬي ﺗﺪﻳــﺮه ﻧﺴــﺎء ﺣﺠﺎزﻳــﺎت ﻛــﻦ ﻳﺴــﻜﻦ ﺑﺤــﺎرة اﻟﺸــﺎم وﻫــﻲ‬ ‫ا‪Y‬ﻛﺜــﺮ ﺛــﺮاء‪ k‬ﺑﻴــﻦ ﺣــﺎرات ﺟــﺪة اﻟﺘﺎرﻳﺨﻴــﺔ‪ .‬ﻛﻤــﺎ ﻧــﺮى ﻓــﻲ ﻋﻤــﻞ‬ ‫آﺧــﺮ ﻟﻠﻔﻨﺎﻧــﺔ اﻟﻌﺒﺪﻟﻲ”اﻟﻄﺒﺮﻳــﺎت“ ﻣﺜــﺎﻻ ﻳﻮﺿــﺢ دور ﻋﺎﺋﻠــﺔ‬ ‫أ ّﺛــﺮت ﻓــﻲ اﻟﺤــﺮاك اﻟﺜﻘﺎﻓــﻲ ﻓــﻲ اﻟﺤﺠــﺎز ﺑﺸــﻜﻞ ﻛﺒﻴــﺮ‪ .‬وﻗــﺪ‬ ‫ُﻋــﺮف ﺑﻌــﺾ ﻧﺴــﺎء ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ ﺑﻌﻠﻤﻬــﻦ واﺳــﻬﺎﻣﺎﺗﻬﻦ‬ ‫اﻟﻌﺪﻳــﺪة ﻓــﻲ ﺧﺪﻣــﺔ اﻟﻤﺠﺘﻤــﻊ اﻟﻤﻜــﻲ‪ ،‬إذ ذﻛــﺮت ﻛﺜﻴــﺮ‬ ‫ﻣــﻦ ﻣﺼــﺎدر ﺗﺎرﻳــﺦ ﻣﻜــﺔ ﻣﺒــﺎدرات اﺟﺘﻤﺎﻋﻴــﺔ ﻟﻜﺜﻴــﺮ ﻣــﻦ‬ ‫ﻧﺴــﺎء ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ ﺗﻤﺜﻠــﺖ ﻓــﻲ اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻻﺳــﻬﺎﻣﺎت‬ ‫ﻣﻨﻬــﺎ ﺑﻨــﺎء ارﺑﻄــﺔ وأوﻗــﺎف ﺧﻴﺮﻳــﺔ‪ .‬و ﻋﻠــﻰ اﻟﻨﻄــﺎق اﻟﻌﻠﻤــﻲ‬ ‫ﺑــﺮز ﻋــﺪد ﻛﺒﻴــﺮ ﻣــﻦ اﻟﻌﺎﻟﻤــﺎت اﻟﻼﺋــﻲ أﺷــﻴﺮ إﻟــﻰ ﺗﻤﻴﺰﻫــﻦ‬ ‫وﻧﺒﻮﻏﻬــﻦ ﻓــﻲ اﻟﻤﺠﺘﻤــﻊ اﻟﻤﻜــﻲ‪ .‬وﻗــﺪ ﺗﺘﻠﻤــﺬ ﻛﺜﻴــﺮ ﻣــﻦ‬ ‫ﻧﺴــﺎء ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ ﻋﻠــﻰ أﻳــﺪي ﻛﺒــﺎر اﻟﻌﻠﻤــﺎء واﻟﺸــﻴﻮخ‬ ‫اﻟﻤﺠﺎورﻳــﻦ ﺑﻤﻜــﺔ ﻣﺜــﻞ اﺑــﻦ ﻋﺴــﺎﻛﺮ واﺑــﻦ ﻋﺮﻓــﺔ و اﻟﻮاﻧﻮﻏــﻲ‬ ‫واﻟﺒﺮزﻟــﻲ و اﺑــﻦ ﺧﻠــﺪون وﻏﻴﺮﻫــﻢ ‪.‬‬ ‫وﻗــﺪ ذاﻋــﺖ ﺷــﻬﺮة ﺑﻌﻀﻬــﻦ ﻋﻠــﻰ ﻣﺴــﺘﻮى اﻟﻌﺎﻟــﻢ‬ ‫اﻻﺳــﻼﻣﻲ إذ أن ﻛﺜﻴــﺮ ﻣــﻦ ﻃــﻼب اﻟﻌﻠــﻢ ﻛﺎﻧــﻮا ﻳﻔــﺪون إﻟــﻰ‬ ‫ﻣﻜــﺔ ﻟﺰﻳﺎرﺗﻬــﺎ وأﺧــﺬ اﻟﻌﻠــﻢ ﻋــﻦ ﺑﻌــﺾ أﻓــﺮاد ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ‪.‬‬

‫‪5‬‬

Simorgh rising, 2018. ink, gouache and gold on paper 12 x 9″ .٢٠١٨ ،‫اﻟﻌﻨﻘﺎء ﺗﺴﻤﻮ‬ ‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬٩ x ١٢

7

Sett, 2018. ink and gold on paper 12 x 9″ . ٢٠١٨ ،‫ﺳﺖ‬ .‫ﺣﺒﺮ وذﻫﺐ ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٩ x ١٢

6

8

Mahmal، 2018.

Natural pigments, ink and gold and gouache on paper.

12.6 × 3.7″

Makkah، 2018.

Natural pigments, ink and gold and gouache on paper.

12.6 × 5.5″

٢٠١٨ ،‫اﻟﻤﺤﻤﻞ‬ ‫ ﺣﺒﺮ وذﻫﺐ وﻏﻮاش‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٣,٧ x ١٢,٦

٢٠١٨ ،‫ﻣﻜﺔ‬ ‫ ﺣﺒﺮ وذﻫﺐ وﻏﻮاش‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٥,٥ x ١٢,٦

9

Leleh, 2018.

Natural pigments gold and gouache on paper.

9 x 11.5″ ٢٠١٨ ،‫ﻻﻟﺔ‬ ‫ ذﻫﺐ‬.‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬١١,٥ x ٩

10

Sukoon, 2018.

Natural pigment, gold and gouache on paper 13.5 x 7″ ٢٠١٨ ،‫ُﺳﻜﻮن‬ ‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬٧ x ١٣,٥

11

12

Maqboula in her garden in Taif, 2018.

Natural pigments gold and gouache on paper 13.5 x 7″

Ulfat, 2018.

Natural pigments gold and gouache on paper.

10.5 x 10″

٢٠١٨ ،‫ﻣﻘﺒﻮﻟﺔ ﻓﻲ ﺑﺴﺘﺎن اﻟﻄﺎﺋﻒ‬ ‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬٧ x ١٣,٥

٢٠١٨ ،‫أﻟﻔﺖ‬ ‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬١٠ x ١٠,٥

13

Layla falls asleep, 2019.

Gouache, charcoal and gold on paper.

63 x 27.5″ ٢٠١٩ ،‫ﻟﻴﻠﻰ ﺗﺴﺘﻐﺮق ﻓﻲ اﻟﻨﻮم‬ ‫ﻏﻮاش وﻓﺤﻢ وذﻫﺐ ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٢٧٫٥ x ٦٣

14

Safa and Marwa, 2018.

Gouache on wood.

40 x 27″ ٢٠١٨ ،‫ﺻﻔﺎء وﻣﺮوة‬ ‫ﻏﻮاش ﻋﻠﻰ ﺧﺸﺐ‬ ‫ إﻧﺶ‬٢٧ x ٤٠

15

‫‪Al Tabariyat refers to a family known for their scholarly‬‬ ‫‪excellence in historic Makkah. Throughout a timeline‬‬ ‫‪extending from the 8th till the 18th centuries, many women‬‬ ‫‪descending from this family have contributed to the Makkan‬‬ ‫‪social and economic landscape. With accomplishments‬‬ ‫‪ranging from commissioning charitable trusts, water fountains‬‬ ‫‪and traditional schools, these women marked their presence‬‬ ‫‪in the Hejaz and the Islamic lands. They have taught many‬‬ ‫‪influential scholars sheiks, historians and linguists of their time,‬‬ ‫‪as they have studied under prominent scholars and thinkers‬‬ ‫‪such as Ibn Khaldoun and Ibn Arafa. Quraysh Al Tabariya‬‬ ‫‪(1610) for instance, was a well-recognized figure in Hejazi‬‬ ‫‪society in her time, who has taught many men and women.‬‬ ‫‪She has contributed to the science of hadith and sharia law,‬‬ ‫‪preserving and continuing both sciences. And is considered‬‬ ‫‪to be one of the most influential women in the history of‬‬ ‫‪Makkah.‬‬ ‫ﻋﺎﺋﻠــﺔ اﻟﻨﺴــﺎء اﻟﻄﺒﺮﻳــﺎت‪ :‬ﻇﻬــﺮت ﻓــﻲ اﻟﻤﺠﺘﻤــﻊ اﻟﻤﻜــﻲ اﺑﺘــﺪاءا ﻣــﻦ اﻟﻘــﺮن اﻟﺜﺎﻧــﻲ‬ ‫اﻟﻬﺠــﺮي اﻟــﻰ اﻟﻘــﺮن اﻟﺜﺎﻟــﺚ ﻋﺸــﺮ‪ .‬وﻗــﺪ ﻋــﺮف ﺑﻌــﺾ ﻧﺴــﺎء ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ ﺑﻌﻠﻤﻬــﻦ‬ ‫واﺳــﻬﺎﻣﺎﺗﻬﻦ اﻟﻌﺪﻳــﺪة ﻓــﻲ ﺧﺪﻣــﺔ اﻟﻤﺠﺘﻤــﻊ اﻟﻤﻜــﻲ‪ ،‬ﺣﻴــﺚ ذﻛــﺮت ﻛﺜﻴــﺮ ﻣــﻦ‬ ‫ﻣﺼــﺎدر ﺗﺎرﻳــﺦ ﻣﻜــﺔ ﻣﺒــﺎدرات اﺟﺘﻤﺎﻋﻴــﺔ ﻟﻜﺜﻴــﺮ ﻣــﻦ ﻧﺴــﺎء ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ ﺗﻤﺜﻠــﺖ ﻓــﻲ‬ ‫اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻻﺳــﻬﺎﻣﺎت ﻣﻨﻬــﺎ ﺑﻨــﺎء ارﺑﻄــﺔ وأوﻗــﺎف ﺧﻴﺮﻳــﺔ‪ .‬و ﻋﻠــﻰ اﻟﻨﻄــﺎق اﻟﻌﻠﻤــﻲ‬ ‫ﺑــﺮز ﻋــﺪد ﻛﺒﻴــﺮ ﻣــﻦ اﻟﻌﺎﻟﻤــﺎت اﻻﺗــﻲ أﺷــﻴﺮ اﻟــﻰ ﺗﻤﻴﺰﻫــﻦ وﻧﺒﻮﻏﻬــﻦ ﻓــﻲ اﻟﻤﺠﺘﻤــﻊ‬ ‫اﻟﻤﻜــﻲ‪. .‬وﻗــﺪ ﺗﺘﻠﻤــﺬ ﻛﺜﻴــﺮ ﻣــﻦ ﻧﺴــﺎء ﻫــﺬه اﻟﻌﺎﺋﻠــﺔ ﻋﻠــﻰ اﻳــﺪي ﻛﺒــﺎر اﻟﻌﻠﻤــﺎء‬ ‫واﻟﺸــﻴﻮخ اﻟﻤﺠــﺎورون ﺑﻤﻜــﺔ ﻣﺜــﻞ اﺑــﻦ ﻋﺴــﺎﻛﺮ واﺑــﻦ ﻋﺮﻓــﺔ و اﻟﻮاﻧﻮﻏــﻲ واﻟﺒﺮزﻟــﻲ و‬ ‫اﺑــﻦ ﺧﻠــﺪون وﻏﻴﺮﻫــﻢ ‪.‬‬ ‫وﻗــﺪ ذاﻋــﺖ ﺷــﻬﺮة ﺑﻌﻀﻬــﻦ ﻋﻠــﻰ ﻣﺴــﺘﻮى اﻟﻌﺎﻟــﻢ اﻻﺳــﻼﻣﻲ ﺣﻴــﺚ ﻛﺎن ﻛﺜﻴــﺮا ﻣــﻦ‬ ‫ﻃــﻼب اﻟﻌﻠــﻢ ﻳﺄﺗــﻮن اﻟــﻰ ﻣﻜــﺔ ﻟﻴﺄﺧــﺬوا ﻋﻨﻬــﻦ ‪.‬‬ ‫وﻣــﻦ اﺷــﻬﺮ ﻫــﺆﻻء اﻟﻤــﺆرخ اﻟﺴــﺨﺎوي واﻟﺴــﻴﻮﻃﻲ وﻋﺒــﺪ اﻟﺮﺣﻴــﻢ اﻟﻌﺮاﻗــﻲ وﻟﺴــﺎن‬ ‫اﻟﺪﻳــﻦ ﺑــﻦ اﻟﺨﻄﻴــﺐ‪ .‬وﺗﻌــﺪ ﻗﺮﻳــﺶ اﻟﻄﺒﺮﻳــﺔ ﺧﻴــﺮ ﻣﺜــﺎل ﻓﻬــﻲ ﻣــﻦ أﻫــﻢ اﻟﺸــﺨﻴﺎت‬ ‫اﻟﻤﻜﻴــﺔ ﻓــﻲ زﻣﺎﻧﻬــﺎ‪ ،‬ﻓﻘــﺪ ﺑﺮﻋــﺖ ﻓــﻲ ﻋﻠــﻮم اﻟﻔﻘــﻪ واﻟﺤﺪﻳــﺚ ﺣﺘــﻰ ﻗﺎل ﻋﻨﻬﺎ اﻟﺸــﻴﺦ‬ ‫ﻓﺎﻟــﺢ ﺑــﻦ ﻣﺤﻤــﺪ اﻟﻈﺎﻫــﺮي اﻟﻤﺪﻧــﻲ‪” :‬اﻧﻬــﺎ ﻣــﻦ ﻣﺴــﺎﻧﻴﺪ اﻟﺤﺠــﺎز اﻟﺴــﺒﻌﺔ اﻟﺬﻳــﻦ ﻫــﻢ‬ ‫اﻟﺴــﺒﺐ ﻓــﻲ ﻛــﻮن اﻟﺤﺪﻳــﺚ ﻓــﻲ اﻟﻘــﺮون اﻟﺜﻼﺛــﺔ اﻻﺧﻴــﺮة ﻗــﺪ ﻗﻮﻳــﺖ ﺷــﻮﻛﺘﻪ“‪ .‬ﻛﻤــﺎ ﻗــﺎل‬ ‫ﻋﻨﻬــﺎ ” ﻟــﻮ ﺣﻀــﺮت ﻗﺮﻳــﺶ اﻟﻄﺒﺮﻳــﺔ أو ﻋﺎﺋﺸــﺔ اﻟﻤﻘﺪﺳــﻴﺔ أو ﻛﺮﻳﻤــﺔ اﻟﻤﺮوزﻳــﺔ‪ ،‬وﻫــﻦ‬ ‫ﻣــﻦ اﻟﻨﺴــﻮة اﻟﻤﺴــﻨﺪات‪ ،‬ﻟﺼﻠﻴــﺖ وراءﻫــﻦ ﻏﻴــﺮ ﻣﺮﺗــﺎب @او ﻣﺘﺸــﻜﻚ“‬ ‫ﻣﻜﺎﻧﺔ اﻟﻤﺮأة اﻟﻌﻠﻤﻴﺔ ﻓﻲ اﻟﺴﺎﺣﺔ اﻟﻤﻜﻴﺔ‪/‬ﻟﻤﻴﺎء ﻣﺤﻤﺪ ﺷﺎﻓﻌﻲ‬ ‫‪16‬‬

Al tabariyat, 2018. wood.

2 x 1m ٢٠١٨ ،‫اﻟﻄﺒﺮﻳﺎت‬ ‫ﺧﺸﺐ‬ ‫ ﻣﺘﺮ‬١ x ٢

17

Two Palm Trees, 2018.

Natural pigments, gold and gouache on paper.

16 x 8″ ٢٠١٨ ،‫ﻧﺨﻠﺘﺎن‬ ‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬٨ x ١٦

18

Two Women in Al Khunji, 2017.

Natural pigments and gouache on paper.

8 x 6.5″ ٢٠١٨ ،‫اﻣﺮأﺗﺎن ﻓﻲ رﺑﺎط اﻟﺨﻨﺠﻲ‬ ‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ وﻏﻮاش ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٦,٥ x ٨

19

Abu Unaba, 2018.

Ink, gouache and gold on paper 12 x 9″ ٢٠١٨ ،‫أﺑﻮ ﻋﻨﺒﺔ‬ ‫ﺣﺒﺮ وﻏﻮاش وذﻫﺐ ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٩ x ١٢

20

Remains, 2018.

Natural pigments and gouache on paper.

8 x 8″ ٢٠١٨ ،‫ﺑﻘﺎﻳﺎ‬ ‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ وﻏﻮاش ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٨ x ٨

21

Lady and the birds, 2018.

Natural pigments gold and gouache on paper 23.4 x 16.5″ ٢٠١٨ ،‫اﻟﺴﻴﺪة واﻟﻄﻴﻮر‬ ‫ ذﻫﺐ وﻏﻮاش ﻋﻠﻰ ورق‬،‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ‬ ‫ إﻧﺶ‬١٦,٥ x ٢٣,٤

22

Rubat Al Khunji, 2018 Gouache and gold on paper 11.69 x 16.53″ ٢٠١٨ ،‫رﺑﺎط اﻟﺨﻨﺠﻲ‬ ‫اﻟﻐﻮاش وذﻫﺐ ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬١٦,٥٣ x ١١,٦٩

23

Sukoon ma’ al that, 2018.

Natural pigments and gouache on paper.

14 x 14″ ٢٠١٨ ،‫ﺳﻜﻮن ﻣﻊ اﻟﺬات‬ ‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ وﻏﻮاش ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬١٤ x ١٤

24

Women and the bougainvillea, 2018.

Gouache and tea stain on paper.

23.4 x 16.5″ ٢٠١٨ ،‫ﺣﻜﺎوي اﻟﺠﻬﻨﻤﻴﺔ‬ ‫اﻟﻐﻮاش وﺻﺒﻐﺔ اﻟﺸﺎي ﻋﻠﻰ اﻟﻮرق‬ ‫ إﻧﺶ‬١٦,٥ x ٢٣,٤

25

��‫ج‬ � ‫وء‬

Refuge

Myths enact social histories. Within narratives of migration, the attributes of a mixed and vibrant cultural heritage are patterned. Here AlAbdali highlights the continual and active process of identity making that inspires her practice.

Tableaux charts the historic journeys of refugees and outsiders, depicting scenes of great struggle that parallel personal efforts to assert identity and find home.

26

‫ﻳﻈﻬﺮﻟﻨــﺎ ﻓــﻲ ﻫــﺬه اﻟﻤﺠﻤﻮﻋــﺔ ﻗﺼــﺺ ﻋــﻦ ﻣﻔﻬــﻮم‬ ‫اﻟﻬﺠــﺮة واﻟﻠﺠــﻮء ﺑﺼﻔــﺔ ﻋﺎﻣــﺔ وﻫــﺬه اﻟﻤﺠﻤﻮﻋــﺔ ﻣــﻦ‬ ‫ا‪Y‬ﻋﻤــﺎل ﺗﻤﺜــﻞ اﻣﺘــﺪاد‪Y k‬ﺳــﺌﻠﺔ ﻓﻠﺴــﻔﻴﺔ ﻋــﻦ اﻟﻬﻮﻳــﺔ‬ ‫وﺣﻘﻴﻘﺘﻬــﺎ ﻓــﻲ ﺳــﻴﺎق أﺣــﺪاث ﻛﺜﻴــﺮة ﻃﺎﻟــﺖ اﻟﻌﺎﻟــﻢ‬ ‫اﻟﻌﺮﺑــﻲ واﻻﺳــﻼﻣﻲ ﻣﺆﺧــﺮا‪.‬‬ ‫ﺻــﻮرت اﻟﻌﺒﺪﻟــﻲ ﺑﺎﻟﻠﻮﻧﻴــﻦ ا‪Y‬ﺑﻴــﺾ وا‪Y‬ﺳــﻮد‪ ،‬ﻣﺸــﺎﻫﺪ‬ ‫ﻣــﻦ ﻧﻀــﺎل ﻛﺒﻴــﺮ ﻳﺸــﻤﻞ ﺷــﻌﻮﺑﺎ ﺗﺒﺤــﺚ ﻋــﻦ ﻣــﻼذ‪ k‬آﻣﻨــﺎ‬ ‫ﻓــﻲ أوﻗــﺎت اﻟﺤــﺮب‪ .‬ﻛﻤــﺎ ﺗﺸــﻴﺮ ا‪Y‬ﻋﻤــﺎل ﻓــﻲ اﻟﻮﻗــﺖ ذاﺗــﻪ‬ ‫إﻟــﻰ ﻧﺰاﻋــﺎت وﺣــﺮوب داﺧﻠﻴــﺔ ﻳﻌﻴﺸــﻬﺎ ا\ﻧﺴــﺎن دون‬ ‫ا\ﻓﺼــﺎح ﻋﻨﻬــﺎ‪.‬‬

‫‪27‬‬

Kol yaghani al laylah, 2018. lightbox.

11.7 x 16.5″

ٌ ٢٠١٨ ،‫ﻛﻞ ﻳﻐﻨﻲ ﻋﻠﻰ ﻟﻴﻼه‬ ‫ﺻﻨﺪوق ﻣﻀﺎء‬ ‫ إﻧﺶ‬١٦,٥ x ١١,٧

28

29

30

The Trilogy of Refuge، 2018.

Ceramic tiles.

37.4 × 23.6″ each ٢٠١٨ ،‫ﺛﻼﺛﻴﺔ اﻟﻠﺠﻮء‬ ‫ﺑﻼط اﻟﺴﻴﺮاﻣﻴﻚ‬ ‫ إﻧﺶ ﻟﻠﻮاﺣﺪة‬٢٣٫٦ x ٣٧٫٤

31

32

Kabd, 2018.

Wax print on paper.

33.1 × 23.4″

Waraq، 2018.

Paper.

4.9 x 3.4″

٢٠١٨ ،‫ﻛﺒﺪ‬ ‫ﻃﺒﺎﻋﺔ ﺷﻤﻌﻴﺔ ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٣٣,١ x ٤,٢٣

٢٠١٨ ،‫ورق‬ ‫ورق‬ ‫ إﻧﺶ‬٣.٤ x ٤،٩

33

Siege, 2018.

Ink and Acrylic on Paper.

20.4 x 84.6″ ٢٠١٨ ،‫ﺣﺼﺎر‬ ‫ﺣﺒﺮ و اﻛﺮﻳﻠﻚ ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٨٤,٦ x ٢٠,٤

34

‫‪Fada’, 2018.‬‬ ‫‪Silkscreen‬‬ ‫‪23.4 x 33.1 in‬‬ ‫ﻓﻀﺎء‪.٢٠١٨ ،‬‬ ‫ﻃﺒﺎﻋﺔ ﺳﻴﻠﻚ ﺳﻜﺮﻳﻦ‬ ‫‪ ٣٣.١ x ٢٣.٤‬إﻧﺶ‬

‫‪35‬‬

‫روح‬

Relieve

From the historic, the mythic, and the domestic, opens a space of quiet contemplation. Al-Abdali renders intangible indeterminate states: between the contraction and expansion of meditative breath; mapping the unseen Bait al Mamoor, where the celestial mirrors the earthly.

36

‫ﻓــﻲ ﻫــﺬه اﻟﻤﺠﻤﻮﻋــﺔ ﻣﺴــﺎﺣﺔ ﻣــﻦ اﻟﺘﺄﻣــﻞ واﻟﺘﺪﺑــﺮ ﺗﺘــﺮاوح‬ ‫ﺑﻴــﻦ ﺗﺼﻮﻳــﺮ ﺣــﺎﻻت ﻋﻤﻴﻘــﺔ ﺗﻤــﺮ ﺑﻬــﺎ ﻧﻔــﺲ ا\ﻧﺴــﺎن‬ ‫وﻋــﺎدات ﻳﻔﺮﺿﻬــﺎ اﻟﺠﺴــﺪ ﻋﻠﻴــﻪ ﻛﻤــﺎ ﻓــﻲ ﻋﻤﻠــﻲ ”ﺷــﻬﻴﻖ“‬ ‫و ”زﻓﻴــﺮ“‪ .‬ﻛﻤــﺎ ﺗﺼــﻮر ﺑﻌــﺾ اﻟﻐﻴﺒﻴــﺎت ﻛﻤــﺎ ﻓــﻲ ﻋﻤــﻞ‬ ‫”اﻟﺒﻴــﺖ اﻟﻤﻌﻤــﻮر“ ﻓــﻲ ﻣﺤﺎوﻟــﺔ ﻟﻜﺴــﺮ ﻏﻤــﻮض ﻣﺴــﺄﻟﺔ‬ ‫اﻟﻮﺟــﻮد وﻣــﻜﺎن اﻻﻧﺴــﺎن ﻓــﻲ اﻟﻜــﻮن‪.‬‬

‫‪37‬‬

38

Inhale/Exhale, 2018.

12,18 and 24 karat gold on paper.

23.4 x 33.1″ ٢٠١٨ ،‫ وزﻓﻴﺮ‬،‫ﺷﻬﻴﻖ‬ ‫ ﻗﺮاط ذﻫﺐ ﻋﻠﻰ ورق‬٢٤ ،١٨ ،١٢ ‫ إﻧﺶ‬٣٣,١ x ٢٣,٤

39

Submission, 2018. natural pigments and gouache on paper.

11.7 x 16.5″ ٢٠١٨ ،‫ﺧﻀﻮع‬ ‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ وﻏﻮاش ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬١٦,٥ x ١١,٧

40

Al bait al ma’moor, 2018.

Natural pigments and gouache on paper.

8 x 8″ ٢٠١٨ ،‫اﻟﺒﻴﺖ اﻟﻤﻌﻤﻮر‬ ‫أﺻﺒﺎغ ﻃﺒﻴﻌﻴﺔ وﻏﻮاش ﻋﻠﻰ ورق‬ ‫ إﻧﺶ‬٨ x ٨

41

Sirat, 2018. lustre ceramic.

10 x 10″ ٢٠١٨ ،‫ﺻﺮاط‬ ‫ﺧﺰف وﻧﺤﺎس‬ ‫ إﻧﺶ‬١٠ x ١٠

42

‫‪These are not the fragmented ruins of lost‬‬ ‫‪culture – like the mythic Simorgh always‬‬ ‫‪rising, each work unfurls narratives that‬‬ ‫‪pattern contemporary notions of cultural‬‬ ‫‪identity, all the while, powerfully enacting a‬‬ ‫‪collective, vibrant Hejazi heritage.‬‬ ‫ﺗﺘﻌــﺪد اﻟﻤﻔﺎﻫﻴــﻢ وا‪Y‬ﺳــﺌﻠﺔ اﻟﻔﻠﺴــﻔﻴﺔ واﻟﺘﺠــﺎرب‬ ‫اﻟﺤﺴــﻴﺔ اﻟﻤﺘﺄﻣﻠــﺔ ﻓــﻲ ﻣﺠﻤــﻮع ﻫــﺬه اﻻﻋﻤــﺎل‪،‬‬ ‫وﺗﺴــﻌﻰ اﻟﻌﺒﺪﻟــﻲ ﻓــﻲ أﻋﻤﺎﻟﻬــﺎ ‪Y‬ن ﺗﺮﺳــﺦ ﺗﺠــﺎرب‬ ‫وﺷــﺨﺼﻴﺎت وأﻣﺎﻛــﻦ ﺷـ ّ‬ ‫ـﻜﻠﺖ اﻟﻮاﻗــﻊ اﻟــﺬي ﻧﻌﻴــﺶ‬ ‫ﻓﻴــﻪ ا ن وﻳﺒﻘــﻰ اﻟﻔﺎﺻــﻞ ﺑﻴــﻦ اﻟﺘﺎرﻳــﺦ وا‪Y‬ﺳــﻄﻮرة‬ ‫ﺗﺤﺴﺴــﻪ‪.‬‬ ‫واﻗــﻊ ﻣــﺎدي ﻳﻤﻜــﻦ‬ ‫ّ‬ ‫‪43‬‬

Bio Originally from the Hejaz, Sarah Al-Abdali views herself as a caretaker of the region’s culture, preserving it against four decades of rapid ideological and urban transformation. Her deep appreciation for the land, architecture and heritage of her home is a recurring theme. She emerged as one of Saudi’s first street artists and her work explores Arab culture and Islamic philosophy through various innovative mediums, including illustration, painting, ceramics, wood work, drawing and painting. Her varied interests led her to a Master’s at the Prince’s School of Traditional Arts in London, which offered her the opportunity to experiment with traditional crafts of the Islamic world, including woodwork, ceramics, miniature painting, mosaics and plaster carving. Her work has been recognized through participation in international exhibitions such as RHIZOMA at the 55th Venice Biennale in 2013, #COMETOGETHER with Edge of Arabia in London, 2012, START art fair at Saatchi gallery in London 2014, the Islamic art festival in Shrajah 2017 and Art Paris at Grand Palais 2018.

44

‫��‬ ‫ر�‬ ‫ا س ي� ت‬ ‫وﻟــﺪت اﻟﻔﻨﺎﻧــﺔ ﺳــﺎرة اﻟﻌﺒﺪﻟــﻲ ﻓــﻲ ﻣﺪﻳﻨــﺔ ﺟــﺪة اﻟﺴــﻌﻮدﻳﺔ‬ ‫ﻋــﺎم ‪ 1989‬ﻣــﻦ أﺻــﻮل ﺗﻌــﻮد اﻟــﻰ اﻟﺤﺠــﺎز‪ .‬أﺻﻮﻟﻬــﺎ ﻣﺪﺗﻬــﺎ‬ ‫ﺑﺤــﺲ اﻟﻤﺴــﺆوﻟﻴﺔ ﺗﺠــﺎه اﻟﺘــﺮاث اﻟﺤﺠــﺎزي اﻟﻤﻐﻴــﺐ ﻋــﻦ‬ ‫اﻟﻜﺜﻴــﺮ ﺑﺴــﺒﺐ اﻟﺘﻄــﻮرات اﻻﺟﺘﻤﺎﻋﻴــﺔ اﻟﺘــﻲ ﻃــﺮأت ﻋﻠــﻰ‬ ‫اﻟﺤﺠــﺎز ﻓــﻲ اﻟﻌﻘــﻮد ا‪Y‬رﺑﻌــﺔ ا‪Y‬ﺧﻴــﺮة‪.‬‬ ‫ﺗﺮﻋﺮﻋــﺖ اﻟﻔﻨﺎﻧــﺔ ﻋﻠــﻰ اﻟﺘﻘﺪﻳــﺮ اﻟﻜﺒﻴــﺮ ﻟــ رض واﻟﻌﻤــﺎرة‬ ‫واﻟﻤــﻮروث اﻟﺜﻘﺎﻓــﻲ واﻻﺟﺘﻤﺎﻋــﻲ واﻟﺪﻳﻨــﻲ اﻟــﺬي اﻧﻔــﺮد ﺑــﻪ‬ ‫اﻟﺤﺠــﺎز‪ .‬واﻟــﺬي أﺻﺒــﺢ ﺑﺬﻟــﻚ ﻣﻮﺿﻮﻋــﺎ ﻣﻼزﻣــﺎ ‪Y‬ﻋﻤﺎﻟﻬــﺎ‪.‬‬ ‫ﺗﻌــﺪ اﻟﻔﻨﺎﻧــﺔ ﻣــﻦ أول ﻣــﻦ ﻣــﺎرس ﻓــﻦ اﻟﻐﺮاﻓﻴﺘــﻲ ﻓــﻲ‬ ‫اﻟﺴــﻌﻮدﻳﺔ‪ ،‬وذﻟــﻚ ﺑﻔﻀــﻞ ﺳــﻌﻴﻬﺎ ﻓــﻲ اﻟﻌﺜــﻮر ﻋﻠــﻰ‬ ‫ﻟﻐــﺔ ﺗﺴــﺎﻋﺪﻫﺎ ﻓــﻲ ﺳــﺒﺮ أﻏــﻮار ﺛﻘﺎﻓــﺔ اﻟﻌــﺮب واﻟﻔﻠﺴــﻔﺔ‬ ‫ا\ﺳــﻼﻣﻴﺔ ﻣــﻦ ﺧــﻼل اﻻﻧﺘﻘــﺎل ﺑﻴــﻦ وﺳــﺎﺋﻂ ﻓﻨﻴــﺔ ﻣﺘﻌــﺪدة‪.‬‬ ‫و ﻗــﺪ ﻗﺎدﻫــﺎ اﻫﺘﻤﺎﻣﻬــﺎ إﻟــﻰ اﻻﻟﺘﺤــﺎق ﺑﺒﺮﻧﺎﻣــﺞ اﻟﻤﺎﺟﺴــﺘﻴﺮ‬ ‫واﻟﺤﺼــﻮل ﻋﻠﻴــﻪ ﻣــﻦ ”ﺟﺎﻣﻌــﺔ ا‪Y‬ﻣﻴــﺮ ﺗﺸــﺎرﻟﺰ ﻟﻠﻔﻨــﻮن‬ ‫اﻟﺘﻘﻠﻴﺪﻳــﺔ واﻻﺳــﻼﻣﻴﺔ“ ﺑﻠﻨــﺪن ﻣﻤــﺎ أﺗــﺎح ﻟﻬــﺎ ﻓﺮﺻــﺔ اﻻﻃــﻼع‬ ‫ﻋﻠــﻰ ﻣﺨﺘﻠــﻒ اﻟﺤــﺮف اﻟﺘﻘﻠﻴﺪﻳــﺔ اﻟﺘــﻲ ﻇﻬــﺮت ﻗﺪﻳﻤــ‪u‬‬ ‫ﻓــﻲ اﻟﻌﺎﻟــﻢ ا\ﺳــﻼﻣﻲ‪ .‬وﻗــﺪ اﺗﺎﺣــﺖ ﻟﻬــﺎ ﺗﺠﺮﺑﺘﻬــﺎ ﻓــﻲ‬ ‫ﺗﻄﻮﻳــﺮ أﻋﻤــﺎل ﻣــﻦ ﺧﺎﻣــﺎت ﻣﺨﺘﻠﻔــﺔ ﻛﺎﻟﺨﺸــﺐ واﻟﺮﺧــﺎم‬ ‫واﻟﻤﻨﻤﻨﻤــﺎت واﻟﻔﺴﻴﻔﺴــﺎء واﻟﺠــﺺ‪.‬‬ ‫ﺷــﺎرﻛﺖ اﻟﻔﻨﺎﻧــﺔ ﻓــﻲ ﻋــﺪة ﻣﺤﺎﻓــﻞ ﻓﻨﻴــﺔ ﻋﻠــﻰ اﻟﺼﻌﻴﺪﻳــﻦ‬ ‫اﻟﻤﺤﻠــﻲ واﻟﺪوﻟــﻲ وﻣﻨﻬــﺎ اﻟﻤﻌــﺮض اﻟﺠﻤﺎﻋــﻲ ”رﻳﺰوﻣــﺎ“‬ ‫)ﺟﻴــﻞ ﻓــﻲ اﻻﻧﺘﻈــﺎر( ﻓــﻲ ﺑﻴﻨﺎﻟــﻲ اﻟﺒﻨﺪﻗﻴــﺔ اﻟﺨﺎﻣــﺲ‬ ‫واﻟﺨﻤﺴــﻴﻦ إﻳﻄﺎﻟﻴــﺎ‪ 2013 ،‬واﻟﻤﻌــﺮض اﻟﺠﻤﺎﻋــﻲ ”إﻳــﺪج أوف‬ ‫آراﺑﻴــﺎ“ ﻓــﻲ ﻟﻨــﺪن ﺑﺮﻳﻄﺎﻧﻴــﺎ‪ ،2012 ،‬و ﺳــﺘﺎرت ارت ﻓﻴــﺮ ﺑﺠﺎﻟﻴــﺮي‬ ‫ﺳﺎﺗﺸــﻲ ‪ ٢٠١٤‬و ﻣﻬﺮﺟــﺎن اﻟﺸــﺎرﻗﺔ ﻟﻠﻔﻨــﻮن اﻻﺳــﻼﻣﻴﺔ ‪٢٠١٧‬‬ ‫وأﺳــﺒﻮع اﻟﻔــﻦ ﺑﺒﺎرﻳــﺲ ‪.٢٠١٨‬‬ ‫‪45‬‬