Ithraeyat_Doors_23_English.pdf

Whether traditional or modern, large or small, sturdy or flimsy, a door can be a simple, plain object with no distinctions or one that highlights your identity with many personalized decorations.&nbsp;

The front door can also capture elements of your history, the story of your home and the country you are from, and even what you may be celebrating currently; a birthday, a graduation, or even a religious holiday.&nbsp;

The door is both a storyteller and a keeper of secrets.

In this special edition of Ithraeyat, we pay homage to ‘doors’, as over the four years of this publication, which was born in COVID-19 when all doors were closed in lockdowns, the magazine helped open doors of possibilities for creatives, artists, and writers — building new bridges of cross-cultural dialogue, art, and inspirational storytelling.In this edition, we reflect on the philosophical meaning of doors and the various artists who found inspiration in these gates to various pathways, such as the godfather of Emirati art, Abdul Qader Al Rais, whose colorful nostalgic art graces our cover for its 23rd edition. When one door opens, it can open many other doors.

We meet Timothy Verdon, Director of Museo dell'Opera del Duomo in Florence, Italy, and discover one of the world’s oldest doors, ‘The Gates of Paradise,’ which are said to have been bestowed their title by one of history’s greatest artists, the legendary Michelangelo, who said: “They’re so beautiful they would grace the entrance to paradise.”Like the many colors found in nature, we feature colorful unique voices, from important cultural figures to artists and photographers, as well as writers and poets, each sharing their creations and stories with us to reflect on, and inspire us to think outside the typical door.&nbsp;&nbsp;

In an earlier age, before streets had names and buildings had numbers, the front door was the best way to identify someone's home. Each one had its own marks and designs. Some were floral or geometric, while others had heart-shaped figures or traditional items such as a coffee pot or dallah. One popular design that owes its origins to local traditions is a circle carved within a rhomboid geometric shape, known as the "Ain Al Hasoud" (eye of envy), which is said to offer protection against the evil eye.Doors were often smaller than those of today, said to force people to ‘bend in humility’ when entering a home. Some mosques and schools had smaller doors for this very same reason.

Pause for a moment and look at the door to your home. What does it represent? Does it have a distinct feature to set it apart from others? &nbsp;We thank you for joining us on this journey of pathways of possibilities, and we hope it opens doors for you and inspires you to open doors for others. &nbsp;We hope you enjoy this latest ‘makhzan’— storehouse — of enriching and &nbsp;unique stories

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When One Closes, Another Opens  

In Saudi culture, a door is never merely a passage into a home. It symbolizes hospitality, protection, and the boundary between private and public life. The Najdi door holds deeper significance, acting as a social symbol, a window into the lives within, and a story of the house's inhabitants.The exhibition "Beyond the Door" delves into these roles and more, narrating the story of the Najdi door, the secrets of its craftsmanship, and its enduring legacy."Beyond the Door" transcends the boundaries of a typical art exhibition, serving as a vibrant celebration of Najdi heritage, embodied in the timeless allure of its doors.&nbsp;Not only does it pay homage to the traditional artisans and artists contributing to the exhibition, but it also ignites a spark of inspiration within a new generation of young men and women, fostering a deeper appreciation for their local culture.&nbsp; &nbsp;

Furthermore, it is the culmination of two years of meticulous research led by art curator Dr. Eiman Elgibreen, who has meticulously woven her observations, interviews, and profound reflections on the history and aesthetics of the Najdi door.In the center of Diriyah, this exhibition offers a unique opportunity to delve into one of the most deeply rooted artistic expressions of Najdi heritage, exploring its historical, cultural, and artistic significance.Each section within the exhibition is thoughtfully curated to illustrate and illuminate various facets of the Najdi door, from its geometric compositions and constituent elements, including locks and hinges, to the symbolic meaning behind the colors and their connection to the nature-inspired engravings.&nbsp;

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Artist Ali Al-Ruzaiza's pergola "Areshah". Courtesy of Diriyah Gate Development Authority.

Artist&nbsp;Ali Al-Ruzaiza's&nbsp;pergola "Areshah". Courtesy of Diriyah Gate Development Authority.

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An invisible thread weaves between ancient doors and our contemporary lives. Though deeply rooted in the past, their influence resurfaces in various artistic projects within the exhibition. The exhibition spaces themselves are divided as if mirroring the components of a door, guiding visitors on a journey from the practical uses of the Najdi door to its aesthetic appeal, then to the mechanics of its movement, and finally to the tools used in its creation. Each space unveils artistic pieces that tell stories of historical significance or contemporary inspiration.Perhaps the most significant of these spaces is the pergola of artist Ali Al-Ruzaiza. Raised by his grandmother, may she rest in peace, he was deeply influenced by the intricate details of their traditional Najdi home. This formative experience sparked a lifelong fascination with the ornate doors and plaster carvings characteristic of Najdi architecture. He began crafting his own furniture, seamlessly integrating these traditional elements into his contemporary designs. The Najdi door, with its intricate carvings, became a recurring motif in his work. Through this artistic lineage, we witness the harmonious convergence of past and present, where heritage patterns intertwine with time-honored techniques and architectural principles.&nbsp;

Spaces Echoing History

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External Najdi doors. Courtesy of Diriyah Gate Development Authority. 

The interactive area of the exhibition. Courtesy of Diriyah Gate Development Authority.&nbsp;

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Over the years, Najdi doors have maintained their simple elegance and allure. Crafted from local materials, their decorative elements draw inspiration from the natural environment, local architectural traditions, and the surrounding cultural and environmental influences. The diverse functions of these doors have led to a rich variety, the most important of which include:&nbsp;

Each door bears a narrative and functions 

The size of exterior doors varies according to the size of the house. Medium and large houses typically feature two primary entrances: one, prominently located in the center of the front facade, is a grand, ornately decorated, and colorful door intended for welcoming guests; and the other, more discreetly placed away from the street, is a smaller and less adorned door reserved for the family, offering privacy and tranquillity.The main entrance, while a passage for entry and exit, is a symbolic welcome to guests. Its ornate designs showcase the homeowners' pride in hospitality.&nbsp;

The Main Entrance Door

This door embodies the values of generosity and hospitality deeply ingrained in Najdi culture. The Majlis, or "Gahwa" (coffee house), is the heart of a Najdi home, the largest space designed for gatherings and hospitality.&nbsp;

The Majlis Door

The alcove, a symbol of hospitality, is built at the head of the Majlis. It comprises the "Wajjar" (a traditional architectural element found in Najdi homes, specifically designed for preparing coffee over an open fire) and the "Kemar". The Wajjar is a niche or alcove with a hearth where wood or charcoal is burned to heat the coffee pot (Dallah) and roast the coffee beans. This alcove holds cultural importance as it is where the ritual of coffee preparation takes place – a central aspect of Najdi hospitality. The Kemar, a series of shelves crafted from clay and gypsum, stores essential hospitality tools, including coffee pots, roasters (Mehmas), tongs (Melkat), coffee cups (Fenjan), and various implements used for serving coffee and tea to guests.&nbsp;

Kemar Door

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Najdi doors are crafted from locally sourced raw materials, primarily tamarisk or palm wood. The choice of wood is dictated by the door's intended use and function. Tamarisk, renowned for its strength and durability, is the preferred material for doors that need to withstand heavy use and harsh weather conditions. Meanwhile, palm wood, valued for its lightness and flexibility, is ideal for applications where ease of movement is paramount. For instance, the impressive gates of palaces were often constructed from palm trunk planks to reduce their weight and facilitate operation.Tamarisk wood is particularly well-suited for interior doors due to its exceptional resilience. Its robust nature allows for intricate carving, ornamentation, and painting, resulting in elaborate and visually stunning designs. In some cases, palm wood doors are strategically reinforced with tamarisk elements. This technique enhances their durability without adding unnecessary weight, ensuring they remain functional and easy to operate.&nbsp;

Sustainable materials to endure

Historically, Najdi doors were decorated using engraving and wood-burning techniques, with the appropriate technique chosen based on the door's location and intended use. Exterior doors were typically decorated using wood-burning to make the patterns clearly visible and to withstand the harsh climatic conditions of the region. This technique is called "Altakwat" in the Najdi dialect, where iron tools of various sizes and thicknesses are heated according to the desired ornament and then used to brand the wood directly. Exterior doors are also sometimes decorated with metal elements, such as domed and flat nails and chains, depending on the financial capabilities of the homeowner and the availability of raw materials in local markets. Interior doors, on the other hand, are ornamented with shallow or deep hand carving using special tools without the need for wood-burning.&nbsp;

The beauty of ornaments and color

1- The dot, arranged individually or in clusters to form what is known as a "grape cluster". This design is thought to be inspired by the grape clusters that once flourished in Wadi Hanifa.&nbsp;2- The circle, often appearing in nested groups or as a shape of the sun.&nbsp;3- The triangle, which may appear alone or in groups.&nbsp;

WHEN WE EXAMINE THE INTRICATE DETAILS OF NAJDI DOOR ORNAMENTS, WE DISCOVER A RECURRING SET OF MOTIFS, INCLUDING:

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Carvings and ornaments in Najdi doors, Courtesy of Diriyah Gate Development Authority.

Carvings and ornaments in Najdi doors, Courtesy of Diriyah Gate Development Authority.

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In their early days, Najdi doors were adorned with a simple yet elegant palette of black, red, and occasionally yellow. However, as trade routes flourished and the region's prosperity grew, so too did the artistry of these portals. The doors blossomed with vibrant colors and intricate designs, showcasing the rich cultural and economic exchange with distant lands like India, Iraq, and the Levant.Today, these captivating doors stand as a testament to a vibrant history, each one whispering tales of its owner's status and taste. Like a well-worn book, each Najdi door reveals a unique story – a reflection of the home and its inhabitants, a testament to the artisan's skill, and a window into a world of rich traditions and cultural heritage.&nbsp;

Today, this beloved art form is experiencing a renaissance, celebrated and cherished by a diverse community of artists, enthusiasts, and connoisseurs. The recent exhibition provided a unique platform for these passionate individuals, spanning generations and expertise, to come together and share their love for Najdi architecture and its associated arts. Through lively discussions and engaging dialogues, the exhibition ignited a spark, paving the way for a vibrant future where this captivating art form will continue to flourish and evolve for generations to come.&nbsp;

The Next Chapter for Najdi Doors

References: Beyond the Door: A Journey to Discover the Secrets and Connotations of the Traditional Najdi Door, Dr. Eiman &nbsp;Abdulaziz Elgibreen, 1445 AH&nbsp;

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Beyond the Door

If the doors of perception were cleansed, man would see everything as it is, infinite.


Great ventures often start with contemplation, and in the beginning of his career Dr. Saeed Alwayel regularly pondered how much of man is bound to that which protects him from the hubbub of the world, provides shelter, and serves as an entryway to his safe personal space. Dr. Saeed set out to study doors closely in the eastern regions of the Arabian Peninsula, examining their designs, ornamentation and development over time, as well as the influence of the Islamic culture upon their profile, and that of other cultures that engaged in commerce with the region. To learn about doors, the development of their craft on the east coast, their traditional designs and inherent meanings, and the relationship between functionality and aesthetics in traditional craftsmanship we interviewed Dr. Saeed who has become a great expert on the subject, publishing five books about doors, ornamentations and design elements, and is on the cusp of publishing two major works concerning doors and a dictionary of colloquial terms used by traditional craftsmen across Arabia. He is an artist and painter who dedicated more than four decades of his life to document urban heritage and study the elements of traditional craftsmanship. He began by focusing on Al-Hasa and the eastern coast and collaborated with the Centre for Popular Heritage in Doha (1982 – 2005) to publish his articles and academic papers about urban craftsmanship.

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“I looked for man behind the product.”  

“I started by seeking out craftsmen, carpenters, smiths, and builders and sat down with them in their homes and workshops, and I was able to collect info that would not have been attainable otherwise. When I first began, there were other publications that showcased traditional crafts but only on the surface, mere catalogs with little or no commentary. Whereas, I wanted to hear their stories, learn about their struggles, the reasons behind their choices of tools and materials, and the hidden messages, symbolism if you will, behind the design elements.” After collaborating with the Heritage Centre in Doha, Dr. Saeed &nbsp;traveled to Sharjah, where he got to work closely with Dr. Abdessatar Azzawi - who oversaw renovating traditional areas - which allowed Dr. Saeed to examine these areas while they were intact. This first-hand exposure proved instrumental in his career and inspired him to discover the great wealth that was ripe and ready to be plucked by the keen observer. He first examined the design elements of decorative plaster work, which prompted him to notice the similarity it had with some of the ornamentations applied on doors, and thereby question the relationship they had with one another, and whether this was an aesthetic choice or a necessity that held the crafted piece together.&nbsp;

    

I set out to collect the rich features of our heritage. I felt responsible for it, and that our collected literature had a void that needed to be filled, for it needed a thorough and objective documentation of the craft of door-making.

When asked about the development of door designs and their raw materials over time, and the effect that trade routes had on the craft of door-making, Dr. Saeed said:“This is actually one of the subject areas that we were able to trace and document, and it is a factor that is more associated with the development of doors than other crafts such as decorative plaster work. Craftsmen started by using wood found in local trees such as palm trees, tamarisk and the sidr tree (also known as jujube).

“This can be traced to two time periods, the first of which is during the peak of the pearl trade in the Gulf, and the second period commenced upon the discovery of fossil fuel. Both periods have affected the craft tremendously and shaped its development, as the twilight of the first one saw craftsmen moving in from making ships to crafting doors and influencing their design elements and bringing on their seafaring language to the craft of door-making.”“Both historic moments opened our area to the world, resulting in importing sturdier and lighter wood from India and Africa, so that craftsmen could manipulate it with more ease and create uniform designs, different design profiles.”

Door makers were carpenters by profession, but it was considered the highest form of carpentry for it required tremendous skill and attention to detail. It was passed down across generations, and each family had their signature designs and special tools that made them stand out. When asked about what door makers thought of their tools, and how the development of manufacturing and shipping has affected the craft, Dr. Saeed said: “Smiths and carpenters were the best of friends, each one’s livelihood relied on the other, and each craftsman took great pride in their tools, for they were what made his work stand out and built his reputation in the market. What would seem at first glance to be a uniform design, was in fact not.

People had a feeling for good craftsmanship, and they sought after the best door makers, and those same door makers, who usually came from Al-Hasa or Qatif, moved around the east coast for work. They had their own tools, and their backgrounds meant that each had a different outlook for what a door should be as a final product. This is also true to the purpose this door would serve, and what kind of building it would be attached to.”&nbsp; “Over time, when technology inevitably developed and globalization happened, door makers also shifted their focus, and the design profiles began to match those of the rest of the world for the entire design of homes and residential buildings had also experienced a tremendous change. But what I would like to highlight is that doors did not look the way they did for the sheer aesthetic or merely as beautifying elements; each attached item was necessary for the structural integrity of the crafted piece.”

“When addressing door-making we are talking about a branch of crafted professions that had long existed in the Saudi society, especially in the Eastern Province and in Al-Hasa. But what has changed is the collected attitude toward art as an aesthetic expression as opposed to it serving a certain function without compromising the structure of the final product. It was not just something to look at and admire, it had a role and a function that it served with gusto.&nbsp; “What mattered most was the making of functional doors, but craftsmen who had the talent and ability to make impeccable products enjoyed a bigger market share and their reputations went above and beyond their local community. They traveled to other regions and left their mark and influenced the design trends in those areas.&nbsp; “In short, the craft of door-making and wood ornaments is a mixture of art and craftsmanship, but with a focus on functionality.” After decades in the field of academic research and focusing on a marginalized area that did not enjoy the spotlight that others had, Dr. Saeed spoke about his own experience, highlighting the breakthroughs he has had and how it influenced his life: “My research had a tremendous impact on my art, but not only that. I got to learn a lot about the history of craftsmanship in our region, met with highly talented door makers and craftsmen, documented whatever I stumbled on, and got to make the Arabic library richer. It makes me proud that what I have dedicated my life to is going to benefit the new generations, and that the youth are asking the right questions, paying it attention, and showing it great interest.”

Is door-making an art form? And is there a difference between craftsmanship and art?

<a href="http://Nuqta Agency helped record this interview and took photographs of Dr. Saeed right after." target="_blank" rel="noopener noreferrer">Nuqta Agency</a> helped record this interview and took photographs of Dr. Saeed right after.

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Doors of Wooden Dreams

The abandoned, the alone, the cracks, the curves, and the shadows all mesmerized me, and I had to capture them somehow and gently bring out the magic in them,

Abdul Qader Al Rais, godfather of Emirati fine arts who is known for his magical mastery of kaleidoscopic color,&nbsp; started his childhood in colorless poverty.“All you could find then was black, and maybe just a bit of blue paint,” recalled the man whose versatility with the paintbrush for almost 60 years created masterpieces of what can best be described as magical realism.&nbsp;“The abandoned, the alone, the cracks, the curves, and the shadows all mesmerized me, and I had to capture them somehow and gently bring out the magic in them,” said Abdul Qader.&nbsp;The artist would transform relics of architecture, such as an abandoned traditional window with flower carvings, a wooden traditional Emirati door with geometric symbols, a pearl diving or fishing dhow boat—once symbolic of the heart of the nation—and wind towers known as Barjeel, into magnificent dream-like pieces reminiscent of imagined settings from the mythical tales of the beloved Arabian One Thousand and One Nights. &nbsp;

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The colors, the obvious and the more hidden symbols, the letters, his famous ‘Noqta’ (dot), and the social and historical subjects; each artistic piece created by Abu Qader told a different story.The award-winning artist’s pieces are celebrated in people’s private homes, museums, foundations and institutions, government offices, and even on a Metro train greeting commuters in Dubai &nbsp;

“I want my pieces to inspire feelings, and they do inspire different feelings in different people.”

in a country grappling with simplicity, few buildings, and no properly paved roads. A gray period in unbelievable contrast to the colorful Dubai of today; a futuristic, vibrant emirate in one of the world’s richest countries.Around the same time, Europe was recovering from World War II, and the seeds of what would become the powerful European Union were being planted in the hopes of never returning to a devastating period of self-destruction. In many ways, Europe was cloaked in its own shades of gray and colorlessness as it recovered and rebuilt itself.“Back then, it was Kuwait that was the golden child of the region. It was there that I found my colors,” said Abdul Qader. &nbsp;

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The artist was born in Bur Dubai in 1951, 

It was the tragic loss of his father which took a 9-year-old Abdul Qader to live with his sister and her husband in Kuwait. Kuwait was thriving politically, economically, and culturally in the 1960s after its independence from Britain in 1961. Citizens and residents were welcomed, and young talents like Abdul Qader found support for his love of scribbles and colors.“I would get packets of colors and paint that were brought in from France,” he said. “I had access to whatever I wanted, and I believe if I hadn’t gone to Kuwait when I did, I probably would not be where I am today.”In Kuwait, he met other Arab pioneers in art and future founders like himself of different movements in art who were inspired by that pulsating hub for the creative and unique.Gentle in his demeanor, soft-spoken, and with a sparkle that never leaves his eyes, Abdul Qader calms and intrigues all who meet him.Perhaps part of this enigmatic persona is a result of his magical “hilm” (dream-like) interpretations of what catches his eye. &nbsp;

“I form a special bond with what I draw. It becomes an intimate relationship, private in its meaning, and expressed publicly in a certain mannerism after I get to know the subject of my piece very well,” said Abdul Qader.With hundreds of pieces of work, each with its unique story and relationship to the artist and to the period it was drawn, Abdul Qader's work is impossible to box into one category of art.Self-taught, his earliest pencil sketches capture a deep and sensitive child, one that often expressed loneliness through self-portraits of himself with a sad expression and almost glossy tear-filled eyes.“Yes, I was lonely, and I was longing for my home and my family back in Dubai,” he said. “I believe the other positive impact of being away from home is that it matures you, and makes you appreciate the little things in life.” &nbsp;

As he matured into a young adult, the details in his art grew along with him.Little birds in pencil came alive with watercolors, and faces of “imagined” girls and portraits of family members and friends in well-kept sketchbooks are an insight into a nostalgic soul, one who cherishes family, nature, and the concept of “home.”&nbsp; This universal longing each of us has for a home, a family, and a sense of belonging is a repeated underlying theme in his work.He is known for his colorful interpretation of the traditional Emirati doors, the first thing one sees when one arrives, as well as his interpretations of his Emirati and Arab identity through magical recreations of architecture and historic moments that shaped his life, as well as the life of his country and the region.“I wanted to preserve our heritage in light of booming construction and push for the new and the different in the 1980s and 1990s in Dubai and the rest of the UAE,” he said, whose works of art are now an important archive and record of past locations, monuments, and designs. &nbsp;

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One such lost treasure is the Al Otaibah Mosque, which was lost to development but forever preserved in its majesty by Abdul Qader’s paint brushes. Titled “If you give thanks, I will give you more,” the 2016 piece incorporates his signature abstract cubic forms along with a realistic, almost photo-like black-and-white capture of the current exquisite Sheikh Zayed Grand Mosque, a window into the future.“At the time, they were poor when they built Al Otaiba Mosque, and so they put everything they had into it. It was a remarkable structure full of character, and so I always go back to it in my memories and take the viewer back with me,” he said.&nbsp; &nbsp;

Abdul Qader calls great European masters like Leonardo da Vinci and Rembrandt “his teachers.” He also recalled the many hours he spent sketching da Vinci’s Mona Lisa and her “sad smile.” The more he explored, the more he wanted to have his own take on limitless abstract art.“I wanted an Arab touch to it, so that is when I started experimenting with Arabic calligraphy and Arabic symbols and subjects, such as trees that grow here or landscapes specific to the area,” he said.One of his most famous artworks involves Arabic letters, a collection called Hurufiyyat, where Abdul Qader conceptualized the deeper meaning a letter has in Arab culture. &nbsp;

“I started with the Waw as it is unique aesthetically, curved with a deep meaning of connection. It is the letter that connects one with the other,” he said.Meanwhile, the letter ‘Ha’ is like a “woman peeking from behind her burqa” (a face cover). Each of the Arabic letters has a personality in Abdul Qader’s art world.A sensitive man to the suffering and plight of others, Abdul Qader had also painted pieces capturing the crises of the time, the suffering of those at war and those under occupation, such as the Palestinian cause. At the same time, he depicts this region’s resoluteness in the face of great adversity.His first piece was sold in 1969. It was a portrait of Palestinian refugee boys and girls, whose anguish and pain were meticulously captured in their faces. It sold for 40 Dinars then (about 100 US Dollars), and was bought by a visiting European tourist and art collector.“It was a great honor for me to have sold one of my pieces, especially one that was created with prayers from my heart for the suffering of children of war,” he saidHe had moved back to Dubai in 1973, after the country united on December 2nd, 1971, forming the United Arab Emirates. He then joined the Ministry of Labour and earned a degree in Sharia (Islamic) law, where he would oversee disputes between laborers and employers and other issues. &nbsp;

At work, whenever he found a moment alone, he would draw, sketch, and paint. He became one of the first Emirati artists to dive into the wonderful world of colors and was a founding member of the Emirates Fine Arts Society in Sharjah. From 1989, he had a solo exhibition every year at the Cultural Foundation in Abu Dhabi, except for in 1996, when he had two.Winning many awards and recognition, there is, however, one particular date that is of great significance to him, that he beams into a big smile each time he remembers it: January 5th, 1995. “It was when I quit my job and became a full-time artist. It was the best day of my life,” he laughed.Whether he is commenting on the current state of affairs through his art, immortalizing cultural and heritage structures and elements, or re-conceptualizing Arabic letters, his canvases have become cultural ambassadors of the UAE.His artworks have been exhibited worldwide, including in Poland, Czech Republic, the United States, Germany, Kuwait, Saudi Arabia, France, and Morocco.“The late Founding Father of the UAE, Sheikh Zayed, used to say that all we have in our lives is a gift, and our land is a gift, and so we must always be humble and give back with an open heart,” said Abdul Qader. “And my gift in this life is the gift of art; the gift of colors that I gift to all.” &nbsp;

Enjoy more of Abdul Qader Al Rais artworks:

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Serenity of Doors & Sensitivity of Letters

Artworks like the three Florentine bronze doors can help visitors rediscover, for a moment and perhaps only vicariously, the joy of faith, 

Doors and gates are more than just dignified objects that separate the inside from the outside; they protect our privacy, keep us safe, and provide a way in and out — they are the first and the last thing one sees as one leaves or arrives at a premise.Doors are gateways to various possibilities, but very few doors in the world evoke such grandeur, such a deep sense of faith and majesty, as the doors of the Baptistery of Florence.Known as the Gates of Paradise, the North and South doors — built in the 14th and 15th centuries — are doors of gold and bronze heavy in weight (and even heavier in history), with intricate stories along its panels that evoke a strong divine presence in their viewers.The Gates of Paradise are said to have been bestowed their title by one of history’s greatest artists. “They’re so beautiful they would grace the entrance to paradise,” said the legendary Michelangelo.Dignified in their resilience and revival, these doors are stationed at places of worship.“The three sets of monumental bronze doors exhibited in the Museo dell'Opera del Duomo of Florence are the most famous examples of a kind of European artwork once considered of great importance,” said Timothy Verdon, the Director of <a href="http://www.duomo.firenze.it" target="_blank" rel="noopener noreferrer">The Museo dell'Opera del Duomo</a> in an exclusive interview with Rym Al-Ghazal.

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The Italian sculptor Lorenzo Ghiberti took 27 years —between 1425 and 1452— to make ‘The Gates of Paradise’ in bronze and gold. They are historiated — where they recount, in ten relief panels that narrate scenes from the Old Testament.The Gates of Paradise— eight tons in weight, 5.20 meters tall, 3.10 meters wide, 11 cm thick &nbsp;- was the creation of Lorenzo Ghiberti. He was assisted over the years by numerous high-caliber collaborators such as Donatello, Michelozzo, Luca della Robbia, Benozzo Gozzoli, and Bernardo Cennini.&nbsp; It was so beautiful that it was put in a place of honor at the east entrance facing the Cathedral, the Paradisium.

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The oldest of the Florentine doors are those by Andrea Pisano of the 1330s; the other two are by one of the leading masters of the 15th-century Renaissance, Lorenzo Ghiberti,


The North Gate and Gates of Paradise were created by Ghiberti, and the South Gate by Pisano.“All three were made for the Baptistery of Florence, located in front of the Cathedral: the building where, in former times, all the city's Christian children received the sign of the religious faith in which they would be raised, the Christian sacrament of Baptism. All three doors illustrate stories basic to understanding faith: St John the Baptist's life, Christ's life, and the Old Testament's great events. Since the building where they were mounted was symbolic in its function, indicating spiritual rebirth and heavenly citizenship, the doors were like 'constitutional documents' telling all who entered what it means to be a Christian,” he said.&nbsp;

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From stories of creation to the stories of the life of Christ, Adam and Eve, St. John the Baptist, and Noah — includes animals like the elephant, lion, and deer and birds like the falcon —, Moses, Abraham, Joshua, Joseph, and Solomon, and others — each tile captivates as it takes a viewer on a journey of the past and of the self.“Their artistic beauty was in the service of this inner beauty, and their message became part of people's lives. As the children, baptized as infants, grew, parents brought them many times to 'read' the stories on the doors and thus learn about their faith and about themselves. The doors were components of the individual and collective identity of Florentines,” &nbsp;he said.

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Following a meticulous restoration work of unprecedented complexity over 27 years, the public can admire and rediscover the Gates of Paradise at the Museo dell'Opera del Duomo. On September 8, 2012, the Gates of Paradise went back on public display after a meticulous and complex restoration project that saved the famous gilding, which was directed and carried out by the Opificio delle Pietre Dure in Florence. Commissioned by the Opera di Santa Maria del Fiore, it was made possible thanks to funding from the Ministry of Heritage and Cultural Affairs and the contribution of the association of Friends of Florence.Continuing their mission to preserve and protect, the Opera di Santa Maria del Fiore in the following years, until 2019, commissioned and financed the restoration of the North and South Doors.&nbsp;The story of the doors in modern history is one of adventurous and innovative explorations &nbsp;— where various dedicated, creative solutions had to be taken to revive and protect the doors until they were brought back to the public to cherish.

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The doors were not removed from their original location until 1943 when they were taken down and stored in a safe place because of the Second World War. They returned to the Baptistery in 1948, following restoration work carried out by Bruno Bearzi. This brought to light the mercury gilding that, for centuries, had been hidden beneath dirt and a layer of black paint applied in 1772, which had led people to forget about the existence of the legendary gilding on the reliefs. Having survived the war, the doors were then damaged by a flood in 1966. They then underwent a series of restorations — including the use of a special laser to clean the reliefs — until they reached the public again.&nbsp;“In today's multicultural&nbsp;society, the same intensity of personal and communitarian reception is much more difficult. The doors have become 'mere' masterpieces whose meaning is either not understood or not accepted,” said Mr Verdon.&nbsp;&nbsp;&nbsp;

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“In a broader sense, images generally - even very beautiful ones by great masters - no longer touch people like in the past: television and the internet have saturated our imagination, and publicity has made us less trusting. In our technological age, symbolism of all kinds, while fascinating, tends not to shape our lives as once it did,” he said.Mr Verdon concluded: “This is a form of moral impoverishment, for human beings need symbols and stories in which they can believe. Artworks like the three Florentine bronze doors can help visitors rediscover, for a moment and perhaps only vicariously, the joy of faith.”With the amount of dedicated work and study put into these beautiful doors, it was quite an honor to be in their presence and their guardians, like Mr Verdon. &nbsp;

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To visit the doors, <a href="https://duomo.firenze.it/en/home" target="_blank" rel="noopener noreferrer">please check here.</a>More about The Opera di Santa Maria del Fiore: It was founded by the Florentine Republic in 1296 with the participation of the city’s ecclesiastical authorities to oversee the construction of the new Cathedral and its Bell Tower. Once the church was consecrated on March 25, 1436 and its architectural structure was complete, Opera’s primary task became the conservation and embellishment of its monumental complex. The Baptistery of San Giovanni came under its jurisdiction in 1777, and the Opera del Duomo Museum was inaugurated in 1891.

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Gallery of the Divine Doors of Florence:

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The Doors that Impressed Michelangelo

In our frantic, complex world today, we rarely stop and ‘see’ deeply - not only with our eyes but with our minds and hearts. Who, for one, would bother standing in front of a closed door for any longer than absolutely necessary?! And yet, that door may have so many stories to tell, so many wise messages to convey. Take this beautiful example here from the Aga Khan Museum collection, carefully constructed and carved completely by hand.&nbsp; Along the top, its inscription tells us: “Abandoning the world is more righteous than any worship.” This beautiful quote suggests that this door may once have invited those weary of the world into a religious space for restorative prayer or peaceful contemplation of God’s universe – its unity and infinity are beautifully referenced by the intricate geometric patterns below.&nbsp;

For Master Rustam, making this door was not simply work; he was worshiping God through his artistry.&nbsp;At the same time, who knows, working on his door may also have made him contemplate the ups and downs of life, with fate always knocking on doors, closing doors, opening doors.In that respect, he might have appreciated the wisdom of Bengali poet and philosopher Rabindranath Tagore, writing some 450 years later: ‘If I can’t make it through one door, I’ll go through another door – or I’ll make a door. Something terrific will come no matter how dark the present.’&nbsp;May this door inspire you to stop and ‘see’ more often.

Written by Special Guest Contributor Dr. Ulrike Al-Khamis, Director and CEO at the Aga Khan Museum, Toronto.&nbsp; In each issue, we feature a special treasure from the <a href="https://www.agakhanmuseum.org" target="_blank" rel="noopener noreferrer">Aga Khan Museum</a>, one that tells a story, captures a moment, and inspires conversation.

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Stop, And See More –  Aga Khan Museum

The world of door-making in Saudi Arabia symbolizes bright beginnings and carries within it many ancient tales. It is also a witness to the bounty of our land, from which we draw inspiration in everything related to values, beauty, and art.   

The role of architecture in Saudi Arabia was not limited to utilitarianism only but extended to the aesthetic aspect. The craft of making traditional doors represented an important part of our heritage that was passed down from one generation to the other. These doors began to tell and immortalize stories about the diversity that our country witnessed - and continues to witness - in terms of society, the nature surrounding its raw materials, and the visual details that distinguished the doors across regions.&nbsp;The Royal Institute of Traditional Arts (Wrth) takes great aims to preserve the rich and unique cultural heritage found in all this. The institute represents the culture of the Kingdom by narrating the artistic history, sharing the stories of traditional artworks, and highlighting the artists. Additionally, it strives to preserve the authenticity of these arts, and encourage those interested to learn, master and develop them. We had a wonderful conversation with Dr. Suzan Alyahya, head of Wrth, about one of their initiatives that is concerned with the techniques and methods of making traditional doors. &nbsp; &nbsp;

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The discussion started with the importance of carpentry in the Kingdom, specifically in the field of traditional door making. Dr. Alyahya asserted: “The carpentry craft is one of the traditional crafts deeply rooted in Saudi culture, and it has an important position that cannot be overlooked. That is why we seek, through part of our initiatives at the Royal Institute, to preserve it as an inexhaustible heritage asset. This is done by enhancing awareness of the cultural importance of carpentry, and all related industries such as the art of carpentry, traditional wooden doors, incense burners, and other woodwork.&nbsp;This awareness will train and refine the skills of practitioners of the craft, drive awareness to those interested in it, and may even extend to discovering new talents working in the field and developing their skills. “As for traditional doors, they were and still are a witness to the diverse cultural fabric of the Kingdom, as each door represents the geographical identity of the place, the social identity of residents, their general taste, and their values of generosity and hospitality. Not only that, but the importance of these doors, with their decorative and aesthetic details, extends to reflecting the artistic and technical development of carpentry in general, and the manufacture of traditional doors in particular.” &nbsp;

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Referring to traditional doors, their beginnings and development, Dr. Alyahya noted: “The craft of making traditional doors, like everything known to humanity, has developed in response to different human needs. We notice that the materials used in the industry have changed and have been replaced by more durable materials such as wood and stone. Other details have been added that human needs called for, such as adding locks made of metal to provide protection and create a sense of security and reassurance. The matter was not limited to the development and change of the raw materials used in the industry but extended to include the difference in doors and their purpose.&nbsp; “For example, there is a door called (Kamr), which is a small door that is adjacent to the place where the fire is lit, and behind it are usually the hospitality tools in the council.&nbsp;There is also a (Darwaza) door, which is distinguished by its large size, so it is used at the entrances to cities and their walls, or in large buildings with a wide courtyard. There is also the (Dar/Street) door, which is the main and external door of the house, and its legs were made from palm trunks. These traditional doors throughout their development journey were not silent but were distinguished by colorful geometric and plant decorations and engravings, and the most beautiful thing is that these doors were the product of their environment, so the colors used were extracted from the natural components surrounding them.” &nbsp;

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When asked about the difference in traditional door making from one region to another, Dr. Alyahya replied: “The world of traditional door making in the Kingdom symbolizes bright beginnings and carries within it many ancient tales. It is also a witness to the bounty of our land, from which we draw inspiration in everything related to values, beauty, and art. Because the craftsman is a child of his environment and land, we see a clear difference in the level of wood types used. For example, we see tamarisk wood and palm trunks in Najdi doors in the Central Region, and we see teak wood in the Eastern Region, juniper wood in the Southern Region, and Saj wood in the Western Region. As I mentioned earlier, this difference extends to the type of decoration used in each region, according to what resembles its nature.”

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On Wrth’s initiatives to support the traditional door industry, Dr. Alyahya stated: “Wrth is a destination for anyone passionate about traditional Saudi arts, a passion which we have carried with us since the founding day, and a passion which we will carry into the future. The essence of our vision is to empower the traditional arts sector in the Kingdom by providing quality educational, cultural and community programs, and stimulating documentation, research and innovation for a sustainable and vibrant market. Our strategy at Wrth is to support and encourage enthusiasts and creators by opening doors of opportunities for them between training and development, display and celebration, and support and empowerment. As for traditional doors, we at Wrth have launched several programs ranging from education for anyone interested, to apprenticeship programs with continuous training for those who wish to reach the level of mastery, or let’s say professionalism.

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“One of these programs that we launched was the Najdi Doors Industry Apprenticeship Program in Al Qassim Region, which was presented by experienced craftsmen, and through which they addressed the basics of carpentry, traditional Najdi door manufacturing techniques and decoration, and practical training in manufacturing wooden doors inspired by Najd’s heritage. This training was done through three levels. The first level includes learning the craft in its authentic traditional form, understanding the historical context, and using tools safely. The second level focuses on developing advanced and innovative craft skills. Finally, the third level focuses on entrepreneurial and professional empowerment of the craft and preparing learners for the labor market.”

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Stories Eternalized by doors 

Forgotten, as if you never were. Like a bird’s violent death like an abandoned church you’ll be forgotten, like a passing love and a rose in the night . . . forgotten I am for the road . . . There are those whose footsteps preceded mine those whose vision dictated mine. There are those who scattered speech on their accord to enter the story or to illuminate to others who will follow them a lyrical trace . . . and a speculation Forgotten, as if you never were a person, or a text . . . forgotten I walk guided by insight, I might give the story a biographical narrative. Vocabulary governs me and I govern it. I am its shape and it is the free transfiguration. But what I’d say has already been said. A passing tomorrow precedes me. I am the king of echo. My only throne is the margin. And the road is the way. Perhaps the forefathers forgot to describe something, I might nudge in it a memory and a sense Forgotten, as if you never were news, or a trace . . . forgotten I am for the road . . . There are those whose footsteps&nbsp; walk upon mine, those who will follow me to my vision.&nbsp; Those who will recite eulogies to the gardens of exile,&nbsp; in front of the house, free of worshipping yesterday, free of my metonymy and my language, and only then&nbsp; will I testify that I’m alive and free when I’m forgotten!&nbsp;Translated from Arabic by&nbsp;<a href="https://twitter.com/FadyJoudah">Fady Joudah</a>: Palestinian American physician, poet, and translator.

Forgotten As If You Never We

The arts, including poetry, immortalize humanity... a crack in the nature of forgetfulness, a cornerstone in the memory of societies, and an act of resistance to the triviality of life. We write about life and death, love and sorrow, experiences and loss. We reminisce about what once was, and eulogize to pick up the broken pieces of our hearts.&nbsp;The Palestinian poet Mahmoud Darwish (1941-2008) lived a hard life. The days piled their challenges upon him, testing him with each step,&nbsp; and leaving their indelible mark upon his poetry. We see the impact of his reality of living as a Palestinian in general, and the illness in the last years of his life in particular, all of which&nbsp; shaped his experience.Death was not absent from Mahmoud’s poetry, but rather than simply being about death of the body, it was more about&nbsp; the soul’s resistance to this death; by enduring and triumphing over death. And this can only happen by resisting&nbsp; oblivion itself through the very act of poetry.&nbsp;Who would the poet be if his poems died? If the days erased his trace? In his poem (Forgotten, as if you never were), which was part of the collection (Don’t Apologize for What You Did) published in 2003, Mahmoud begins from the hypothesis that death is an incitement to oblivion, for everything that will be said has been said, and everything that will be written has been written, and life in its vastness is nothing but a vicious circle of repetitions... until he opens a new door to defining oblivion, since the poet’s freedom is only through his death in the eyes of others, so his life - anew - and then his freedom, are nothing but the products of oblivion.&nbsp; &nbsp;

Death, with its approach, turns the scales upside down, and when it passes, its sound makes many doors tremble! 

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Darwish between Death and Oblivion

I believe that learning about art – or material culture in the broadest sense – can contribute to how we place ourselves in the cultural cosmos of today. In the case of Colors of the City, it consciously embraces this cosmopolitan and multi-layered heritage, narrating a historical trajectory unique in the region. 

Rich with stunning imagery of historical buildings and gates, Design Doha’s Colors of the City exhibition tells the architectural story of Qatar’s capital over the last 100 years. The exhibition was curated by Glenn Adamson and Peter Nagy to include 3D models, films, photos, and interviews presenting the architectural transformations of the city, from before the discovery of oil and through to the arrival of global influences. The exhibition took place from February 24 to April 30 of 2024 as part of Design Doha, a biennale celebrating creativity in the region while focusing on Qatar’s design scene on the global stage.We take you on a journey to visualize the architectural transformation of Doha—with a special focus on its enchanting gates—through the words of the exhibition’s co-curator Peter Tamas Nagy. &nbsp;

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Colors of the City sought to constitute the local foothold within the cluster of exhibitions that opened simultaneously at M7, Doha. Its conception required a visionary like Glenn Adamson, artistic director of Design Doha Biennial, who wished to create a show specific to Qatari (architectural) design. Since my work entailed studying heritage architecture in the country, he invited me to participate. I still think he was overly trusting as I had no background in curatorial affairs – in other words, he threw me in deep water. I could devise a narrative based on my research at relative ease, yet the task of bringing architecture into a gallery space in a way that is visually pleasing and informative was entirely new to me.When I first drafted a preliminary checklist of what to incorporate in the display, it already included countless photos, architectural drawings, videos, 3D models, construction materials, art objects, maps, etc. I gave no easy task to the designer company Mind the gap, namely Karl Bassil, Carla Khayat, and Elie Mouawad. However, they dexterously created this visual experience where you follow the path defined by the hanging banners – displaying text, photos, and maps – while glancing at additional exhibits on the floor and the walls, always related to the information you encounter.

Tell us more about the exhibition and its story, the curation process, and how it came about.

This city has a history of two centuries, of which the exhibition presents the second. The display invites visitors to experience four trends of architectural and decorative design. It begins with traditional constructions from before the discovery of oil, which we display chiefly in the form of a 3D reconstruction of the&nbsp;<a href="https://www.youtube.com/watch?v=EnWPHRa-DZc">Old Palace</a>.&nbsp;Then, the focus is more on the early modern period, the 1950s and 1960s, when two distinct design principles manifested in the elite residences, respectively labeled Doha Deco and Doha Classicism. The colorful decorations of this period were both unprecedented and subsequently unfollowed, which also gave the idea for the title&nbsp;Colors of the City. Then, the decades following Qatar’s independence in 1971 set out for a new wave of international design principles, which we condensed in the section titled Doha Brutalism. &nbsp;These are the four trends highlighted in the historical part of the exhibition, followed by the contemporary part curated by Glenn. There, we decided to display a selection from the oeuvre of Ibrahim Jaidah and his company, Arab Engineering Bureau, who have made an extremely rich contribution to Doha’s skyline over the recent decades.

Can you talk a little about the phases that Doha's architecture has gone through as depicted in the exhibition? 

           

There were many. Although the research is still ongoing, I can say that the 1950s and 1960s was a particularly complex period in that regard. The two major findings so far are the artistic links with India and Iran.&nbsp;Regarding the former, it seems that the buildings presented under the label Doha Deco grew out of three registers of artistic elements: Art Deco, South Asian, and local. Chevron motifs and eye-brow ledges appeared alongside palm trees and falcons.&nbsp;As for the links with Iran, a group of buildings in and around Doha feature Classicist vases and tendril motifs, which were then also combined with Arabic epigraphy, bulbous rose flowers, and so-called&nbsp;aina-kari (or mirror work), which were typical of Iranian architectural decoration. Studying these elements opens a line of questions about the identities of those artisans who found employment in Qatar, where several members of the royal family and other wealthy patrons were keen to recruit them to beautify their homes.From the 1970s on, the architectural movements of international modernism also appeared in Doha, establishing a new standard of design. Driven by the motive to expand and modernize the city, Emir Khalifa bin Hamad invited renowned architects from around the globe to contribute to the new cityscape; various new landmarks from the period still align today along the Corniche Road. The key contribution brought in by the foreign designers was the most up-to-date construction techniques; the iconic Sheron Hotel applied a steel skeleton cladded in prefabricated concrete elements. Many architects also aspired to reinterpret classical forms of Islamic architecture in a modernized fashion, which we can witness most characteristically on the campus of Qatar University. &nbsp;

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What were the influences that affected the architecture of the city of Doha?

The entrance to a house is the main point of communication with the outside world, both physically and metaphorically. It is hardly an exaggeration that Qatari patrons considered the public entrance the most important part of the entire residence and, therefore, spent a considerable sum on their decorations, recruiting foreign artisans who knew how to impress visitors and passers-by alike.In several examples, even a modest house had an out-of-proportion portal with elaborate and colorful ornaments and lights. In a period when electricity was new to Qatar, countless portals incorporated light tubes and bulbs in their design composition. Those structures conveyed a clear message, in some cases ostentatiously showing off the owner’s riches.&nbsp;Although a semantical analysis of these gate buildings has yet to be carried out, it seems that a Qatari audience would interpret them as signs of respect and status, with little intertextual associations of the specific shapes and forms. This trend, however, disappeared already in the late 60s, presumably for social reasons: not everyone was happy with those showy gates. &nbsp;

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There are some very beautiful images of gates in Doha in the 50s and 60s. Can you talk to us about their architectural style back then? How are they different from gates or doors found in Doha today?

It is challenging to pick one since the reason I included all these buildings in the exhibition is that I find them equally fascinating. Nonetheless, the story behind that of Sheikh Ghanim bin Ali struck me the most. It still retains its decorative entablature today, but old pictures show that a pair of fish statues surmounted the structure originally.When I began investigating those statues, I soon found myself walking down the streets of Lucknow, a lovely city in India where hundreds of heritage buildings feature similar pairs of fish sculptures on their façades. It was initially a royal symbol for the local rulers and continued to be used well into the 20th century. Although we don't know why the same iconographic element resurfaced in Doha, the analogy makes this link highly plausible; even the physical characteristics of the animals are closely comparable.In short, artisans well-versed in Art Deco constructions traveled from Lucknow to Doha and found patronage there.

Is there a building or door or decoration in the exhibition which has a unique story or background?

It is stimulating to see Colors of the City living its own life. There is quite some public interest in the exhibition; all my tours have been fully booked so far, and people are often happy to share their own stories about some of the buildings. I could not have expected this popularity, primarily since many of the buildings on display were previously known only to a few experts, if at all.What I hope is that visitors will acquire a better understanding of why these buildings matter today and why they need to be preserved. The displayed examples are relevant not only because no architectural historian enjoys studying demolished buildings, but also because, as long as they exist, they can continue educating us about the cultural interactions of the period.I believe that learning about art – or material culture in the broadest sense – can contribute to how we place ourselves in the cultural cosmos of today. In the case of Colors of the City, it consciously embraces this cosmopolitan and multi-layered heritage, narrating a historical trajectory unique in the region.

How do you see the exhibition’s outcomes?

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A Story of Architectural Treasures 

when doors were closed out of protection, precaution, and fear, Ithraeyat was born. It stood as a beacon of joy and inspiration, a resolute break from the somber news of the time, harnessing the transformative power of art and storytelling.Now over four years old, the magazine opened and continues to open doors for artists, writers, and creatives who find themselves on its pages. It also continues to inspire cross-cultural conversations through its various local, regional, and international partners.Here, we look back at some of the stories that broke new barriers, inspired others, and continue to resonate with the public. From royals, ministers, and ambassadors to pioneers, emerging artists, and creatives from various walks of life, they have all graced the pages of Ithraeyat and told their stories through their art.Ithraeyat is a canvas for all to paint in their unique narratives.With over 800 articles featured, it would be difficult to mention all. Therefore, here are a few who shared their art, their creativity, their motto in life, and the importance of art.

Emerging from the depths of a COVID-19 lockdown

Iconic figures have passed away since they shared their art and story with Ithraeyat, whose light will always shine beyond the pages and inside our hearts. Here, we pay homage to them as we express our eternal and deepest condolences and gratitude to them.

The Art of Legends

The late HRH Prince Badr Bin Abdulmohsin Al-Saud (1949 - 2024), the legendary poet, in his last interview, shared with us a different artistic side <a href="https://ithraeyat.ithra.com/articles/shakespeare-of-the-desert">in the edition dedicated to the 'Desert' theme.</a>

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“Art is everywhere...You can’t stop art; it will find its way to express itself...”

The late Princess Diala Arslan Talhouk (1971 -2021), author and poet, shared a timeless <a href="https://ithraeyat.ithra.com/editions/love/amin-and-najla-a-love-story">love story in the edition dedicated to the ‘Love’ theme</a>.

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“Every family has a love story they like to re-tell….”

“Trust in God, but tie up your camel….”&nbsp;A national animal is more than a symbol; it becomes a cultural ambassador, a source of inspiration for poetry, storytelling, and art. In honour of the ‘Year of the Camel,’ we look back at &nbsp;and some of the more unique,<a href="https://ithraeyat.ithra.com/editions/stereotypes/beauty-is-the-beast"> colorful camels</a> that broke <a href="https://ithraeyat.ithra.com/editions/stereotypes">stereotypes </a>and graced our pages, the <a href="https://ithraeyat.ithra.com/editions/threads/a-camel-that-launched-a-war">historical ones that even triggered battles</a>, and the kind of <a href="https://ithraeyat.ithra.com/editions/sound/camel-chants">songs and chants camels</a> inspire.

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The Art of Camel

&nbsp;It has been quite an honor to showcase a few of the artists’ artworks for the first time to an audience, be it the first time in the region or the first time ever on the cover of a magazine. Be it Indigenous or over 100 years old, or even a contemporary piece that captures an important time in history, art is one of the few timeless creations that keep us intrigued about the artist’s intention behind it and how it can mean different things to different people at different times.

The Art of Debut 

The Art of Numbers

The Art of Joy

The Art of Desert

The Art of Isolation

The Art of Sketches

The Art of Sound

&nbsp;We have featured stories, images, and art that touched the hearts and memories of our readers. These included comics feature titled “<a href="https://ithraeyat.ithra.com/editions/nostalgia/nine-decades-of-arabic-comics">Nine Decades of Arabic Comics</a>” and the regular series from <a href="https://ithraeyat.ithra.com/stories?story=16">Aramco Archives</a> that includes rare photos that capture moments in history as well as past and present objects that inspired cross-cultural conversations through our special ‘<a href="https://ithraeyat.ithra.com/stories?story=20">Bridges</a>’ section.

Editions