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The Remaining Houses of the Two Pearl Merchants Ahmed Munawar Rifai

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The Remaining Houses of the Two Pearl Merchants Ahmed Munawar Rifai Cities’ Identity Through Architecture and Arts – Catalani et al. (Eds) © 2018 Taylor & Francis Group, London, ISBN 978-1-138-05409-7 The remaining houses of the two pearl merchants Ahmed Munawar Rifai and Hussein Bin Yahiya Rifai in the Farasan Islands in the 14th century AH/20th century AD: A study of aesthetic and artistic values Eman Ahmed Aref Art History Department, Faculty of Fine Art, Helwan University, Helwan, Egypt ABSTRACT: The houses of the two pearl merchants Ahmed Munawar Rifai and Hussein Bin Yahiya Rifai in the 14th century AH/20th century AD, in the Farasan Islands, south- west of the Kingdom of Saudi Arabia, witnessed a cultural shift and great development in the processing of stucco art decorations. This study discusses the phenomenon of artistic enrichment, its mingling with the local heritage arts, its investment according to common sense, and the rationale behind using some elements of Indian–Buddhist architecture in the Al Najdi Mosque. This study aims to explore the factors that helped in distinguishing the Farasan stucco art style from the contribution of other artistic styles. The Ottoman arts accompanied their actual presence in the region, by developing the units of Farasan stucco art, in spite of the isolation of the Farasan Islands. Through a descriptive, analytical method, this study links historical events to show that the Farasan Islands are considered one of the shipping routes linking the Far East with the Far West. This helped in the mixing of local and imported cultures, as reflected in the appearance of the unique Farasan stucco style. Keywords: Ottoman patterns, engraving stucco, Farasan Islands, Rifa’i house, Al Najdi Mosque in Farasan, heritage of Farasan 1 INTRODUCTION Before the advent of Islam, commercial trips around the world extended from the Far East to the Far West where the arts of China, India, Iran, and Middle Asian civilisations mixed with the arts of the Middle East and Western civilisations in Africa and Europe. With the centralisation of pearl fishing and trading in the Arabian Gulf and Farasan Islands, south-west of the Kingdom of Saudi Arabia, and the presence of the Asir port,1 where ‘various collections of blue and alkaline green porcelain, which was known in the Abbasid period, were found in their ruins, as well as models of porcelain, ceramic and stone pottery imported from China’ (Alzele’i, AH 1423). This helped in the emergence of the Far- asan stucco art decoration style. The façade and entrance walls of the houses of the two pearl merchants Ahmed Munawar Al Rifa’i and Hussein Bin Yahiya Al Rifa’i are considered as important heritage monuments, where most of the emerging influences on the art of wall processing with stucco decorations through the Islamic eras converged. The style of decorations on the façades of religious and residential buildings was not com- mon in all parts of the Kingdom of Saudi Arabia, in accordance with the Islamic teachings of simplicity and abstraction. However, the heritage Najdi style of the region offered a fertile field for the mingling and mixing with the arts of new cultures. Stucco decorations 1. Built in the Umayyad era, it is located 40 km from Jizan City on the coast of the Red Sea, south-west of the Kingdom of Saudi Arabia. Asir port is considered one of the most important active points of communication with the African coast, Asia and China. 443 CITAA17_Book.indb 443 2/19/2018 10:08:37 AM developed at the beginning of the 14th century AH/20th century AD. At first, stucco deco- rations adorned the frames of apertures and windows with white colour, and were limited to the guest reception halls (coffee sitting areas) and their associated doors. Then, attention shifted from privacy to showing off the lavishness of the building; this stage was accompa- nied by the foundation of the Jizan Idrisid state, which was interested in decorating its palace façades and gates. After the Ottoman sovereign took over ports of the Red Sea and Hejaz countries, Ottoman taste in art leaked in, which carried in its folds Iranian and Chinese art forms, especially in the Safavid and Timurid eras. This was because Tamerlane hired artists of the Ottoman Empire to work in his kingdom where their artistic creations appeared in Samarkand city, the radiation centre of Timurid art with Iranian–Chinese style dyes. The Farasan Islands contain more than 500 houses that were characterised by their façade decorations with stucco, such as Sayer village Castel, Al Najdi house, Al Najdi Mosque, the two houses of Ahmed Munawar Al Rifa’i and Hussein Bin Yahiya Al Rifa’i, Jarman house, and the Ottoman Castle. Nevertheless, only the two Rifa’i houses and the Al Najdi Mosque had a significant extent of stucco decorations, which helped to show the cultural features and uniqueness of stucco decorations not evident on other buildings. 1.1 Statement of the research problem This study discusses the phenomenon of architectural and stucco art enrichment in help- ing to distinguish the two houses of the most famous pearl merchants and the Al Najdi Mosque in Farasan Islands in the 14th century AH/20th century AD, despite the spread of Yemeni and Najdi styles and their closeness to Sebia city, the centre of the Jizan Idrisid state. However, it is difficult to gather enough information about these houses due to the rarity of resources and of studies about their artistic influences. 1.2 Research objectives This study aims to determine the characteristics and features of the components of Farasan stucco art by studying and analysing stucco decorations of some buildings on the Farasan Islands. It highlights the contribution of the Farasan stucco art style in the enrichment of the arts of excavated walls in the south-west of the Kingdom of Saudi Arabia. 1.3 Research limitations 1.3.1 Topic limitations The contribution of the trade routes and pearl trading to the enrichment and development of stucco decoration art in the Farasan Islands. 1.3.2 Geographical limitations The Farasan Islands are located off the south-west coast of the Kingdom of Saudi Arabia, in the Red Sea. 1.3.3 Time limitations The study covers the period of the 14th century AH/20th century AD. 1.4 Research assumption The most famous pearl merchants hired the best artisans from many countries in the 14th century AH/20th century AD to build and decorate their houses in the best artistic and architectural styles. 1.5 Research hypothesis The study examines the impact of geographical and geological factors on the culture and the ways of thinking of the wealthy people of the Farasan Islands, which is reflected in the 444 CITAA17_Book.indb 444 2/19/2018 10:08:37 AM decorative wall art and the conversion of natural raw materials into a precious decorative form. 1.6 Research methodology The study follows the analytical, descriptive method that depends on observation and histori- cal links. 2 HISTORICAL PREFACE Islam arrived in India in the Umayyad Caliphate period (1st century AH/7th century AD), and it was deployed effectively by Qutayba Ibn Muslim Al Bahli (AH 49/AD 669 to AH 96/AD 715), the prefect of Khorasan under the reign of Al-Hajjaj Ibn Yusuf Al Thaqafi during AH 86/AD 97. The Umayyad were followed by the Abbasid, who ruled Transoxi- ana (Uzbekistan—Tajikistan—Turkmenistan—Kyrgyzstan—Kazakhstan). As a result of the weakness of the Abbasid Caliphate, some states, such as the Samanid Empire (AH 261– 389), obtained their independence. The most prominent of succeeding rulers/states were the Seljuk Empire in the 5th century AH/11th century AD, ‘the Khwarazmian Empire that was pulled down by the Mughals at the time of Genghis Khan, then the Timurid Empire that was founded by Tamerlane, prince Targai’s son 771 AH’/1369 AD (Amer, 1998, p. 119), ‘and then [they] were pulled down by the Uzbeks in the 10th century AH (16th century AD) led by Shay- bani Khan, who founded the Mughal Empire in India’ (Mones, 1983, p. 244), and conquered Bukhara, Samarkand and Tashkent cities. Despite these conflicts, the architectural movement was not affected adversely, but it was more enriched. On the other hand, the commercial movement succeeded on the ‘silk route that was there before the advent of Islam (4th BC) and which connected the Far East with the Mediterranean Sea’ (Leven, 1998) and passed through the Arabian Peninsula until the British invasion in 1857 (13th century AH/19th century AD). The two centuries, 7th–8th century AH (13th–14th century AD), are considered a stage of flourishing and dominance of the Mughals over the states and centres of Islamic civilisation, such as China, Iran and Mesopotamia, extending to the ends of Asia. Sultan Muhammed Ghouri’s era (AH 602/AD 1205–1290), and especially the era of his deputy Qutb Al Din Aibak (AH 603–688/AD 1206–1290) who ruled after his death and was the first Mamluk sultan from Turkish origins with a Persian culture, witnessed a huge architectural break- through in Delhi city, where various Indian cultures mingled and unified with the Arab Islamic culture, especially during the reign of Sultan Ghiyassudin Balban (AH 664–684/AD 1266–1287). Several families, such as Khalgi and Tughluq, succeeded after Sultan Ghiyas- sudin Balban’s reign until India joined the Mughal Empire in AH 932/AD 1526 under Babur Shah’s reign (AH 888–937/AD 1483–1530) (Al Nadawi, 2012). Throughout history, cultural, architectural and artistic enrichment grew across sprawling India, producing art with special features, including Persian, Sasanian, Turkish, Iranian and local art features.
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