INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order.

UMI University Microfilms International A Bell & Howell Information Company 300 Nortfi Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600

Order Nu m b e r 8913694

Significance of the development and emergence of art and crafts museums in the kingdom of Saudi Arabia

Resayes, Mohammed Saleh, Ph.D.

The Ohio State University, 1989

Copyright ©1989 by Resayes, Mohammed Saleh. All rights reserved.

300 N. Zeeb Rd. Ann Arbor, MI 48106

SIGNIFICANCE OF THE DEVELOPMENT AND EMERGENCE

OF ART AND CRAFTS MUSEUMS IN THE

KINGDOM OF SAUDI ARABIA

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of the Ohio State University

By

Mohammed S. Resayes, B.Sc., M.A.

*****

The Ohio State University

1989

Dissertation Committee: Approved by

Professor Kenneth Marantz

Professor Arthur Efland

Associate Professor Louis Lankford apartment Copyright by Mohammed Saleh Resayes 1989 ACKNOWLEDGEMENTS

I would like to express my sincere gratitude, appreciation and thanks to my academic advisor. Professor Kenneth Marantz, for his guidance and continuous helpful suggestions and questions during the last five years. Special thanks go to

Professor Marantz for his endeavors in understanding the cultural differences of international students and their concerns.

My sincere thanks go to Professors Efland and Lankford for their great instructions and support. It was a precious opportunity for me to know you and leam from you. From all of you I have learned and perceived a lot of academic and casual experiences and disciplines.

My special and sincere thanks go to my wife, Budria, my daughters Reem, Rana, and Rasha, for their lovely companionship and struggle with me in order to complete this study. I thank all my special friends including most of my family's members, not only for their encouragement of my higher education, but also for their long patience until I achieved this major goal for my life.

11 VITA

Mohammed S. Resayes, Riyadh, Saudi Arabia

1 9 5 0 ...... Date of Birth, Riyadh.

1957-1962...... Attended Al-Mansore Elementary Schoo1, Riyadh.

1963-1965 ...... Attended the First Intermediate School, Riyadh.

1966-1969 ...... Attended the Institute of Art Education, Riyadh

1969-1970 ...... Taught Art Education at inter­ mediate schools in Dubai, United Arab Emirates,

1971-1973 ...... Teacher assistant at The Institute of Art Education, Riyadh.

1973-1977 Attended He 1 wan University in Cairo, Egypt. Graduated with Bachelor of Art Education Degree with a major in painting.

1977-1978 ...... Teacher assistant at King Saud University, Riyadh, Department of Art Education.

1979-1980 ...... English Program at Ohio Dominican College, Columbus, Ohio

1980-1982 Attended Ohio State University, Columbus, Ohio. Graduated with a Master of Art Degree.

Summer, 1983 ...... Enrolled in doctoral program at The Ohio State University for the major in Art Education with an interest in Museum Education.

Ill Fields of Study

Major Field: Art Education

Studies in Research Design and Museum Education; Professor Kenneth Marantz

Studies in Issues in Art Education: Professor Arthur Efland

Studies in Philosophy of Art and Art Education: Associate Professor Louis Lankford

IV TABLE OF CONTENTS

ACKNOWLEDGEMENTS ...... ii

VITA ...... iii

Chapter Page

I. INTRODUCTION AND BACKGROUND TO THE COUNTRY .. . 1

Statement of the P r o b l e m...... 10 Questions and Objectives ...... 11 Significance of the S t u d y ...... 13 Limitations of the S t u d y ...... 16

II. REVIEW OF THE L I T E R A T U R E ...... 18

Historical Background and Spread of Museums . 18 The Major Purposes of Museums ...... 32 The Educational Functions of Museums ...... 41 The Difference Between Art and Crafts.... 45 Resources of Art and Crafts Museums' Collections...... 51 Training of Personnel ...... 77 S u m m a r y ...... 82

III. RESEARCH METHODOLOGY AND PROCEDURES ...... 83

Observation Technique ...... 84 Interviewing Technique ...... 87 Responses' Translation and Interpretation . . 95

IV. ANALYSIS OF D A T A ...... 97

Analysis of Observational D a t a ...... 97 Three Current M u s e u m s ...... 97 Three Cultural Institutions ...... 107 Three Private Art Galleries in Three Cities . 126 Three Daily Newspapers from Three Cities . . . 134 Informal Conversations During Social Meetings and Phone Calls ...... 138 Analysis of Interviews' D a t a ...... 143 Analysis of Category #2 Interviews...... 155 Analysis of Category #3 Interviews ...... 159 Analysis of Category #4 Interviews ...... 163

V Chapter Page

V. PHASES OF DEVELOPMENT AND IMPLEMENTATION OF M U S E U M S ...... 168

Phase I: Basic Preparation...... 168 Phase II: Obtaining Intellectual Support . . . 171 Phase III: An Official A d o p t i o n ...... 172 Phase IV: Final A p proval...... 173 Phase V: Public Support and Participation . . 174 Phase VI: Museums' Continuation and Responsibilities ...... 177 A Model of an Educational Program for Art and Crafts Museums in the Kingdom...... 177

VI. CONCLUSION AND RECOMMENDATIONS...... 181

Recommendations ...... 184

BIBLIOGRAPHY ...... 186

APPENDICES

A. Examples of Saudi Arabian Traditional Crafts . . 192

B. Examples of the Arabian Contemporary Art .... 199

C. Examples of Islamic A r t ...... 211

D. The Arab World M u s e u m s ...... 219

E. The Interview Questions in English and Arabic Plus Two Introductory Letters ...... 247

F. Biographical Information of Five Saudi A r t i s t s ...... 259

VI CHAPTER I

INTRODUCTION AND BACKGROUND TO THE COUNTRY

In the beginning of my research I prefer to provide some historical and cultural information about the Kingdom of Saudi

Arabia and its society. It may help the reader to grasp the relation between the nature of the country and the general purposes of this study.

The Kingdom of Saudi Arabia is a new country in an old

Arabian land, dating from 1932 when it was founded by King Abdul

Aziz Al-Saud. It is located in the southwest of Asia, with an estimated population of eight million, and occupies four- fifths of the Arabian Peninsula— 865,000 square miles. This peninsula was a land of many ancient civilizations. During the first millennium B.C. there was the Kingdom of Kinda in the center, Sheba in the south, the Nabataen Kingdom and Dedan

Kingdom in the northwest. It was the land of the prophets

Shu'ayb, Saleh, Solomon, Mohammad, and where Moses lived for ten years before he was sent as a prophet into Egypt. Its geographical location: Arabian Gulf— east, Arabian sea— south, and the Red Sea on the west— made it a strategic trade center for ancient routes between the East, Africa and southern

Europe. The Arabian Peninsula was not merely a desert, but a land of influence and a link with the early civilizations.

According to D. J. Hablin (1982):

The entire Peninsula is in fact a sort of geographical accident which for millennia served as both a barrier and trade route between the early civilizations around its periphery. Its sporadic importance to the wider world has always been because it possessed— or could deliver— something very valuable to other cultures. The Arabian desert of legend is not, and never has been, either all desert or all deserted. Lost in the wastes are cities with defense walls and towers, elaborate palaces with murals, and shrines to forgotten gods. (pp. 43-54)

Before the coming of Islam in 622 A.D. the Arabs of

Makkah— now in Saudi Arabia— were well known for their two annual trade caravans: one to Yemen south in the winter and the other to Syria north in the summer. After Islam, Islamic teachings have spread rapidly to Asia, north Africa, and Spain.

During these historical events and connections, the Arabs were exchanging, selling, and buying large amounts of merchandise and numerous artifacts with, to and from other cultures.

Naturally, these connections have had a strong influence on the art styles in this area. Ross (1978) wrote about Persian and

African influence on Arabian Bedouin jewelry, before and after

Islam as follows:

Persian influence on Arabian Bedouin jewelry is probably the strongest single outside influence, especially in the north, south, and east of the Peninsula, for the Persians interacted closely with the pre-Islamic Bedouin Arabs from these areas.

Considering the proximity of Africa to Arabia, and the ancient Arab trade route connection, quite apart from the shared Islamic faith which involves annual pilgrimage of African Muslims to Mecca, it is not surprising that Arabian Bedouin silver jewelry occasionally exhibits African characteristics. (pp. 49-51) 3

From Makkah in 622 A.D., Islamic religion has risen from the prophet Muhammad (570-632 A.D.). Islamic teachings have prevailed in the Peninsula and have spread rapidly to Asia,

North Africa, and parts of Europe. The Muslim people created one united nation and produced a great civilization which had endured for more than eight centuries, and in which numerous sciences and arts flourished. It was the golden age for the

Muslims because they applied the Islamic doctrine and principles which are concerned with the intellectual and productive aspects of man himself. About this period the Saudi

Embassy in Washington, D.C. has published a brochure (1985) entitled "Islam." One of its statements is as follows:

The contributions of this period were so significant that even today the Islamic legacy is reflected in terms derived from the Arabic language and concepts such as: Arabic numbers, arabesque design, algebra, almanac, tambourine, and lute. Notable achievements were made in arts, crafts, and architecture; medicine, mathematics, and the physical sciences; history, philosophy, and the social sciences; as well as in law, government, and literature. Navigation and cartography gave people a sense of the vast world around them. Asia, Europe, and North Africa were drawn closer together as trade, commerce, knowledge, and the arts created new ties between those different societies and cultures.

The advancement of the Islamic civilization had numerous impacts on Europe during the Middle Ages and the Renaissance.

These impacts were transferred through Spain, south France, western Turkey and Sicily. Forms of sciences, literatures, new and translated philosophies and styles of architecture were introduced and contributed in developing the bases of m o d e m

Western civilization. In his book Art and Civilization 4

Bernard Myers (1967) discussed the Islamic civilization and

some of its impacts as follows:

The intellectual and economic accomplishments of the Moslem (Mohammedan) world reached their height between 800 and 1300, a height which the West was not even to approach until after 1500. It was achieved while the Middle Ages in western Europe bred inflexible dogmatism and superstition, bleak feudalism and manorial isolation. The Moslem synthesis of world civilization was to provide some of the cultural stimuli toward European revival, through Spain— which was interrelated with southern France during the Romanesque period— and through encounters with the Byzantines and the Crusaders . . . from Islam also came the knowledge of paper making (learned from the Chinese) that would ultimately make possible the success of printing; the advances in astronomy and in nautical instruments which furthered map making and navigation and helped to bring about the European age of discovery; and many other vital ideas. Together with the expansion of Europe itself and the rise of the middle class, the impact of Moslem learning was among the most important forces in the subsequent growth of Western civilization. (pp. 172, 176)

From the 16th century until 1917, the Ottoman Turks, who

were Muslim, had succeeded in ruling the Arab world (except the

south and central Arabian Peninsula). During the 16th century

they claimed the Caliphate (Islamic central authority) and made

Constantinople the capital of their empire, and it became the

first capital out of the Arabian world. Arabian centers like

Damascus, Baghdad, Cairo and Qairawan began to decline in their

culture influence and productivity because of the forced

transfer of scientists and craftsmen into the new capital.

During the 17th and 18th centuries, Arabic language,

literature, arts and sciences remained in a static situation because of heavy taxes, poverty and bad economic and

educational policies. At the same time, the shift of power 5 turned into Western Europe which began to expand itself in the area. Throughout the second half of the 19th and early 20th centuries, Europe was gradually controlling the Arabian world

(except Saudi Arabia and north Yemen).

The cultural influence of the Ottoman period across the

Arabian world was noticeable in architecture and crafts. But the early contributions of Islamic civilization which was based on the Arabic language were ignored and abandoned. Despite these long historical transitions and European colonialism both

Islam and the Arabic language are still the major spiritual, moral and cultural forces in the Arab world. H. Haddad and B.

Nijim (1978) wrote about this point as follows:

The cultural traditions that bind the Arab world are deeply rooted in Islam, "just as Western civilization owes so much of its content to Christianity. But in both cases the distinction between faith and culture has to be maintained. The Arabic language and its literary, scientific and gdiilosophic treasures remain the binding force among peoples from Morocco to Iraq and the basic heritage of the Arab world. (pp. 15-16)

Saudi Society Before the Oil:

Saudi society is an Islamic society which emphasize the basic values, rituals and beliefs of Islam. It was an undeveloped and poor society, but it had its values and heritage, and most of its arts and crafts were produced locally. Life was very simple, and most people were proud of their professions by which they lived and served others.

Topham (1981) wrote: Before the coming of oil, there was little industry in Arabia. There were, however, the thriving crafts of boat­ building, tanning, weaving, and the metalwork for the manufacture of brass coffee pots, cooking utensils, and ornamental daggers. (p. 19)

The Islamic social structure, historical and accumulative traditions made the people of Saudi Arabia crafts-oriented people. From coastal areas to the desert and from peasant to the urban areas professions of handicrafts were popular and normal aspects of daily life. Varieties of traditional crafts were familiar and well-known among people because of their frequent utilitarian use. Varieties such as woodwork, metal­ work, leatherwork, basketry, weaving, costume, pottery, and jewelry were inherent to people's social and commercial life.

For the craftsmen making an object of handicraft was a meaningful way of life in order to live and to meet demands for their products.

People used to buy and collect their crafts as utilitarian objects for daily needs and social occasions and not as works of art. But they used to describe a good quality craft with some artistic descriptions such as beautiful, perfect, excellent, and strong. In addition to the utilitarian value, people had some cultural values in relation to their crafts, as follows:

— Traditional values:

Using crafts to symbolize the continuity of native

customs, traditions and identity. 7

— Social Values:

Presenting valuable crafts as gifts, awards and grants in

social occasions such as marriage, newborn baby, recovery

of divorce or illness, socially distinguished attitude, or

just for dear friends and special guests.

— Ornamental Values:

Using crafts as ornaments of homes' interior decoration,

and wearing some of them like silvered daggers, small

guns, embroidered clothing during holidays and folk

dances.

— Financial Values :

Using crafts as an insurance against financial hardship by

selling them, such as guns, silvered swords and daggers

and women's jewelry.

On the other hand, drawing, painting, sculpture, design, collage and ceramics are new forms of art in Saudi Arabia, and have been introduced through public schools in the fifties.

Art education appeared for the first time in 1957, The Middle

Institute of Art Education was established in 1965, two college level departments of art education were established in 1975 and

1976. These young art institutions are responsible for spreading the concept of new art forms and their cultural, expressive and aesthetic values into crafts-oriented society.

In Saudi Arabia, a piece of abstract art means nothing for ordinary people or illiterate craftsmen, while it is appreciated among only some educated people. People like and 8 understand art, but in representational and realistic form as it represented in their crafts. Numerous reproductions of crafts are in every street and square of their towns, and called beautification projects. They see a craft object as an old handmade piece for the purpose of daily use within the whole society which has been replaced by an industrial one.

They see an art object as an aspect of modernization which carries new ideas and philosophy that needs more time to be understood and appreciated.

Oil Discovery;

The Arabian Peninsula is a land of grace. It gave frankincense, myrrh, spices, gold three thousand years ago, and from it the Islamic religion has risen. In this century, it has given us the black gold, called oil. The discovery of oil signalled a new era which gave the land and its people the opportunity to renew their position within the contemporary civilization and to regain the respect of the past. This era was undoubtedly a positive force in many ways, but I see it as a weapon with two sides. On one hand, this era brought produc­ tivity, prosperity, and all the benefits of urbanization to modern cities. On the other hand, the rapid transition and sudden changes have been somewhat of a mystery to the average citizen and a plague for the educated, having eroded the local culture and the traditional values and crafts. D. J. Hablin

(1982) wrote the following: Nothing half so dramatic as the force of Islam happened again for more than a millennium, but when it did, it not only caused upheaval in the West but also changed Saudi Arabia forever. The change was oil, oceans of oil, discovered in the 1930s but achieving its full impact with the oceans of money which began to roll in during the 1970s. With all that money came a rush to modernize that has impelled the Kingdom with wrenching and bewildering suddenness from the 17th century into the 21st, technologically at least. (pp. 43-54)

A gradual development occurred in Saudi Arabia between

1932 and the late sixties. During this period the discovery of oil and its exportation in 1947 led to phenomenal changes in

Saudi society. For example:

1. The Western industrial world's need for Saudi oil.

2. The huge production and exportation of oil from 0.55 million barrels a day in 1950 to 6.48 million barrels a day in

1982— as a result of point #1.

3. Huge increases in Saudi revenue as a result of point

#2. From $56.7 in 1950 to $70478.6 in 1982 (Saudi Arabian

Monetary Agency, Annual Reports of 1965, p. 48, 1977 p. 135,

1984 p. 169).

4. The national policy of using this revenue to develop the country rapidly based on the four 5-year development plans which started in 1970.

As a result, Saudi Arabia has undergone breathtaking economic and social upheaval. Urbanization and modernization are taking place across the country. Free schools have been established but they are segregated by sex (except in kinder­ garten). The educational system emphasizes Islamic and Arabic 10 studies and history, sciences, and humanities; but little attention is given to the visual and performing arts.

Nowadays, new visitors to the Kingdom admire the general constructive development of the modern cities, the Western system of highways, banks, and companies, and the evidence of high life and prosperity. But the educated among them are very surprised because of the lack (with the exception of a few small archaeological museums) of cultural and entertainment channels, especially theater, art museums and public cinema.

Statement of the Problem

It is hard to believe that in the twentieth century there are many countries that have hundreds of art and crafts museums and others that have almost none. Yet it is a fact, similar to the fact that some people are very wealthy and others are very poor. My country has almost no art and crafts museums, with the exception of a few recent efforts, but it certainly has the essential components to acquire them. It has the history of

Islam, which created one of the great civilizations; it has a unique Arabian culture which was isolated from European colonialism; and now it has wealth, economic power, and an educated young generation.

On the other hand, this land deserves honor through the preservation of its history and culture because of the following: 11

-It had an old history, civilizations, and prophets

(pp. 1-2).

-It was the birthplace of Islam as one of the world's

three major revelation religions (Judaism, Christianity,

and Islam).

-It is still the focus of attention of the Islamic world

because it has two holy Islamic cities: Makkah and

Medinah, for the pilgrimage of Muslims each year.

-It is still the focus of attention of the Arabian world

because of its wealth and economic power which should

participate in different cultural institutions, such as

art and crafts museums.

-It is facing a rapid transition from local to Western

modernization which mostly causes some deterioration of

local culture and heritage.

It is the ultimate goal of this study to participate in such a concern, to investigate the issues which might structure a framework for the development of more art and crafts museums in Saudi Arabia.

Questions and Objectives

The specific questions addressed in this research are:

1. Of what value is an art and crafts museum for Saudi society? Is it of historical value? Cultural value?

Educational value? All of these values? 12

2. How could an art and crafts museum offer these values for such a developing country as Saudi Arabia?

3. How could we get the support of the administration for the idea as a part of the country's development?

4. What kind of art and crafts museums do we expect? And what kind of collections should there be?

5. What are the roles of private collectors, artists, and scholars in supporting such an idea, and what is their expected contribution?

5. What are the other important resources that we can depend on for implementing such museums?

Objectives

The specific objective of this study is to identify and organize a body of knowledge that gives a rational, convincing

justification for the comprehensive concept of developing art and crafts museums in the Kingdom. In order to accomplish this, other general objectives must be considered:

1. Introducing the general concept of museums, and in particular art and crafts museums, to the public in Saudi

Arabia.

2. Developing a public awareness of the significance of

such museums and their educational, cultural, and historical

functions.

3. Developing an appreciation of the role that art and

crafts museums play in understanding other people and cultures. 13

4. Providing more and new data on the Kingdom and its art

and crafts for art historians and art educators.

Significance of the Study

The concept of public museums is one of the greatest

cultural and educational achievements of m o d e m civilization.

In the last two centuries, from revolution to revolution and

from nation to nation, public museums have merited special

attention and elaborate studies. Billions of dollars have been

spent for establishing more and more museums for numerous

fields and functions. At this time, there are more than

seventy distinguished names of museums representing man's vast

capacity for knowledge and creativity. Dillon Ripley wrote in his foreward for A. S. Wittlin's book (1970) the following:

Museums are becoming more and more important. For one thing, museums provide immediate encounters with authenticity, or a reasonable simalcrum of it. They provide new ways of teaching and learning, and an introduction to processes of lifelong education, now a priority for everyone.

The growth of public museums in developing countries is

taking place in many ways and on different levels, but also with many difficulties. Many considerations are involved, such

as the historical background of the country, the political

system, economic problems, the educational system, and the

problem of illiteracy. Many of these countries, however, have

proven their ability to establish museums as symbols of the

national culture, as means of education, and as research

centers. According to K. Hudson (1977): 14

The developing countries of the world frequently stress the importance of museums as a means of spreading and reinforcing the national consciousness or, as they often express it, the national culture. The Institution of Conservation and Methodology of Museums in Budapest believes that "a museum is a cultural institution, performing tasks of collection, research and education." In Nicosia the Cyprus Museum believed its duty was "to give the museum an educational aspect and make it a research center." The National Museum in Ghana "is an institution which acquires, preserves, and presents material to the public, not for profit, but for their information and enjoyment and encourage the community to cherish its culture." National Museum in Tunisia regards itself as "a cultural and educational center, reflecting civilizations which have existed in Tunisia." (p. 2)

Saudi Arabia expressed its own attitudes toward museums in ways which seem to encourage a bright future. D. J. Hablin

(1982) made a short interview with Dr. Abdullah H. Masry, the

Director of Antiquities and Museums for the Kingdom, who said:

We almost missed the caravan of archaeological exploration but we are determined to catch up. We are at the most rudimentary stage of putting our archaeological house in order. Right now we are building six site museums. They will be more research centers than old-style museums, though of course we will display what we find. Each will have housing, support, and storage facilities for a permanent staff, a library, and visitors' facilities. (pp. 43-54)

In Riyadh, the capital of Saudi Arabia, the first public

museum was officially opened in 1979, called the Museum of

Archaeology and Ethnography. According to H. C. Ross (1981):

The Riyadh Museum is one primarily devoted to the display of archaeological discoveries and, at its inception, archaeology was stressed as being of cultural, national, and humanistic concern to the Kingdom. As time went on, items of ethnic interest appeared in and about the building. Bedouin jewelry took its place beside a broad range of Arabian art-crafts that are now a permanent display, (p. 13) 15

In October 1985, a Saudi businessman and private collector with an interest in the arts, opened his own museum at a cost of almost $35 million. According to A1 Majalla, a Saudi-abroad weekly magazine (Issue 306, December 1985):

Opened lately in Jeddah the first museum of its kind in the Middle East for the human cultural heritage with collections of 13,500 rare pieces. The Saudi businessman Abdul Raouf Khalil amassed these collections through the last 33 years and built the museum during ten years. It includes four major divisions: (1) the arts of ancient human civilization, 2) the arts of Islamic civilization, 3) the arts of European renaissance, and 4) general arts and crafts. (This statement translated from Arabic into English by the researcher.)

The official response on opening day by the Director of

Antiquities and Museums expressed encouragement and gratitude.

He said:

We appreciate this great effort by Mr. Khalil. It is a beautiful and great museum, and we hope that the private sector and collectors participate in creating such museums across the cities of the Kingdom. And our department will give any possible assistance for such a move. (Al- Jazirah, a Saudi daily newspaper. Issue 4772, October 22, 1985). (This statement translated from Arabic into English by the researcher.)

Saudi Arabia has even expressed its interest in the arts and cultural projects abroad by presenting financial contri­ butions to other nations. According to the Saudi Embassy's official magazine in Washington, D.C. (1984):

In the fall of 1986, the Smithsonian Institution in Washingon, D.C. will open the Center for African, Near Eastern, and Asian Cultures— a center made possible in part by a generous contribution from Saudi Arabia. The $5 million contribution by the Kingdom will support an international center within the new museum, which will house galleries, research facilities, a center for Islamic arts and culture, and other programs. (pp. 12-13) 16

(The Center for African, Near Eastern, and Asian Cultures opened in the fall of 1986 as scheduled.)

Limitations of the Study

The focus of this study is based on the significance of the development and emergence of art and crafts museums in the

Kingdom of Saudi Arabia and their implementation in the near future. An overview of the country's art and crafts of the twentieth century is introduced and identified. This section requires research data and documentation from the Kingdom itself. More details about this are provided within the research methodology and procedures of this study.

This study discusses in detail six major points that are relevant to art and crafts museums, as follows:

1. Historical background and spread of museums

2. The major purposes of museums

3. The educational functions of museums

4. The difference between arts and crafts

5. Resources of the art and crafts museums' collections

6. Training of personnel

The proposed resources for the collection of arts and crafts for the Kingdom's museums go beyond its m o d e m history, and that is because of its religious and cultural ties and relations with many Arabian and Islamic countries historically and currently. Therefore, works of Islamic art from 622 A.D. to the end of the Ottoman empire in 1917, and works of Arabian 17 contemporary art are included as major resources for collections.

On the other hand, the following categories are not discussed in the study as major concerns, but they are considered for inclusion and to clarify the general concept of art and crafts museums:

1. Museum building

2. Museum management

3. Museum evaluation

4. Collections evaluation

5. Theft and security system

A model of an educational program for art and crafts museums for the Kingdom is developed and designed at the end

Chapter V of this study. The model is derived from current applications of some of American art museums and their experience in this important part of museum functions. CHAPTER II

REVIEW OF THE LITERATURE

Historical Background and Spread of Museums

The idea of a museum originated in Europe during the eighteenth century as a result of the accumulative collections of art objects from royal treasurers including masterpieces and rare items of private collectors. When and where in Europe the idea was developed will be discussed later. First, I would like to point out that there were some ancient institutions which may have had the beginnings of the idea of museums and affected the idea of museums in the eighteenth century.

According to Dillon Ripley (1959),

The word mouseion in Greek means a place or home for the Muses. Plato's Academy in the fourth century B.C. was a museum. . . . Aristotle's Lyceum, even with its senior scholars, junior fellows, buildings and so forth, was a museum in effect, an institute of research and so is the precursor of the famous museum in Alexandria. (p. 24)

G. Ellis Burcaw (1975) mentioned a little history about

Alexandria and its museum during the Greek civilization. The

following are some of his statements:

Alexandria was a Greek city, and for hundreds of years an important center of western civilization. About 290 B.C. Ptolemy I established a center of learning dedicated to the muses. ... It consisted of a lecture hall, a mess hall, a court, a cloister, a garden, an astronomical observatory, living quarters, the library, and collections of biological and cultural objects. In fact.

18 19

the collections probably embraced all the museum fields .... The Museum of Alexandria in Egypt was essentially like those of today, (p. 17)

In Museums in Crisis (1972), Ernest Van Den Haag noted in his article that, "The library at Alexandria might be regarded as a museum (or, as well, a university). And collecting, of course, has been done since ancient times" (p. 66).

From Alexandria, I will depart to Rome where the Romans were influenced by the Greek concepts of art, philosophy and culture. According to Alma Wittlin (1970),

The Romans desired not merely to appropriate the material possessions of vanquished Greece but also to absorb the Greek spirit. Young Romans were taught the thoughts of Greek j^ilosophers; Roman architecture was clothed with Greek ornaments, and almost any object originating from Greece, even if without special beauty or interest, was treasured as Res Fatalis and as a token of future success, (p. 29)

And if the Romans succeeded in obtaining their desires, what level of success did they reach, and how and by what means? Ripley (1969) wrote about Rome:

Eventually, the center of Rome became a museum in itself, a place of display for the plundered objects of beauty of an earlier time, for a series of pictorial representations of historical events; and, in the Forum of Augustus, was a hall of fame, a series of statues of the creators of Rome from Aeneas on down. At the height of Imperial Rome everything was decorated with treasures, from the Forum to the bath to the private villas of the rich. (p. 25)

My purpose in the above two examples— Alexandria and

Rome— is to extract four relevant points for the idea of a museum: (a) There were some organized institutions in the ancient Greek and Rome resembling, in one way or another, a university or a museum in our m o d e m history, (b) There was 20

a tendency to collect objects which were produced and shaped by

human workmanship, which all objects were, of course, (c)

There was a desire to display such objects through different

means— mouseion, the Forum, or the villas of the rich, (d)

The sequence of cultural influence from one civilization to

another here was from Greek to Roman.

In addition to the last four points, I believe that each

age has its own nature and circumstances which create

differences and conflicts as a result of people's needs.

People's needs in Europe in the eighteenth century were

affected by the end of the system of absolute monarchy, more

power for the middle class, diffusion of rational thought, and

development of science. These needs and other factors such as

the cumulative heritage of the preceding civilizations, the

British Revolution of 1688, the French Revolution of 1792, the

Industrial Revolution, and world fairs of the nineteenth

century together all put Europe in a position to create modern

western society including public museums.

Discussing the initial stages of the spread of public art museums, Burcaw (1975) writes:

The collections of paintings and sculpture of most royal families "grew to the point that they overflowed the palaces and had to be housed in buildings erected for that purpose. . . . A logical development of the Renaissance was the gradual opening of such royal "art museums" to the public. Although we take for granted the idea that a museum should be open to the public, such was not always the case. One of the earliest known examples of public admission to a museum is that of Abbot Boisot of the Abbey of Saint Vincent in Besancon, France. On his death in 1694, he left his personal collections to the abbey with 21

the provision that the public be admitted regularly to see them. (p. 19)

In 1750, the royal French government opened the picture

gallery of the Palais de Luxembourg to the public, but for

limited and special people, as Burcaw (1975) says, "surely not

the dirty and ragged poor" (p. 19). In 1753, the British

Parliament paid 20,000 pounds for the collections of Sir Hans

Cloane, and in 1759, the British Museum was opened to the public, but again for a limited and special class. Karle Meyer

(1979) explains that:

It was from these princely collections that the earliest art museums evolved. By the eighteenth century they included the Louvre, the Medici collections in Florence, the Vatican museums, and the Dresden museum. But public access was highly restricted. The British Museum, the first national institution of its kind, chartered in 1753 by Parliament and supported by public revenues, was open only to visitors who had made written application in advance and been approved— a practice that continued for nearly forty years. (pp. 19-20)

In 1774, Sir Ashton Lever opened his museum in London with charge for admission in order to regain his expenses, to run the museum and to reduce the number of visitors. To get a ticket for Lever's museum wasn't easy because of some provisions which were proclaimed on September 13, 1773. Ripley

(1959) mentioned some of Lever's provisions:

. . . I am now come to the resolution of refusing admittance to the lower class except they come provided with a ticket from some Gentleman or Lady of my acquaintance. And I hereby authorize every friend of mine to give a ticket to any orderly man to bring in eleven persons, beside himself whose behavior he must be answerable for, according to the directions he will receive before they are admitted. They will not be admitted during the time of Gentlemen and Ladies being in 22

the Museum . . . admittance in the morning only from eight o'clock till twelve, (p. 32)

It is hard to believe how the idea of public museums began so weakly and discriminated so in favor of one class and against another, but it was a fact in history. But it is also natural that the rich and elite usually enjoy new inventions or ideas that the public will enjoy later on. However, this situation did not continue for long because the French

Revolution put an end to it by opening the Louvre to all the public in 1793. According to Meyer (1979):

That the right to see such collections belonged to all citizens was asserted for the first time on August 10, 1793, a year to the day after the overthrow of the French monarchy. The Louvre was proclaimed a musee révolutionnaire, open to everyone three days of the ten- day week adopted by the Convention, (p. 20)

In Museums in Crisis (1972), Linda Nochlin stated that the

French Revolution had the principle of public museums, "the principle of public control over and free access to art and art collections was not fully applied until the opening of the

Louvre in 1793" (p. 37). Wittlin (1970) wrote, "The French

Revolution not only led to the first public museum in France but accelerated events in other Continental countries" (p. 81).

Also, Burcaw (1975) agreed that "it was the French Revolution that actually created the first public museum by opening the

Louvre" (p. 20).

On the other hand, there was access where one could look at art in Europe through private collections and galleries 23 before the previous examples. According to Kenneth Hudson

(1977):

After 1700, the general public was admitted to the Imperial Gallery in Vienna on payment of a fee and there were similar opportunities in Rome, at the Quirinal Palace, and in Madrid, at the Escorial. Some, at least, of the German courts took a more generous and progressive view. The gallery at Dresden, for example, could be viewed without difficulty from 1746 onward, (p. 7)

Wittlin (1970) noted "in Florence, the splendid private collection of the Medici was opened to the public in 1739 as the Uffizi Gallery" (p. 96). But Wittlin sees papal collections as more important in Italy's public museums. "The papal collections in Rome would seem to be the most significant example of the evolution of a public museum in Italy" (p. 96).

From previous examples of early m o d e m history, we can recognize that the French Revolution was the major influential factor in spreading the idea of public museums from one country to another. And for the people, it created the right to see and enjoy their arts and other cultures' works. According to

Germain Bazin (1967):

The French Revolution precipitated a tidal wave of activity when suddenly a considerable number of works which, the eve before, had belonged to the King, the church or private individuals were handed over to the nation. Beginning in France, then spreading to the countries under French jurisdiction from 1793 to 1814, the flood coursed through a Europe which at first resisted, but then saw itself constrained to adopt certain ideas propagated by the Revolution. The museum became one of the fundamental institutions of the m o d e m state, (p. 169)

The aim and goal of the French Revolution was not merely

French, but was for Europe and beyond. It was for the change of life in Europe to a new era. It was a social, artistic, and 24

scientific mission which could explain why Europe adopted the

French Revolution's ideology. The result of that was noted as

Bazin (1957) wrote:

The political ideology of revolutionary and Napoleonic France was encyclopedic and European in its aims. . . Everywhere in Europe where revolutionary principles had been imposed, old and new museums alike benefited from confiscations made at the expense of ecclesiastical institutions, often never re-established. . . . The phenomenon seemed particularly widespread in Italy where it affected the cities of Bologna, Pisa, Arezzo and Verona, (pp. 183, 187)

The spread of public museums out of Europe could be

referred also to the French Revolution. In 1798, Napoleon had

invaded Egypt and caused some destruction of some historical and ancient sites such as Sphinx and the Mosque of Sultan

Hassan in Cairo. However, during that short invasion, Napoleon

established the first Egyptian museum which was devoted mainly

to Egyptology. About this museum, Bazin (1957) tells the story as follows:

After his entry into Cairo, Bonaparte established, in imitation of the one at Paris, an Institute d'Egypte; installed in a complex of palaces abandoned by the Mamelukes after the battle of the Pyramids (July 1798), the institute housed chemistry and physics laboratories, an Arabic press, conference halls, a library, and a museum— the first Egyptological museum. With the surrender of General Menou on January 4, 1800, this embryonic museum was confiscated by the English and removed to the British Museum. Thus the flood tide of museology precipitated by the French Revolution reached as far as Cairo, (p. 191)

So, the French tried to spread their idea into Egypt, but

it was not completed because of the British confiscation. Of

course, the problem here was not Egypt's problem alone, but it

was part of the ancient conflict between the East and the West. 25

For instance, during the last two centuries, most parts of Asia and Africa were under European colonialism which created various economic, political, and educational problems. During the same period there were many European excavations in some parts of the East which might have created the illusion of museums, but were not adequate in spreading the idea because of European confiscations and plunder of many valuable relics and glorious works of the East which stand now in museums of the West. Wittlin (1970) gave an example of

European dominance in that part of the world:

Owing to historical precedents, the Arab Republic is a world of its own within Africa. The Museum of Egyptian Antiquities in Cairo offers, however, another illustration of European dominance in past centuries, when French and English generals, diplomats, collectors, and dealers were excavating and exporting antiquities on a large scale. (pp. 194-195)

Of course, exporting the Eastern antiquities and relics into Europe helped establish more and richer museums during the nineteenth century which was the golden age of museums' development. Alexander (1983) describes Museum Island and its collection in Berlin:

Berlin possessed a museum of world art with not only Egyptian, classical, and European artifacts, but also Islamic, pre-Columbian, Oceanic, and Far Eastern materials. The collection overflowed the Museum Island into neighboring areas and even to the suburb of Dahlem in western Berlin, (p. 7)

Because of the above factors and circumstances, the spread of public museums in most of Asia and Africa was delayed to this century, whether before or after the independence of each country. Therefore, the museums' movement and growth was and 26 is still slow in its growth in comparison to Europe and the

U.S. But museums became governmental institutions and were regarded as symbols of nationalism, with a preservation of native culture and heritage. Most of them are concentrated in major cities and devoted to archaeology, ethnography and local contemporary arts.

On the other hand, we cannot ignore the role of some

European archaeologists, historians, and scholars in spreading the idea of museums in some parts of Asia and Africa. The result of this role was the establishment of a few museums in the mid-nineteenth century and later on. Therefore, I think it is important for my research to mention some of these early and modern museums, whether they are small, large, poor or rich.

These museums are arranged chronologically as belonging to their countries:

Indonesia: Museum Nasional, Jakarta, established in 1778.

This museum is devoted to archaeology,

anthropology, ethnology and folklore, Indonesian

bronzes, Chinese and South Asian ceramics.

India: Natural History Museum, Bombay, established in

1845.

Decorative Arts Museum, Bombay, established in

1872.

Government Museum, Ajmer, Rajastan, established

in 1908. 27

Philippines: Museum of Arts and Sciences, Manila, University

of Santo Tomas, established in 1848.

Japan: Tokyo National Museum, Tokyo, established in

1871.

National Science Museum, Tokyo, established in

1872.

Egypt: Museum of Islamic Art, Cairo, established in

1881. Greek-Roman Museum, Alexandria,

established in 1892. Includes Greek, Roman and

Coptic collections.

Egyptian Museum, Cairo, established in 1900.

Coptic Museum, Cairo, established in 1908.

Museum of M o d e m Art, Cairo, established in 1920.

Algeria: Fine Arts Museum, Algeria, established in 1897,

and includes Classical and Islamic archaeology

and art.

Al-Bardo Museum, Algeria, established in 1928,

and includes prehistoric and ethnographic

collections, and African art.

China: Museum of Shaanxi Province, Xian, established in

1911 and devoted to history and public affairs.

Morocco: Archaeology Museum, Rabat, established in 1917.

Afghanistan; National Museum of Afghanistan, Kabul,

established in 1922, and devoted to local and

far eastern antiquities. 28

Pakistan: Museum of Archaeological Site Moenjodaro, Dokri,

1924.

Angola: Natural History Museum, Luanda, established in

1938.

Iraq: Costume and Ethnography Museum, Baghdad,

established in 1941.

Nigeria: The Nigerian National Museum, Lagos, established

in 1957.

Now I would like to move to the United States and the spread of museums there. Most of the authors and writers refer the beginning of American museums to the late eighteenth century, and consider it a uniquely American phenomenon. This consideration could be acceptable regarding the country's short history which generated the spirit of collective cooperation and patriotism. Therefore, American museums were started by the public and for the public's sake, and therein lies the uniqueness. In 1773, the first public museum in the U.S. was founded in Charleston, South Carolina. Herbert and Marjorie

Katz (1955) tell us more about this early museum:

Even while the colonials were groping toward independence and a revolutionary declaration that all men are created equal, an American museum was demonstrating democracy's way. . . . A group of American patriots had already begun to collect and put on view, for the enjoyment of all of the people, objects illustrative of their country's brief past. . . . By 1773, a committee was appointed to collect material "for promoting a Natural History of" South Carolina; and a museum was imminent. The cooperation of the public was requested in a newspaper advertisement of the Society's intention; four curators were appointed, and donations soon began to arrive. (p. 1) 29

Meyer (1979) mentioned the Charleston museum but as a public gallery when he noted:

Even before the American Revolution the educated classes, made up of professional men, well-to-do merchants, and landowners, had begun to establish public galleries. The first was organized in 1773 by the Library Society in Charles Town, South Carolina, its collection initially consisting of the area's natural curiosities, (p. 24)

Regardless of the different opinions of the way it began, there is no doubt that the beginning of the American museum was indeed a unique one. It was unique because of lack of a long history and treasures in comparison to Europe, and was based on small contributions and natural curiosities. It was unique because it broke the bourgeois possession of collections, and rose publicly to serve all people and their communities.

Hudson (1977) illustrates the American museums' growth.

The pattern of museum growth in America has been exactly the opposite of what occurred in Europe. In France, Germany, England, and other European countries, private collections came first and public museums developed from them. In America, on the other hand, public museums were in existence long before the great private collections began to be formed. . . . The American idea of a museum established for the benefit of the whole community had struck deep roots, (p. 8)

On the other hand, there were some private collectors who turned their homes into early museums in America. The artist and naturalist of Philadelphia, Charles Willson Peale, opened his own museum to the public in 1785. Katz (1965) wrote about

Peale and his museum:

Peale was determined to do something about the fact that there was no place where Philadelphians could come either to see his fine portraits of contemporaries or to view his growing natural history collection. . . . He turned a wing of his home into an exhibition hall. And so 30

Philadelphians were invited to enjoy, amidst a sprawling display of animal and mineral specimens a group of paintings. . . . Most of them were by Peale himself; but there were a few by his sons. (p. 2)

If the Peale Museum was a sprawling display, his son

Rembrandt transformed the idea into the first American museum in Baltimore in 1813. This museum still exists and is called the Municipal Museum of the City of Baltimore. In 1818, the

New England Museum was opened and was owned in shares. In

1830, the Society of Natural History in Boston was founded, and in 1841, the Boston Museum was opened.

In addition to the previous museums, it is important to mention the early art museums in the U.S. According to Katz

(1965):

To find the center of early America's intellectual life, one had to go north of Baltimore, to Philadelphia, where the Pennsylvania Academy of the Fine Arts, the country's oldest public art museum, was organized in 1805 to serve as both art school and exhibition gallery. The first museum art exhibit in America was held at the Academy in April of 1807. The featured paintings were Shakespearean scenes by Benjamin West; the piece de resistance was a group of plaster casts made from statues in the Louvre with the permission, carefully obtained, of the Emperor Napoleon, (p. 33)

From Katz' statements, we can understand that there was an

European influence on the early American art museum. This influence had been spread to different parts of the world as well as the United States. Ripley (1959) wrote:

The two great European museums that influenced the course of museum-making in the nineteenth century were the British Museum and the Louvre. . . . As these two great museums developed, it was inevitable that their influence should be felt in the New World, (pp. 41, 43) 31

However, the spread of American public major art museums began after the Civil War. The Boston Museum of Fine Arts and

the Metropolitan Museum of Art in New York were founded in

1870. The Pennsylvania Museum and School of Industrial Arts

was founded in 1876, and the Art Institute of Chicago was

founded in 1879. Edward C. Banfield (1984) noted:

The art museum was founded soon after the Civil War as part of a long struggle by the Protestant elite, which ran the large cities, to moralize their populations by eliminating vice and inculcating the domestic and civic virtues. . . . Meanwhile, many of the elite, returning from European tours, attributed the orderliness of the London and Paris crowds to the civilizing influence of parks, art galleries, and other such amenities, (p. 94)

It was the nineteenth century, the century of progressive

thought and development in the arts, sciences, industry, and

archaeological discoveries. It was the primary base of what we

see and enjoy of general and art museums around the world. It

was an invitation to secure our arts for the present and next

generations. Ripley (1969) gave more explanation as follows:

The nineteenth century saw the development of national galleries and museums in most European countries, followed by the Americas and the east. The new liberal ideas of that century, the new interest in history, the development of scientific principles in inquiry affecting historical studies, the history of art, and finally, in science, the great development of evolutionary thought and the discoveries in geology and paleontology— all of this tended to focus interest on museums. Museums became centers for national pride, for research into the past and for public instruction. (p. 37)

To conclude the point of museums' spread, I would like to

provide a list of the opening dates of some of the main early

international museums, according to Wittlin (1970): 32

1. British Museum, London, England, 1759.

2. Charleston Museum, South Carolina, British Colonies in

America, 1773.

3. Belvedere, Vienna, Austria, 1781.

4. Louvre, Paris, France, 1793.

5. National Gallery of Art, Haarlem, Holland, 1800.

6. National Museum, Budapest, Hungary, 1802.

7. Pennsylvania Academy of Fine Arts, Philadelphia,

United States, 1805.

8. National Museum, Copenhagen, Denmark, 1807.

9. National Museum, Rio De Janeiro, Brazel, 1818.

10. Prado, Madrid, Spain, 1819.

11. National Museum, Buenos Aires, Argentina, 1823.

12. Colonial Museum, Wooloomooloo, Australia, 1828.

13. Altes Museum, Berlin, Prussia, 1830. (p. 253)

The Major Purposes of Museums

The major purposes of early museums were collecting, preserving and display of significant historical and artistic objects. These purposes had been perceived, recognized and applied in many terms and policies because of the differences in social and political structures of each nation. Also museums' curators and trustees had proclaimed numerous statements of what these purposes mean to their museums.

Therefore, we will find various overlapping linguistic expressions reflecting the needs of a specific country or policy, and goals of a specific institution. 33

Alexander (1983) wrote about twelve museum masters, including the British Museum, the Louvre, the Smithsonian, and their role in obtaining the above purposes;

. . . The museum masters treated here have greatly advanced the cause of the museum. They have improved the excellence of museum collections, begun to provide better conservation, and they have used museum exhibitions and educational programs to reach both the general public and the research scholar. Thus, museum masters will continue to appear, to bring the understanding and inspiration that objects can provide to larger segments of human society and to serve their communities more pervasively. (p. 16)

In Treasures of the British Museum, Frank Francis (1971) noted that the second founder of British Museum, Sir Antonio

Panizzi, had infused the museum with a new spirit because he believed that "a museum is not a show but an institution for the diffusion of culture" (p. 17). Hence, diffusion of culture wouldn't be obtained without exhibition and there is no exhibition in lack of collections.

In Museums in Crisis, Nochlin (1972) mentioned why the

Museum of Ornamental Art in England was founded:

The Museum of Ornamental Art was created "for the selection, description, and preservation for their own sake of the finest products of artistic craftsmanship." It was, of course, no accident that a museum designed for the purpose of improving the taste of manufacturers, artisans and the public. . . . (p. 23)

And about the Louvre, Nochlin (1972) referred to Moniteur

Universal, April 29, 1848, and chose some statements of the revolutionary government as follows:

It is important to concentrate in a single, vast place all the products of thought which are the splendors of a great people. The Palace of the Louvre would be completed. 34

That it would be used for the exhibition of painting, or products of industry and for the national library. (p. 15)

In 1890, the Swiss National legislature passed a law about

the National Museum and its purposes. Burcaw (1975) recorded

the following statements:

The museum was "appointed to house important national antiquities that are historically and artistically significant and to preserve them in well-ordered arrangement." The law further declared that the museum was to be characteristic and have the greatest possible cultural and artistic value as a "testimony of our past." (p. 56)

Also, Burcaw (1975) recorded some information about

politics and the purpose of some of the European museums during

the first half of this century, and he wrote:

Political boundaries sometimes seem to supersede cultural boundaries in the interpretation of the collections. . . . The Soviet government founded 542 museums between 1921 and 1936 to reteach history according to Marxist doctrine. Germany created over two thousand regional museums (Heimatmuseen) between the two World Wars. Their purpose was to restore national pride. The folk museums of Scandinavia (and elsewhere) were created and are still operated, more or less, out of a sense of nationalism. (p. 168)

And talking about nationalism leads us to the developing countries which expressed their own way about it by reinforcing national consciousness through preserving and displaying national ancient and contemporary culture. More details of

some museums' purposes of these countries is given on page 14.

On the American side, some of the stated purposes of museums were also the collection, preservation and display of valuable objects. But since American museums started differently from European and Eastern museums, their purposes 35 would be expressed in different ways. Katz (1965) mentioned the aim of some generous Bostonians who enriched Boston's museum by their collections: Their aim has been "to make a collection not of 'Americana' for the antiquarian, but of

American art for the nation" (p. 57).

Banfield (1984) discussed and recorded the purpose of the

Metropolitan and some of its directors' points of view as follows:

The purpose of the Metropolitan, its Organizing Committee declared, was to afford "to our whole people free and ample means for innocent and refined enjoy-ment, and also supplying the best facilities for the cultivation of pure taste in all matters connected with the arts." (p. 95)

In 1904, J. P. Morgan became president of the Metropolitan and had a different point of view of the museum. Banfield

(1984) explains:

For this new elite the museum was not a means of cultivating the public's taste but of storing and displaying rare and costly objects: a "depository of grandeur," as Nathaniel Burt has put it so well. (p. 97)

Another director of the Metropolitan mentioned in

Banfield's book (1984) is Francis Henry Taylor who wrote: "An art museum is usually thought of as a gallery for the display of masterpieces. But possibly we should think of it as a visual reference collection of cultural history" (p. 101).

And from the Metropolitan to the Smithsonian where the educational purpose was stated clearly, and where a variety of cultures, arts and sciences are amassed, and where the museum of all museums— as I would like to describe it— exists, Ripley 36

(1969) explains the aims of the Smithsonian in 1881 which were derived from George Brown Goode's plan:

. . . The aims of the museum should be to make its contents serve as a stimulus to research, and lastly, by illustrating through exhibits, not only materials but the manifestation of man's thought and activity upon them, the museum should be for education. (p. 63)

After the previous general view of collecting, preserving and display as the major purpose of museums, I would like to give them some details respectively and separately. Methods and processes of obtaining and executing these purposes are discussed within the section on training of personnel in this chapter (pp. 77-81).

Creating a museum means essentially amassing physical objects in a building. These objects are called collections, whether they are natural or industrial or hand-made materials.

A building without collections is merely a building, whether it is old or new. Our collections illustrate our history, life, culture, and creativity. In the Organization of Museums,

Douglas Allan (1960) wrote:

One of the major tasks a museum can perform is to bring before our eyes that most entrancing story of all— the story of man the world over, showing how he built up his knowledge of the world he lives in, and how he developed his family life, his arts and crafts, his cultures and his civilizations. Such studies show how late in his history he developed museums, although making collections has been a characteristic of man from the very earliest times .... Museums began by collecting and that remains their first function, (pp. 13, 15)

An emphasis on collections is noted in Museums, Humanities and Educated Eyes when Marilyn Stokstad and Philip Humphrey

(1982) wrote that "The essence of the museum is the object 37 itself, not the building, staff or program" (p. 6). And in an attempt to define the term collections, Burcaw (1975) wrote,

"the collected objects of a museum, acquired and preserved because of their potential value as examples, as reference material, or as objects of aesthetic or educational importance"

(p. 4).

In a result of a basic program survey, Lola E. Rogers

(1959) derived a definition of collections which is "objects and/or specimens maintained principally for the preservation and/or exhibition of significant materials and/or for the support of research studies" (p. 24). Also, in her survey,

Rogers noted that 97% of the U.S. museums owned and maintained collections.

In Museum Education Anthology, Thomas J. Schlereth (1984) reminds us of man's relation of collections, and he said:

I . . . cannot conceive of a museum without objects; they are crucial to the institution's basic identity. . . . However, despite all our collection and classification of objects, little is known about the reasons for human attachment to them or about the various personal ways by which they become incorporated into people's goals, experiences, and very identities, (pp. 108, 114)

The second purpose of the museum is to provide an adequate and comprehensive preservation including conservation and restoration of objects. And it is obvious that the presence of objects in a museum is a sort of preservation in itself which may be hard to obtain in another place. Preservation also includes a convenient storage, a constant maintenance. 38

cataloging and correct records. Burcaw (1975) wrote about care

of collections in the following statements:

Caring for collections is part of the definition of a real museum. . . . The collections should be given meticulous care. . . . The museum has the responsibility to care for and to use all of its objects, whether being exhibited or not. This means that it should provide good and adequate space 'behind the scenes" for the organized storage of the collections, (p. 93)

From the above statements we understand that preservation

is not merely a purpose but also a responsibility. And a such

a responsibility has been described by many writers. In The

Organization of Museums, H. Daifuku (1950) wrote:

Museums are responsible for objects entrusted to them. . . . "Live" as against "dead" storage is one of the keys to the well-being of a museum. There is little sense in having collections which cannot be used owing to lack of records, or to inability to locate them, or in keeping them under conditions which lead to their deterioration, (p. 124)

And with the spread of museums and the accumulated objects

of their collections, preservation became an inevitable duty more than before. And therefore scientific and technical

approaches must be employed for the intended goals of preservation. Hudson (1977) regarded conservation in museums

as a prime duty and said:

Once a museum is committed to a policy of making its possessions available, either to students or to the general public, it cannot escape the duty of conservation. . . . Conservation is both a prime duty and a highly creative activity, and within recent years a wide range of technical discoveries has placed it on a far more solid and scientific basis. (p. 37)

To conclude this point, I would like to clarify the difference between conservation and restoration as major 39

components of the comprehensive preservation of objects.

Conservation is the process of carefulness eind the continuous

maintenance to keep the object alive for a longer time against

its natural deterioration. But restoration is an attempt of physical treatment to regain as much as possible the original

shape of the object after its natural deterioration, or after

the incidental or the intended desolation. And about this differentiation, Paul Coremans (1959) wrote in Problems of

Conservation in Museums, the following statements:

Fundamentally, conservation can be defined as an operation aimed before everything at prolonging the life of an object, while preventing for shorter or longer periods its natural or accidental deterioration: restoration, on the other hand, can be considered rather as a surgical operation comprising in particular the elimination of later additions and their replacement by better materials, occasionally going as far as the more or less complete reconstitution of what is called, incidentally somewhat incorrectly, the original state. (p. 15)

The third purpose of the museum is displaying its collections to the public through organized permanent or temporary exhibitions. Without public display, exhibit, or exhibition, a museum could be called a private property or an institution of limited purposes. To display some objects means

showing them to people who have the interest in these objects.

But the exhibit is the presentation of ideas through specific objects to convey educational purpose to the people, and that needs planned process and acquainted person(s). And the exhibition is the major body of the museum's collections which consists of several halls, separate displays and exhibits and 40 the large objects. In The Organization of Museums, P. R. Adams

(1960) wrote about the third purpose of museums as follows:

After a museum has collected, preserved and studied the objects of its special interest it must exhibit them .... The unique concern of the museum is with things and the exhibiting of things. Now to exhibit is to show, to display, to make visible; but in most languages the word exhibition implies the meaningful showing of things, display with a purpose, (p. 126)

And in the same book above, D. A. Allan (1960) wrote about the concern of display and some of its requirements in order to obtain positive results, and he said the following:

Display is a most important consideration for the museum curator. . . . It is the aim of the museum curator to present his specimens to the public in a condition as closely approximating their original appearance as is possible. . . . Displays must also be orderly, as the specimens are shown in order to encourage people to think about them, to compare and contrast each with its neighbours, and to build up a corpus of ideas about a whole group. . . . Nowadays it is realized that in a museum the specimens must occupy the first place and the provision of galleries and cases, with such services as heating, lighting and ventilation, must not be allowed to interfere with the fullest enjoyment of the exhibits. (pp. 20, 22, 23)

In its report of (1984), American Association of Museums sees the exhibition as a powerful means of education, communication, and a major purpose of museums, and I chose the following statements from the report:

Any reconsideration of museum learning must include the exhibition— the museum's primary means of communication and a medium so powerful that it can be the most prominent aspect of a museum's public face. . . . The exhibition is such a powerful medium because its message is sponsored by an institution of perceived authority. . . . As we appeal to people to use museums as learning resources, the force of the exhibition as an instrument of learning must be acknowledged. (pp. 63, 64) 41

The Educational Functions of Museums

Aside from the acquisition of collections, conservation, and display, museums have another significant purpose which is the enlightenment and education of the public. Education through museums or museums public education is one of the museums' humanistic concerns since they began for the public.

This concern has been recognized as a purpose but in varying degrees of perception depending upon the background, opinion and policy of museum authorities. Also, this purpose could be accessible and achievable depending upon the condition of museums' public relations, general facilities, and financial capacity. Therefore, the implication and application of museums' public education will be varied in many different aspects of programs and activities from one museum to another.

However, these differences are natural and required at the same time to meet the needs of different classes and societies.

Alma S. Wittlin (1970) mentioned the emphasis on educational function of American museums between the two world wars through some experts' opinions like Grace Fisher Ramsey, who said in 1938; ". . . The conclusion may well be drawn that museums in the United States are a definite educational force, contributing to the economic and cultural life of their communities (p. 151)," and T. L. Low, who in 1942 made the following statements:

. . . Briefly, the purpose and the only purpose of museums is education in all its varied aspects, from the most scholarly research to the simple arousing of curiosity. . . . One thing is certain and that is that museums must 42

shift the emphasis from scholarly work to . . . popular education. Needless to say, the latter may be increased without diminishing the former, (p. 151)

On the international level, UNESCO has encouraged the educational role of museums through sponsoring many seminars and conventions in different countries. Also, UNESCO has published various articles and publications about this issue with the cooperation of many of the museum experts. One of those experts is Allan Douglas who wrote in The Organization of Museums, (1950) the following statement:

. . . When it was realized that a museum had to do something with its collections a new standard of values came into being. This was a vital point in the whole museums movement for it gave almost endless opportunities to museums of all kinds to compete in rendering public service. The goal of any museum is service to the public and that service must be conceived of as the building up of a better, more thoughtful, and happier public. Museums combine education with recreation, and both these words connote a very wide range of fields. . . . Museums have accepted public responsibilities to teach the truth as far as they know it and to teach new ideas to their visitors, (p. 24)

It is obvious that the educational role of museums rises as a logical consequence after the accomplishment of the three previous primary purposes of museums. And of course without this accomplishment there are no museums and so there is no educational role for them. The museum matter here is a complementary matter from which each component (purpose) depends on the accomplishment of the preceding one. Therefore, any establishment may not be called a museum— in our m o d e m recognition— without any sort of educational activity, which is the fourth component of museum efficiency. Burcaw (1975) 43

summarized in two simple equations the educational and

aesthetic purpose of museums in the U.S. and Canada as follows:

objects + care + use = worth of museum

and

results (education, inspiration, etc.) = efficiency expenditure (time, energy, money, opportunities) of the museum (p. 169)

The word "education" is a broad term and inherent to human

nature as one of the primary needs from the time of birth.

Naturally, education is received by various means such as the

surrounding environment, self-learning, formal or informal

learning and life's experiences. Thus, the educational role of

museums rises again to fulfill a part of the human natural need

to learn, to satisfy curiosity. In its report of 1984, the

American Association of Museums recorded three human needs that

museums can fulfill: 1) the reverential experience, 2) an

associational space, and 3) the educational function. These

needs have been identified by Nelson H. H. Grabum, and I chose

the following statements about the third need:

It is the educational function of the museum that appeals to visitors seeking to make sense of their world. Museums offer broader continuing education than do schools. They convey information, but they are far more than "three- dimensional textbooks," for they stimulate translation of the original into the context of personal values. The museum is a stage on which a production is presented which allows the visitors the freedom of movement, thought, and timing to interpret the objects in his or her own familiar terms. . . the point is that museums provide a variety of experiences that fulfill a spectrum of human needs and that are not, in quite the same way, available anywhere else. (p. 59) 44

The variety of experiences which could be provided include

all offerings, activities and events to the public. Some of

them are guided publications, guided tours for schools or

special groups, lectures, gallery talks, slide talks, film and video orientation, special courses, research facilities, musical programs, and membership services. Of course, in the

first place such educational activities require an adequate professional staff and we11-organized plans and policy.

Second, they require perpetual financial support through state and government subsidy, public contributions, membership fees and general admission. Third and finally, they require a wide

structure which should combine a theater, library, and study center, bookstore, photography and restoration lab, media and equipment lab and general facilities.

In Museum Education Anthology, Edeen Martin (1984) wrote an article about museum education, in which he writes:

.... Many museums already had school tours and special teaching programs that could be used as seeds to grow more programs for a more special audience. State and federal money came to expand educational programs, provide interpretation of collections and develop new areas of outreach. . . . museums needed an audience to be heard. In order to meet this new need, the leadership of many museums expanded education departments with a bright new breed of para-professionals who wanted to help people get ideas from things. . . . museum educators can develop workshops for classroom teachers one semester, tours for retarded adults the next; they can organize a family afternoon film series and self-guide for one exhibit, performing arts events for another. (pp. 145, 146)

From the previous examples, it seems that any museum could

create its own educational programs to serve a specific society

and special audience. But on the other hand, this service 45 depends on the museum's different limitations and goals. And therefore, we can find many museums which have no educational programs because of lack of adequate resources. In this case, the expected service could be limited to collecting, preserving and display which are the other primary purposes of museums.

To defend this case, Burcaw (1975) recorded a response of the

Baltimore Museum of Art Director Charles Parkhurst, as follows:

I don't feel it's the primary role of the museum to run a school. We have thrust on us, a sociological role. We must be careful not to get carried away. Our primary goal is collection, conservation, and use. . . . It is important that we play [our role] to provide pleasure or delectation to anyone who can utilize it. If a museum can afford. . . to go into educational roles in ghetto. . . areas— great. We do not have the resources. (p. 174)

The Difference Between Art and Crafts

It is very common to find many academically sound references and publications about Saudi Arabia. But is rare to find documentation of Saudi art, either in relation to traditional crafts or modern art, and it is even rarer to find literature concerning the differentiation between art and crafts in terms of Saudi cultural values. However, there are a few individual efforts of writing and analyzing of local art activities and interviews with private crafts collectors through newspapers and magazines. Also, there are a few books about traditional crafts of Saudi Arabia which have been written by western authors. These books illustrate history, style, and function regarding crafts without discussing a differentiation between art and crafts although the authors 46 considered crafts as art or art form throughout their books.

In his introduction, John M. Topham (1981) wrote:

My purpose in writing this book is to record the arts and crafts both of the Bedouin and of the villagers of Saudi Arabia before new, practical, and cheap materials like plastic, aluminum and nylon replaced the hand-crafted ornamental accessories of a traditional way of life. To date, very little research or identification has been attempted in this field. ... My hope is that it may serve as a stimulus for those trying to complete documentation of these fascinating arts and crafts. (p. 8)

In her book The Art of Bedouin Jewelry, Heather Colyer

Ross (1981) wrote:

Jewelry is one of the oldest forms of decorative art and the exciting aspect of this is that most primitive features remain important to jewelry design today. (p. 10)

Also, Ross (1981) in her book The Art of Arabian Costume, wrote:

While the first garments ever created by man were undoubtedly utilitarian, prehistoric art confirms that costume underwent artistic evolution no less than painting, sculpture and jewelry, (p. 8)

Another perspective regarding costume as an art is noted about the Mishlah, a cloak-like garment which is a famous craft in the Eastern Province of Saudi Arabia. According to Saudi

Arabia, the official publication of Saudi Embassy in

Washington, D.C. (1986):

Little is known of why this craft developed into such an art in this particular area; however, Al-Hasa's strategic location near caravan routes that linked the Arabian Gulf with the interior of the Arabian peninsula encouraged the growth of craft industries such as these, (p. 15)

Of course, the previous examples have no differentiation between art and crafts, but they considered crafts as art just 47 for inclusion or for appreciative factor, and to get more literature in which such differentiation needs more extension, and not just in terms of Saudi Arabian cultural values. There­ fore, different viewpoints including some standards and thoughts will be discussed in the next few pages. To do so, I would like to start by asking which sprang first, art or craft, and to discuss it from the points of view of an artist, and from an aesthetician. As an artist, Barnett Newman (1947) made the following statement:

Man's first expression, like his first dream, was an aesthetic one. Man's first cry was a song. Just as Man's first speech was poetic before it became utilitarian, so Man first built an idol of mud before he fashioned an ax. Man's hand traced the stick through the mud to make a line before he learned to throw the stick as a javelin. The artistic act is Man's personal birthright. (Chipp, 1968, p. 551)

The above is an imaginative and impressive description of our first attempts of expressing ourselves and exploring our environment. But is this description true? and why did humans build an idol of mud and make a line? First, I think this description has some validity because of (1) the discovery of some prehistoric or Old Stone Age drawings in different areas of the world, (2) m o d e m primitives who still exist in some areas on earth, and live in sociocultural ways similar to those of early humans.

Second, I argue that the first man built an idol of mud not because of his own artistic urgency, but because that there is an oracular stimulant interacting inside himself to ensure some desired result. This interaction could be called a 48 spiritual feeling. This feeling goes first through his mind to ensure his ego in the result of an idol. This idol developed through the years into artistic forms to reveal the human story and behavior.

Third, Barnett's imaginative description may have no validity because of (1) anthropological and archaeological discoveries of Stone Age's implements which represent rich evidence that man first developed toolmaking in his pursuit of survival and not as art forms; (2) another viewpoint which considered art as craft since early ages is shown in the following statement by Harold Osborne (1958):

For throughout history, works of art were artifacts, made to serve some ulterior value and not, as now, made primarily in order to be works of art. . . these . . . were all artifacts, manufactured for a purpose other than what we should now call aesthetic. In past ages there was no concept of "fine art;" all art was an art of use. . . the now familiar distinction between the "fine arts" and the useful or industrial arts emerged to prominence only in the course of the eighteenth century in Europe. (pp. 25-27)

From the last two viewpoints, it seems to me that a craft was the solid base of man's first art including simple lines of drawing and toolmaking. Both lines and toolmaking developed simultaneously throughout history into numerous experiences,

skills and forms of art. Forms of art became divergent in their concepts, purposes and aesthetic values in the same way that in their techniques, styles, materials, names and

evaluation standards became diversified. Howard S. Becker

(1978) wrote:

"Art" and "craft,". . . refer simultaneously to contrasting ways of bringing to bear in particular work 49

situations the standards of utility, virtuosity, and beauty and contrasting situations of work. In the real world, these appear in all kinds of combinations, depending on historical circumstances . . . Virtuosity appears in both art and craft worlds as a standard of judgment. It implies an ability to handle a wide variety of techniques and materials with ease and efficiency and an ability to do what few others can do. (p. 888)

If we agree that virtuosity is an applicable standard in the point of differentiation between a craft and an art object, then what about the other standards, utility and beauty.

Utility in a craft object is understood as functional, practical, and for physical use in daily life or on social occasions among most people. But utility in an art object could be understood as intellectual, contemplative, cultural and an educational force in any time and place for art appreciators. Beauty as a simple term and without discussing the controversial theories and philosophies about it is also an applicable standard between a craft and an art object. Most arts and crafts are beautiful because they refer relatively to aesthetic values and qualities. And about this point, John F.

Moe (1984) noted:

The paradox of folk art is the fact that the aesthetic art qualities of an artifact make it more difficult to classify as either art or as belonging to the folk tradition. . . the pleasure-giving function and the practical function of the artifact must both be successful if the tradition of making the artifact is to continue within the society. (pp. 11-12)

In the same article, Moe (1984) recorded some definitions of folk art. Two of them are related to the point of differentiation between a craft and an art object. The first had been written by Holger Cahill in the catalog of the 50 exhibition of "American Folk Art, the Art of the Common Man" in the Museum of Modern Art, New York, 1932. The second definition had been written by Lynette I. Rhodes in the catalog of the exhibition of "American Folk Art from the Traditional to the Naive," in the Cleveland Museum of Art, 1978. These definitions are:

1. Folk art is not the expression of professional artists made for a small cultured class, and it has little to do with the fashionable art of its period. Folk art does not come out of an academic tradition passed on by schools, but out of craft tradition plus the personal quality of the rare craftsman who is an artist (pp. 11-12).

2. Folk art is an everyday art. It is traditionally intended to fulfill the utilitarian, spiritual, and aesthetic needs of ordinary people (pp. 11-12).

In his article Arts and Crafts, the sociologist Howard

Becker (1978) discussed comparatively different, points some of which are art's invasion of the crafts, standards of the new artists and the uniqueness of the object. He wrote:

The new breed of artists in the craft produce altogether new standards, standards that are aggressively non-utili­ tarian. . . art utilities typically include usefulness as objects of aesthetic contemplation, of collection and ostentatious display, and as items of investment and pecuniary gain . . . artists invading a craft want to make sure that the works they produce cannot be used as people have been accustomed to using them . . . artists and their publics think that no two objects produced by an artists should be alike. But for good craftsmen that is not a consideration; indeed it is thought a mark of the artists— craftsman's control that he can make things as much alike as he does (p. 858). 51

Resources of Art and Crafts Museums' Collections

Any new museum should 'programme' the methods by which it proposes to build up its resources, in the sense that it should set out what it would ideally like to have and reject everything else. In practice, however, some degree of compromise is inevitable. In any case, museum curators are usually only too well aware that they are working against the clock and that much material has to be obtained before it disappears forever or, in some instances, before the agents of foreign collectors spirit it out of the country. In such circumstances the only sensible policy is to acquire first and select afterwards, (p.19)

Hudson's statement may reflect my thought and concern about crafts situations and their continuous disappearance in

Saudi Arabia. The policy of acquiring first and selecting afterwards is needed indeed to prevent more and serious dissolution because of the expansion of modernization and technology. Therefore, the proposed resources are designed depending upon their priority to the country's cultural and educational concerns. Some of these concerns have been noted through the part of cultural affairs of the Fourth Development

Plan of the country, 1985-1990, as follows:

The culture of Saudi Arabia is embedded in Islam and in Arab civilization. It reflects certain artistic and intellectual features which are evolving alongside the rapid economic and technical changes. It instills the heritage of the past alongside the present; the ability to cope with the challenges resulting from unprecedented social change; the possibility of reflecting a spirit of increasing open-mindedness; the provision for speculative thought; and the facility for improving the overall aesthetic quality of life in all communities. Economic and social changes are having impacts on the culture of the Kingdom. These are reflected in changing patterns of consumer behavior, leisure and recreation. • Cultural traditions contribute to ensuring that people do not lose their sense of identity or integrity while other aspects of their lives are changing. Cultural traditions, in 52

turn, temper the economic and social innovations and blend them into appropriate forms which constitute contemporary culture. (The English edition, pp. 348-349)

From the above thoughts and concerns, I would like to discuss the proposed resources through four types as follows:

A. Collections of local crafts of the 20th century

- Introduction

Traditional crafts in Saudi Arabia were recognized and distinguished forms of native productivity for hundreds of years. Crafts had been produced in a variety of styles, decorative patterns, motifs, colors and forms help make them exciting and fascinating. They were the people's art because people had no other art forms. On the other hand, crafts' makers are mostly untutored people who have no sort of knowledge, except for their religious rites, their crafts secrets, and craft making. They are simple people who work hard all day long for themselves and others' needs. They produce crafts in shops, on sidewalks or at marketplaces depending upon the nature of the craft and its material and process in general. These people are called craftsmen, craftsmakers, craftspeople or manufacturers, but each craftsman

is called by his craft such as daggermakers, leathermaker, tentsmaker, basketmaker, coffee potsmaker, silversmith and goldsmith.

The major influential factor in craft making is the

inheritance from one generation to another, from one family to 53

another, and from father to son. There was no formal

institution or learning center for craft teaching methods,

skills and techniques. There were no books or other written materials or certain directions to follow, but there were craft

masters who had long experience and knowledge of craft mysteries. About this point, Becker (1978) wrote:

Most crafts are quite difficult, with many years required to master the physical skills and mental disciplines of a first-class practitioner. One who has mastered the skills— an expert— has great control over the craft’s materials, can do with ease things that ordinary, less expert craftsmen find difficult or impossible. (p. 855)

It is difficult, indeed, to master some crafts, but craft masters had to transmit it to their sons, relatives, and other

individuals for the purpose of living, tradition's continuity and society's service. From my own experience, I have two examples. First my father, who is a craftsman, swords and dagger maker, who learned his craft from his uncle, and his uncle learned it from his father and his grandfather. My

father tried many times to teach my brother and me some basic processes of his craft because of his belief that we were to have some profession to insure our future, and going to school alone is not enough. But we couldn't combine both going to

school in the morning and the craft lessons in the afternoon, and so he has failed. My father is the last and the only one of our family in daggers making, and after him this craft will be ended.

The second example is an old daggers maker who was a

friend and neighbor of my father. He also learned his craft 54 from his father and grandfather. He had succeeded to transmit and teach his craft to his two sons who were not school attendants. When he died, the elder son has continued in the craft as a successor of his father, but the younger son quit the craft and took a different job.

The above two examples and many others usually happened in the urban areas of Saudi Arabia because of the way of living and some attractions such as spread of schools and new civil jobs. But the case of peasant and coastal areas were quite different. In these areas, most of the family's members were working together under the supervision of an expert craftsman, whether he was the father, elder brother, or a relative. Also, craftsmen used to hire other individuals to work with them as new trainees or second-class practitioners. Both ways of work helped to spread and transmit crafts making in these areas for many centuries, and some tribes and families became well-known and famous in particular crafts. About this point, my colleague, Sultan Alzailaei (1985), wrote his master thesis entitled The History and Development of Handicrafts in

Southwestern Saudi Arabia. He made personal interviews with some craftsmen and wrote in his conclusion the following statements :

Most of the crafts . . . have been practiced for many centuries as part of the southwestern region's traditional 'heritage. This tradition has long been transmitted from one generation to another. The transmission has been passed down through a number of the craftspeople who have often struggled to guarantee the existence and continuity of the craft ... in the Tihamah area, the researcher found that basketry and pottery were the most dominant 55

crafts, while weaving, leather work, and wood working had disappeared. In the Nejran area, weaving, jewelry, and leatherwork were the most dominant crafts; in the Sarah area, woodworking, dagger manufacture, and basketry (made of palm tree leaves) dominated, (pp. 115-116)

- Examples of Local Crafts (according to the author's background, and some resources: Alzailaei (1985), Topham

(1981), and Ross (1978, 1981):

- Woodwork: includes doors, windows, chests, shelves,

saddles, well sheaves, woodwares, incense burners,

spinning wheels, scales and measuring cups and

children wood toys.

- Metalwork: includes cooking pots, bowls, trays,

coffee pots, roasting pans, mortars and pestles,

hammers, axes, carpentry and agriculture tools.

- Leatherwork: includes winter cloaks and coats,

boots, sandals, water bottles, belts, bags, pouches,

blankets, and babies cradles.

- Jewelrywork: includes gold, silver and gemstones

such as rings, necklaces, bracelets, armlets, anklets,

waistbelts, head-dress ornaments, earrings, noserings,

pendants, and rosaries.

- Weavingwork: includes products of sheep's wool,

goat hair, camel hair and white cotton such as tents

making and decorations, tents bands and curtains,

rugs, blankets, and utility bags.

- Weaponswork: includes a variety of swords, daggers,

short knives, spears, lances, matchlock rifles. 56

flintlock rifles, flintlock pistols, and bolt action

rifles.

- Costumeswork; includes a variety of embroidered,

embellished and plain fashions of men and women for

the different occasions and daily use such as dresses,

garments, cloaks, mantles, headgears, headdresses,

long and short jackets, and belts.

- Basketrywork; includes products of palm plaited

leaves, palm stalk fiber and grass such as baskets,

mats for seats and under eating trays, containers,

carriers, plates for fruit and covers of foods, fans

and hats.

- Potterywork; includes a variety of decorative and

plain cooking pots, storage jars, large and small

water coolers, bowls, vases, and incense burners.

(See Appendix A for some examples.)

B. Collections of Local Contemporary Art

- Introduction

In comparison with the crafts long history, art forms are

considered new in the country. The first art pioneers were b o m between late thirties and late forties, and they are less

than ten artists. After high school or teachers' institute,

some of them went to Egypt, Italy, and Spain for art study, and

others taught art education which started in public schools in

1957. Later on these teachers caught up their fellows in Europe

for the purpose of art study, and their dominant major was 57 drawing and painting. When they came back home, each of them was involved in one or more different jobs, such as art teaching, decor producer in local television stations, art supervisor, art administrator, and private art business.

Because of their intensive art activities and participation, some of these pioneers became influential figures in the course of Saudi visual art, such as Mohammed Al-

Saleem, Abdul-Halim Radwi, Abdul-Jabbar A1 Yahya, Bakr Shikoon,

Saad Al-Obaied, Safeya Binzagr, and Monira Mousley. They are celebrated artists in Saudi Arabia and abroad. Now both Al-

Saleem and Radwi are known throughout the art world in Italy,

Spain and some of the other art institutions in Europe because of their numerous participations in international competitions and exhibitions.

Talking about art in Saudi Arabia leads us to the first art exhibition and the official reaction to it. According to

Olfet Binzagr (1979):

For the first time in Saudi Arabia, two artists have ventured to share their work with the public. In 1968, Miss Safeya Binzagr and Miss Monira Mousley jointly exhibited their work, and their exhibition was officially opened by the Emir of Mecca, Prince Misha'al bin Abdul- Aziz. It was attended by leading Saudi citizens and the diplomatic community in Juddah, who were surprised but pleased with what they saw. However, the point that was not lost to many then, and to all of us now, was that the government, by this noble act, indirectly became a patron of the arts . . . art has finally arrived in Saudi Arabia, and will develop and contribute to the Saudi cultural fabric, (pp. 19-20) 58

In the same book, Olfet Binzagr (1979) describes Saudi art and its situation through the current socioeconomic transitions.

Some of her notations are as follows:

Saudi art, in all its aspects, is in its formative years— at a critical stage during a volatile period. Saudi Arabia is in transition, trying desperately to identify: first, which are the old traditions, and of those, which are to be protected and become cornerstones for the new Saudi Arabia; second, which of the new customs are essential for progress and the realities of a political and financial super-power. Saudi art and its practitioners succintly reflect this tug-of-war, this ambivalence . . . trends in Saudi Arabia, as in contradictory. (pp. 20-21).

Of course, there is divergence and contradiction in Saudi

art trends, but not necessarily as in the West. We have now

almost three generations of artists who appeared in a short

period of time. They have differences in the educational

background, art experience, and the socioeconomic affairs. And

since I mentioned the first art pioneers then I should mention

the other two generations with some educational and artistic

backgrounds.

The second art generation in Saudi Arabia is the fifties'

generation who represents now the largest number of Saudi

artists. I consider myself and my colleagues who are studying

in the U.S. from this generation and, therefore, I can say that

70 percent of this generation have spent 50-60 percent of their

total education in art education studies. The other 30 percent

are involved in art studies— studio— only. Here I am talking

about the art educators and artists who pursued their higher 59

education and those who are active in their artistic endeavors

and activities without higher degrees.

The artists of second generation have received their education primarily at The Middle Institute of Art Education in

Riyadh (established in 1965). It is three academic years

system after the intermediate school and the student must take all courses each year, but in gradual stages from simple to difficult. These courses are as follows:

Theoretical Courses:

Religion, Arabic Language, English Language, Education

and Psychology, Teaching Methods, History of Art,

Educational Aids, School Health, Social culture.

Practical Courses:

Images Composition, Design and Decoration, Geometrical

Drawing, Ceramic and Clay Works, Carpentry, Textile

and Printing, Environmental Materials, Practical

Education. (Translated from Arabic into English by

the researcher.)

With the beginning of the following four 5-year development plans in 1970, some attention has been given to the artists and art education:

First: Establishing the Saudi Society of Culture and

Arts. Some call it in the English language, Saudi Association

for Culture and Arts, or Saudi Arts and Culture Association. I prefer the last translation. It was established in 1973 with the main office in Riyadh and six branches across the country. 60 but it is subject to regulations of the General Presidency of

Youth Welfare. Some of its objectives include sponsoring art exhibitions inside the country and abroad and providing small studios and art materials for young amateurs.

Second: Offering many academic scholarships for under­ graduate and graduate studies in each of Egypt, Italy and the

U.S. Of course, the art educational system in these countries is different. In Italy, a student can graduate within 2h to 4 years, when he or she finishes a series of artistic studio projects, and regardless of educational approach for art teaching. In Egypt, a student has three choices of a four-year academic system. First and second are College of Fine Arts and

College of Applied Arts. Both emphasize art studio studies and projects and the artistic skills to produce professional artists. The third choice is College of Art Education, which combines studio courses and the educational approach of teaching art. More than ten Saudis have graduated from the

College of Art Education which offers twenty courses. Some of these courses should be taken for four years, including the major, and some for two years only. These courses are:

Painting

Design and Handicraft 2 years

History of Art Education

Metal Work 2 years

Printing 2 years

Drawing 61

Sculpture 2 years

Ceramic

History of Art

23rd July Revolution 2 years (a bloodless coup in 1952 deposed King Faruq and obtained the complete independence from Britain)

Psychology of Art Education 2 years

Principles of Education 2 years

Criticism 2 years

Educational Hygiene 2 years

Introduction to Art Education

Curriculum and Teaching Methods in Art Education 2 years

Teaching Evaluation 2 years

Arabic Language and Essay 2 years

Foreign Language 2 years

Elective (in Art)

(translated from Arabic into English by the Ministry of Education, Cairo, Egypt)

Third; In 1975, the Department of Art Education at King

Saud University in Riyadh was established, and in 1976 another department was opened at Umm al Qura University in Mecca.

These departments offer different courses in art and art education through two terms a year, and students have to obtain

130 credit hours to meet graduation requirements. First graduation was in 1978 with five students from the Riyadh department, and until now, almost 200 students have graduated from both departments. Most of them work as art teachers in 52

intermediate and high schools, and 18 of them are now in the

U.S. to pursue their higher education in order to become members of the faculty in the near future.

Faculty members in both departments are twenty-three from

Egypt and two from Al-Sudan. All of them have the Ph.D. in art or art education from different countries, Egypt, the U.S.,

Britain and Spain, but the majority are from Egypt. Most of the offered courses resemble the Egyptian courses with a slight difference in content to follow the general educational regulations, with emphasis on traditional and Islamic heritage.

The following courses have been presented during the second term of the year 1985-1986 in Riyadh:

-Ceramic -Metal Work

-Wood Work -Weaving

-Environmental Material Work -Drawing

-Painting -Design and Ornamentation

-Paper and Leather Work -Glass Work

-Modern Material Work -Jewelry Work

-Principles of Art Education -Art Schools

-Introduction to Art Education -Islamic Arts

-Primitive and Ancient Arts -Renaissance Arts

(translated from Arabic into English by the researcher)

Talking about the previous art institutions in Saudi Arabia and abroad leads us to the third generation, the generation of

the sixties and on. Some of this generation are just graduated and others are still in study. In my opinion, this generation 63 searches for celebrity in a quick way regardless of the artistic work quality and value. It looks to the quantity of works which help in participation in more than exhibition at the same time. Therefore, a distinct contradiction is very commonly noted in Saudi collective exhibitions of art. This contradiction includes quality, art experience, educational background, technique and style. However, Saudi collective exhibitions abroad have drawn some attention in terms of evaluation and selection of works.

Two examples from the latest abroad collective exhibition were held in London and Washington, D.C. For the celebration of its 50th anniversary, the Governate of Riyadh held an exhibition in London called "Riyadh: Yesterday and Today" from

July 29 to August 8, 1986. Within this exhibition, 85 pieces of painting for 36 artists have been exhibited to represent

Saudi contemporary art. The official newsletter of the Saudi

Embassy in Washington, D.C. (1986) wrote about this exhibition:

The dozens of paintings and other works of art by the Kingdom's leading young artists provide yet another glance into the Kingdom of today. The exhibit organizers brought together the best examples of contemporary Saudi art, focusing on both traditional and modern subjects. (p. 2)

Within the celebration of the National Day, September 23,

Saudi Embassy in Washington, D.C. sponsored an exhibit of female artists, and about it the embassy's newsletter (1986) wrote:

A highlight of the reception was an exhibit of Saudi Arabian women's art on display for the first time in the United States. Professor Abdul-Halim Radwi, a well-known artist, assisted in organizing the exhibition. A total of 64

80 artists submitted works to the selection committee that decided upon the 36 paintings displayed for the National Day exhibit. Thirty-six pieces of art, ranging from traditional oil painting to batik fabric prints and multi­ media compositions. The majority of the artwork on display at the embassy was completed during the last two years by women studying at the Riyadh, Jaddah, or Makkah branches of the Institute of Education and Arts, or by those now attending King Saud University in Riyadh or Umm Al-Qura University in Makkah. (p. 2)

From the previous introduction and background, it seems that we could obtain various collections to demonstrate the course and development of art works in the country. These collections are expected to reveal the artistic endeavors and experiences of many artists during the last three decades.

Therefore, they should include works from the early art exhibits of public schools and the Institute of Art Education during the period from 1960-1970. Painting, drawing, ceramic and abstract sculpture successively are the dominant works of art and from which local collections will be established.

Different trends and art schools have influenced the local contemporary art such as Classicism, Romanticism, Realism,

Impressionism, Surrealism, Cubism, Expressionism, Abstract

Expressionism, and lately the Arabic School of Letterism.

Also, different mediums and techniques are used in dealing with various traditional, imaginative and m o d e m subject matters, but some subjects are still forbidden such as nudity, realistic sculpture, aspects of poverty and the political themes except the Palestinian issue.

For knowing more complementary information about the Saudi contemporary art, it is preferable to mention some of the 65 leading artists including their interests and participations.

See Appendix F for this information which is transmitted as it appears in their works guidebooks and exhibitions catalogues.

To conclude the resource of local contemporary art, I would like to include another point of view about it. Omran

Al-Kaissi (1984), an Iraqi artist and critic wrote— in

English— the text of the artist Abdul-Halim Radwi's book, entitled Radwi. The following is some of his statements which remind us of the next resource of our collections:

It is difficult for many Arab critics, especially in Lebanon, Syria, Iraq, and Jordan, to situate the Saudi Arabian visual Art movement because this movement has had a special development from the very first generation of experimenters. In addition, the dearth of critical works on the Saudi Visual Arts and perhaps also the absence of a library for writings on comtemporary Arab Art which would keep track of the development of our artists has had a negative effect on the amount of knowledge available— knowledge urgently requested from any disciple of the Visual Arts in any Arab country. The study of individual Saudi Arabian artists who have of their own accord chosen the task of visually savoring, coloring, and creating art will become very difficult if we have not already been following for some time the artistic development of those Arab artists whom we feel will continue to progress in the Visual Arts in the Arab world as a whole, (pp. 15-16)

C. Collections of Arabian Contemporary Art

- Introduction

The spread of the Western concept of art in the Arab world could be dated through and after the French short invasion to

Egypt, 1798-1801. This invasion was supported by scientists, physicians, literateurs, architects and artists (see p. 24 for some details). According to Haddad and Nijim (1980), "The

French invasion marked the first Egyptian encounter with a 56

'modem' European power, an encounter which continued for a century and a half" (p. 60). Of course, for the Arab world, this period of encounter did not pass easily and peacefully, and that because of the European colonialism which took different aspects of military presence, martial law, protectorate, suppression of liberation movements, deportation of nationalists and land occupation.

However, the artistic influential side of that period began with frequent visits by some of the European orientalist artists especially the French. Visiting the Arab world or even staying there for a long time became a traditional aspect of orientalism during the nineteenth century. In 1832, Delacroix visited Algeria and made hundreds of sketches, drawings and notes about subjects and colors. Examples of his work are The

Death of Sardanapalus, 1846; The Abduction of Rebecca, 1846; and The Lion Hunt, 1861. Other artists came after Delacroix to

Algeria, Morocco and Tunisia: Bonington, Decamps, Marlah,

Dewazah, Shanimbartan, and Géricault. In 1908, the French authority opened the school of Feella Abdul1-Latief in Algeria for offering oriental studies to the French outstanding artists. In 1920, the School of Fine Art in Algeria was opened, and many private French studios were established.

Then, the first Algerian art pioneers emerged. Some of them are Mohammed Rasem, Mohammed Ghanim, Mohammed Tammam, Ali

Khogeh, Azwawey Mohammady, Abdul-Halim Hamish, Mohammed

Azraerlly, Ben-Suliman, Bukarsh, Hassan Aburah and Bayah. 67

In 1930, the National Museum of Fine Art was opened to house European paintings of the 16th-19th centuries. Some of

these works belong to Delacroix, Fromentin, Dufy, Matisse,

Market, Dufrin and works of sculpture by Rodin and Barye. In

1962, Algeria became an independent country and then works of

Islamic painting and Algerian contemporary art were added to

the museum collections.

In 1905, Kandinsky made an artistically effective visit to

Tunisia and so did both of Klee and Macke in 1914. In 1922,

the School of Fine Art in Tunisia was established, and the

first graduate was Yahyia A1-Turkey who is called the father of

Tunisian painting. A1-Turkey held the first art exhibit in

Tunisia in 1925, and held another exhibit in Paris in 1931.

Other Tunisian art pioneers are Mahmude Al-Fariani, Ali Al-

Fakieh, Al-Khayashi, Ben-Ausmman, Ali Ben-Salem, Ammar Farahat,

Hatem Al-Mackey. After its independence from France in 1956,

Tunisia established some museums which are devoted to art and

crafts such as Museum of Islamic Art, Museum of Antiquities and

Arab Museum (see Appendix D for ether museums).

On the other hand, Egypt has received the largest number

of the orientalist artists because of the richness and

attractiveness of its great cultural history. In addition to

that, Mohammad Ali (1769-1849) tried to modernize his

administration and to industrialize the country by employing

French counselors and technicians. Also, the successors of

Mohammed Ali were patrons and supporters of the arts especially

his son Ismail who was very fascinated and encouraging of 68

French art and culture. Ismail opened the first orientalist art exhibit in Cairo in 1891, and was the first art exhibit in the Arab world. In 1898, the French artists helped to establish the Institute of Leonardo Da Vinci in Cairo. In

1902, Ismail had opened the second art exhibit of the French artists.

Between 1906 and 1908, the School of Fine Art in Cairo was opened— now College of Fine Art— and in 1910 the first Egyptian art pioneers held their first art exhibit. However, it was not easy for those pioneers to get the appreciation of their works because of the wide celebrity and competition of the orientalists such as Fromentin, Girardah, Gerome, Forcillo,

Ghastah, Amiel Bernard, Hartinz, Saneare, Joulvani and Letzaas.

Therefore, some of the Egyptian pioneers went to Europe for more studies and practices during the twenties and thirties.

These pioneers are Mahmuod Mouktar (1891-1934), the greatest sculptor in Egypt modern history; Mohammed Najey (1888-1956);

Ahmad Sabriey (1889-1955); Yousef Kamell (1891-1961); Mohammed

Hassan (1892-1961); Mahmoud Saeid (1897-1964); and Ragibb Aiead

(1892-1969).

In 1925, the Ministry of Education started to collect

European works with the supervision of Mahmoud Khalil who was a major collector and supporter of Western art beside his French wife. In 1931, the Museum of Fine Art was opened in Cairo. In

1956, the College of Fine Arts in Alexandria was opened. In

1968, the Ministry of Culture published a guidebook of Khalil's palace and collections, and became a private museum which 69 carries Khalil's name. This museum includes more than 300 works of art for 43 European artists, some of them are Ingres,

Delacroix, Rousseau, Degas, Renoir, Monet, Gauguin, Pissarro,

Van Gogh, Courbet, Sisley and Diaz (for other museums see

Appendix D).

In Syria and Lebanon, the Western concept of art had been delivered in the early 19th century by the European Christian missions. They opened small schools for teaching the basics of

Western art through religious approaches and subject matters, and offered scholarships for study in Europe. Therefore, the early art pioneers were deeply influenced by Renaissance art and styles of cathedral art, but with some attempts of national expression. Most of these pioneers were Lebanese such as

Najeeb Shukrey, Najeeb Fayadh, Abdullah Muozer, Abrahim

Sierbieah, Dawood Al-Kharm (1825-1900) studied in Rome in 1865,

Habeeb Suoroor studied in Rome in 1870, Khalil Saleebie studied in England and Paris in 1890. And from the second art pioneers in Lebanon are Khaisar Al-Jumaiel, Umraar Uncie, Mustaffa

Farrookh, Saleeba Al-Duowahi and Rasheed Wahbie.

In Syria, the French education counselor, Mr. Trass, offered three scholarships for studying art in Europe in the late twenties. The artists came back in the early thirties and lead the art movement in Syria. They were Tawfeekh Tariq

(1875-1940), Abdull-Wahab Abu-Al Saud (1897-1951) and Michael

Kharshan (1900-1971). Before World War II, Italy offered scholarships for studying art to a group of Syrian artists who 70 became the second generation, and some of them are Mahmoud

Jalal, Rashad Kusaybaty and the painter and sculptor Salah Al-

Nashif. Two other artists studied in Egypt in the fifties,

Naseer Shoorey and Nazim Al-Jaafarey (for museums in Syria see

Appendix D).

In Iraq, there were some art talented officers in the

Ottman Army in the early period of this century. These officers were painting and drawing in primitive styles scenes of army life and figures, city life, folklore and landscape.

AbdulIkhader Rhassam was the most influential artist beside

Saleem Al-Mously and Saleh Thekey. Their works encouraged many young artists to study art in Europe during the thirties and forties such as Jawad Saleem, the son of Al-Mously, Akram

Shukrey, Faieq Hassan (the pioneer of Iraqi modern art), Ataa

Sabrey, Ismail Al-Shakely, Khalid Al-Gader, Khalid Al-Rhahhal,

Khathem Haider and Shaker Hassan (for museums in Iraq see

Appendix D).

The previous events, art institutions and the art pioneers altogether put the Arab peoples on the track of m o d e m art and created hundreds of committed artists. In his book. The Modern

Art in the Arabian Countries (an Arabic edition). Dr. Afief

Bahnasi (1980) mentioned more than five hundred artists from the pioneers and latest generations. These generations were and still are dealing with rich inspirational sources of life and history in creating their works. However, there is no single museum specialized in collecting, preserving and display 71 of these works in the Arabian world. I say this fact according to my own knowledge and according to my review of The Directory of World Museums, the second edition, by Kenneth Hudson and Ann

Nicholls (1981).

In general, the Arabian contemporary art has been inspired and derived from and influenced by one or more of the following major sources: ancient Egypt, ancient Iraq "Mesopotamia",

Islamic art and heritage, Arabian folklore and environment, and last, the Western art schools (see Appendix B for some examples of Arabian contemporary art).

D. Collections of Islamic Art

- Introduction

In general, Islamic art refers to the religion of Islam, its teachings and culture which had spread during the successive periods and ruling dynasties of Islamic civilization

(see pp. 3-5 for more details). Islamic art was not created by a specific dynasty or during a certain period of time, but it was created by the Muslim people, their masters and craftsmen across a vast geographical area and numerous cultural traditions. However, we can say that each period or dynasty had its own effects on the course and development of Islamic art which reached its apogee during the 13th century and had preserved its influence until the 19th century. For example, the Umayyad period (561-750) with its capital at Damascus is considered the formative period of Islamic art which was deeply 72

influenced by other art traditions. About this point, Esin

Atil (1985) wrote the following:

During the formative years of Islamic art, artists relied upon existing traditions and supplied patrons with objects decorated with familiar themes. These were based on the Roman, Byzantine and Coptic arts of the eastern Mediterranean, the Sasanian traditions of Iraq and Iran and, to some extent, those of Central Asia, India and China. Soon these traditions were synthesized and incorporated with newly-developed Islamic motifs, enabling the artists to formulate an extensive decorative vocabulary, (p. 15)

The best examples of that period could be seen at the Dome of the Rock (687-691) and the al-Aqsa mosque (709-715) in

Jerusalem, and the Great Mosque in Damascus (705-715). At the secular side, the palaces' ruin of the caliphs present to us other examples and some of which are: al-Hair palace (728-730) and al-Mashtta palace (743) in Syria, Qusayr Amra palace (724-

743) and Khirbat Al-Mufjar palace (724-743) in Jordan. These examples reveal that Islamic art had been established on solid and rich bases of art traditions and concepts which made it the supreme and dominant art for the following five centuries of the Abbasid period. Historically, the Abbasid period (750-

1258) with the capital of Baghdad is considered the golden age of Islamic civilization including its flourish and achievements in the arts, sciences, literatures, and its political and cultural expansion. Esin Atil (1975) describes some of the

Abbas id period's contributions in the arts as follows:

The most remarkable achievement of the period is the appearance of new techniques and themes on ceramics which were created for the urban dweller and reflect the taste of the people. This period also shows the first appear­ ance of cobalt blue used as a pigment for decoration, a 73

feature later employed by the celebrated blue and white Yuan and Ming porcelains of China. A second innovation of the Abbasid potters was luster painting, the greatest creation of the Muslim artists. With this unique tech­ nique, a prosaic piece of earthenware was made to resemble a sumptuous object through the use of silver and copper oxides which produce shimmering metallic reflections. Calligraphy, which perpetuates the word of God, developed into the highest form of art under the Muslims. Due to its sacred and mystical nature, it is employed on all forms of religious and secular architecture and art. A similar feature can be observed in the arabesque which, through the flow and interaction of its geometric, floral and vegetal components, creates a sense of infinity and omnipotence. (pp. 11-12)

During the 9th century and on, the political power of the

Abbasids started to decline because of some rulers who proclaimed their provinces' independence from the central government at Baghdad. In Spain, there were the Umayyads of

Cordova (756-1031) and numerous Islamic dynasties from 1031 until 1492. In North Africa, there were the Idrisids of

Morocco (789-985), the Fatimids (900-972), the Zayrids of Tunis

(972-1148), the Almohads (1130-1269), and the Hafsids of Tunis

(1228-1534). In Egypt, there were the Tulunid dynasty (868-

904), the Ikhshidids (935-969), the Fatimids (969-1171), the

Ayyubids (1168-1250), and the Mamluks (1252-1517). In Turkey and Asia Minor, there were the Seljuks (1077-1327). In Iran, there were numerous successive and simultaneous dynasties in different parts of Persia from the Samanids (819-1055) to the

Safavids (1502-1736). In 1258, the Mongols conquered and destroyed Baghdad and put an end to the Abbasid period. Since then, the Islamic world has been divided into divers local provinces while Spain, Egypt, Iran and Turkey were the 74 important cultural centers. During the 16th century and until

1917, the Ottoman Turks had succeeded in reunification of most of these provinces under their rule (see pp. 4-5 for more details).

In spite of the previous historical transitions and political disintegrations, Islamic art had spread and created a cultural identity among various societies. Richard

Ettinghausen (1978) describes the forces that created this identity as follows:

The forces that molded this cultural identity were a universal religion, an autocratic form of government, the effects of a harsh environment and climate, and a uniformity of lifestyle— especially the vitally important fact that there was hardly any differentiation between religious and secular areas, including the arts. In addition, there existed a great inner mobility, allowing the imposition of dynasties from different regions, the migration of large ethnic units, and the extensive transfer of artists and artisans from court to court. (p. 2)

In addition to the last forces, there was a universal adoption of the Arabic script which is considered the second major force in creating the cultural identity of Islamic art.

This consideration is based upon two important facts: (1) the

Arabic language is the language of the Holy Quran of Muslims, and (2) the diffusive embodiment and applications of numerous type of Arabic calligraphy within the Islamic forms of art.

Furthermore, there were many encouraging factors of creativity, invention and translation across the Islamic world. One of these factors was a great deal of intellectual freedom and art expression for exploring different sciences and literatures. 75

and that reflected on the course of bookmaking which involved papermaking, bookbinding, calligraphy, illumination and

miniature painting. Also, most of the Muslim dynasties and

rulers were great patrons and appreciative of arts and architecture, and that reflected on people's aesthetic taste

in regard to their productivity and daily use of objects.

The cultural identity of Islamic art formalized a compre­ hensive characteristic of it where calligraphy, floral and geometrical design represent the major components. These components are readable even at first glance on a piece of

metalwork, ceramic or a facade of a building. David Rice

(1975) explains this point with a simple comparison between

Islamic and Christian art as follows:

One of the most striking things about Islamic art is the way in which a completely definite style, a whole repertory of motifs, and a distinct architectural system became, quite early in the era of the Hegira, associated with an idea and a faith. Islamic art is, in this respect, quite distinct from Christian, where diversity rather than uniformity was the characteristic. In the Islamic world . . . there was much greater uniformity, both with regard to time and to space. In the first place the artists did not seek the new and unfamiliar in the way that the Renaissance artists did, but rather remained attached to the model whose merit had been sanctioned by time and convention, seeking to renew its appeal, rejuvenate its character, by subtle variations of detail. In the second, the adoption over the whole area from India to Spain of a particular script which also served as a basic form of ornament in art exercised a tremendously unifying effect, (p. 7)

At the present time, thousands of Islamic art objects

stand at the world's major museums representing the achieve­ ments and contributions of a certain age of human civilization.

Thousands of art objects are owned by the world's major 76 libraries, galleries and private collectors; and thousands more need to be excavated across the Arabian and Islamic countries.

Some of the world's museums which house numerous treasures of Islamic art and outside the Islamic areas are:

- British Museum, London, England-

" The Louvre Museum, Paris, France.

" The Metropolitan Museum of Art, New York City, U.S.A.

<' Smithsonian Institution, Washington, D.C., U.S.A.

" Museum of Fine Arts, Boston, U.S.A.

' Cincinnati Art Museum, Cincinnati, U.S.A.

• State Museum of Oriental Art, Moscow, U.S.S.R.

' National Museum of Spanish-Muslim Art, Granada, Spain.

~ Santa Cruz Museum, Toledo, Spain.

Provincial Archaeological Museum, Malaga, Spain.

<' Museum of the Excavations of Medina Az-Zahara, Cordoba, Spain.

<• Islamic Museum, Western Berlin, Germany.

(See Appendix C for some examples of Islamic art.)

To conclude this part of the resources, I would like to explain the basic grounds of my elimination of other artifacts.

First, the previous resources are chosen according to their priority to meet Saudi cultural needs, and to meet the general objectives of this study (see pp. 12, 51 for details). Second, my elimination of other artifacts such as Far Eastern, Western and Latin American comes as a logical consideration during the first stages of the museums' orientation. It is a critical situation when you introduce different cultures' artifacts to a 77 culture which is striving to preserve its own artifacts. And it will be hard in this situation to convince people of other artifacts' importance while theirs are dispersed everywhere and in a process of continuous dissolution.

The following points are the basic grounds of my elimination of other artifacts:

Gradual acquisition of collections is required for

organizing a new museum.

Priority and the urgent need to preserve and promote

Arabian traditional and contemporary culture.

Financial resources will be employed for the

priorities (Arabian and Islamic art and crafts).

Lack of Arabian national museums.

Need of regaining of some Arabian and Islamic arts

from foreign museums, especially from the West.

Western culture (art, crafts, technology) already has

imposed itself in the area of daily life and some

educational curricula.

Current social and political system may not support

acquisition of some foreign works.

Training of Personnel

Training of personnel is recognized as one of the

important factors of success of any small or large museum. Our interpretation of success differs from one situation to another according to the nature of our different drawn objectives and 78

their accomplishment's requirements. In the case of this study and its objectives (p. 12), training of museum personnel is not merely a factor of success, but it is an essential factor of participation for developing and widening the public awareness of museology across the country. This part of development requires a large number of trainees to l e a m museum techniques and management, and to create a solid base of loyal generation to ensure the continuity of the museums' cultural message. In

The Organization of Museums, Douglas Allan (1960) stated the

importance of training as follows;

The need for adequate training services for recruits to the museum profession is fully realized as is also the absolute necessity for a generally accepted standard to be expected of museum assistants, (p. 60)

Training of personnel became an absolute necessity because of the great responsibilities of running a museum and its different professional services and departments. Any national museum— such as in this study— requires three major professional departments, and each department needs a large team of educators, restorers, registrars, designers, photographers and artisans. Also, it requires the office staff and the technical staff, and altogether they had been described generally by Allan (1960) in the same previous reference as follows :

Under the director is the office staff dealing with day- to-day correspondence, records, registers, bookkeeping and accounts. Then there is the museum professional staff which may range from one assistant to a large team with a deputy director, keepers of departments and assistant keepers, responsible for the actual collections and the uses to which they are put. The professional staff in 79

their daily service to the public are presenting information and are actively engaged in education— this they can only do adequately if their own educational training has been as thorough as possible. Also behind the scenes but of vital importance for the efficient running of any museum are the work rooms and their staffs. These fall into two main groups— those dealing with museum specimens and those dealing with museum fabric and furniture, (pp. 53, 51).

On the top of the office staff comes the senior staff of a director and three keepers, who must have the professional qualification and experience in the principles of museum services and administration. They must be knowledgeable of museums' history and techniques as well as the main three professional divisions of exhibition galleries, storerooms and laboratories. The director is the one responsible for formulating and carrying out the policy of the museum through his conceded authorities by the board of trustees or a certain ministry. Most of the world's large and national museums have curators and directors, and this may create a similarity of roles between them. However, in this case the director usually consults the curator in his decision-making and other important activities. In Museums in Crisis, Edward Fry (1972) stated that there are only three roles for a curator: as a caretaker, assembler and ideologue. The following is a description of the first two roles which are applicable to this study as concerns of museums' directors:

(1) As the caretaker of the secular relics of a nation's cultural heritage, he is responsible for the preservation, documentation, promulgation and occasionally (through infrequent acquisitions) the aggrandizement of this heritage. (2) As the assembler of an otherwise non­ existent cultural heritage, he must acquire as many as 80

possible of the important works representing the cultural traditions which he or his institution seeks to appropriate as a transplanted heritage. (p. 110)

Looking to the previous types of personnel and their various roles and responsibilities, it seems that we need a variety of training and preparation programs including the basic and the professional of both theoretical and practical studies. These programs are achievable through two main ways of planning, inside the country and abroad. The inside plan requires creating a broad sense of understanding museums through certain academic programs beside the other informal activities, and such programs should include (1) offering a basic course of museums' concept and functions within the curriculums of the last year of public high schools; (2) offering a quarterly open seminar deals with the basic information of museums history and techniques including the future of museums in the country; (3) offering two training programs each year for some basic practices of the professional side of museums; (4) developing the current Department of

Archaeology and Museology at King Saud University by offering more specialized courses in museum education, public relation, restoration and conservation, recording and documentation, and exhibition techniuqes. The previous plan's programs could be obtained by the cooperation and employment of the available

Arabian experience from Egypt, Algeria, Iraq, and Syria.

The second plan of training of personnel requires offering scholarships for trainees to study abroad the technological 81 advancement of museums including their management, professional divisions and public services. Beside the theoretical studies of this program, trainees must be fully involved in actual practices of their specialities including observation and research materials. Such practices are available at the world famous museums and some of the other academic and cultural institutions. Some of these institutions are:

- Museum of the Louvre, Paris, France.

- The British Museum, London, England.

- The Victoria and Albert Museum, London, England (for

technical courses in art).

- Birmingham University, England (for administration

courses).

- The Metropolitan Museum of Art, New York City, U.S.A.

(for professional art museum training programs).

- New York University, U.S.A. (for history and philosophy

of art museum.

To conclude this section, it was appropriate to mention the current concerns of training of personnel which have been expressed within the Fourth Development Plan of the Kingdom,

1985-1990, as follows:

Scholarships will be awarded for advanced study and training in specialized centers abroad in the required skill areas of binding, photography, architecture, and museum management. The Antiquities and Museums program will provide on-the-job training in surveying and drilling. Individuals will be trained in telecom­ munications, recreation management and related subjects, (the English edition, p. 356) 82

Summary

Now, I would like to give a concise summary of this chapter to help the reader recall what has been discussed through the following points:

- An historical background of museums and their spread

from the mid-18th century onward.

- The major purposes of museums including acquisition of

collections, preservation and display.

- The educational functions of museums through some

perspectives.

- The difference between art and crafts including

different viewpoints and thoughts.

- Resources of art and crafts museums' collections

including the Saudi traditional crafts, works of Arabian

contemporary art and works of Islamic art.

- Training of personnel including two plans of training

inside the country and abroad. CHAPTER III

RESEARCH METHODOLOGY AND PROCEDURES

According to specific questions and objectives addressed in this study (pp. 11-12) and its limitations (pp. 16-17), it is clear that the researcher is involved in a descriptive method of research. Descriptive research is very appropriate for this study because it deals with cross-sectional information of museums' developments and connects them with current concepts and conditions in Saudi Arabia. C. D. Hopkins

(1976) gives more details of descriptive research as follows:

All educational questions which ask about the state or condition of what now exists require the strategy of description . . . Descriptive research deals with those questions that are based in the present state of affairs which have implications beyond the limits of the subjects, or other elements studied . . . Writers point out that all research is involved in describing . . . historical research describes the past, experimental research describes what has happened to certain variables given certain manipulation of other variables, and descriptive research explains the present through description of what now exists. (p. 78)

While Hopkins believes that all researches are involved in the descriptive method, some writers exclude some methods.

Isaac and Michael (1981) noted that, "Research authorities are not in agreement on what constitutes 'descriptive research' and often broaden the term to include all forms of research except historical and experimental" (p. 62).

83 84

For supporting the objectives of this study, it was necessary for the researcher to make a two-month field trip to

Saudi Arabia from December 8, 1985, to February 8, 1987.

During this period, more data were obtained through two sources or techniques: (1) observation, and (2) personal interviews.

Observation Technique

As a technique of gathering data, observation has been employed through different forms of research such as educational, descriptive, experimental, ethnographic, field work, and anthropology. Thus there are different types of observation available for many purposes and applications. Some of them are: participant observation, case study observation, contrived observation, continuous observation, and computer- assisted observation. But first, what is observation?

According to John Bollens and Dale Marshall (1973),

"Observation is a basic method in the social sciences. It involves watching what is going on, who is doing what to whom, where, when, and how" (p. 35). From this basic description, I was conducting my observation through actual cultural and social scenes for a specific period of time. Therefore, I was merely an observer at some scenes and a participant observer for other events.

Earl Babbie (1973) describes the participant observer as follows:

... He will attempt to collect the maximum amount of information. By immersing himself in the actual social 85

events in progress, he will be in a position to obtain a far greater depth of knowledge than is possible for, say, the content analyst or the experimenter, (p. 38)

Also, Walter Borg and Meredith Gall (1983) have noted that

"Observational method usually yields more accurate quantitative data than could be obtained by self-report" (p. 465). John

Johnson (1975) has remarked that, "All successfully completed

researches involve observations and records of observation"

(p. 181). Michael Walizer and Paul Wienir (1978) discussed

participant observation, its settings and forms, in some detail

as follows:

Like experimental or survey designs, participant obser­ vation is a set of data collection strategies. Most notably participant observation involves the collection of data in a "natural" or "field" setting by some degree of direct observation by the researcher. Field or natural settings are places and situations that are familiar to the subjects being observed. They are the setting in which people normally interact . . . Observation may take several forms. The forms vary on at least three dimensions: (1) degree of researcher's participation, (2) degree of disclosure to subjects, and (3) degree to which events and subjects are viewed directly by the researcher, (p. 333)

Observation is not merely recording what we see, but it is

an observation with perception of what we see and hear of

happenings of things before us. Drawing some factual

conclusions through observation seeks most of our senses

perceptively and appropriately. Paul Leedy (1985) describes

observation and connects it with truth in the following

statements :

All truth is not apprehended by means of studying past records. We l e a m some truth by studying, through observation, the events that are taking place in the world around us . . . Observation is much more than visual 85

beholding. We observe in so many ways and through varied channels; we see the happenings in the world around us, we probe through questionnaires, interviews, and inventories. We observe what others do, what they think, what they believe, prefer or aspire to. (pp. 132-133)

Sources of Observational Data

The researcher was observing objectively by writing field notes from watching and listening, and by gathering the available written materials about current conditions and events regarding art, crafts and museums. Data were obtained through the following sources:

- Current three museums in three cities.

- Three cultural institutions in Riyadh.

- Two collective art exhibits in Riyadh and Jeddah.

- Three private art galleries in three cities.

- One traditional antique market in Riyadh.

- Three daily newspapers from three cities.

- Informal conversations during social meetings and phone

calls.

The previous seven sources were necessary to establish a closer look of what is going on and how within a social and cultural content. Also, they helped the researcher to clarify the mainstream of attitudes, trends and concepts toward

specific issues addressed to this study (see next chapter for details). 87

Interviewing Technique

From questioning, we l e a m perpetually and naturally things to satisfy our basic needs and curiosity. Questioning is a single aspect of our interrelationships for obtaining more and new information. They could be verbal, written, or audio­ visual, in different settings, and for several purposes.

According to Felis Lopez (1975):

Since its origin as a journalistic technique, the interview has risen in respectability, if not in esteem, as it has been applied to a diversity of purposes and situations in human affairs. The interview is now an indispensable tool of physicians, lawyers, educators, social scientists, and business managers, (p. 3)

I chose the interview technique because it creates an

informal and social climate, with good interactions between both the interviewer and the interviewee. According to Hopkins

(1976):

The personal interview is a face-to-face meeting of a questioner and a responder, or an oral presentation of an opinion or attitude scale. In most cases, the interview is organized around a structure much like a mailed questionnaire. However, the interview has a number of advantages that stem from the personal contact of the direct meeting that the questionnaire lacks. (p. 149)

For the interview, questions represent a major and mutual

component besides an interviewer and interviewee for obtaining

some information on a certain topic. Therefore, many definitions of interviewing have been presented by different writers. Walter Bingham and Bruce Moore (1959) have defined

interviewing: "Interviewing is a conversation directed to a definite purpose other than satisfaction in the conversation

itself" (p. 3). Conversation is a wide term and has some 8 8 similarities of interview but the phrase "definite purpose" determines the difference. In the same project text, Bingham and Moore (1959) emphasized that.

The interview must be seen as a process of interaction between persons. It is essential, if one is to understand the interview, to consider both the interviewer and the interviewee in interaction. To consider either separately will lead to an incomplete and biased conceptualization, because it is in the interaction between the participants in the interview that its effects are produced. (p. 265)

Jack Douglas (1985) explains the above interaction through a social context of his creative interviewing:

Creative interviewing involves the use of many strategies and tactics of interaction, largely based on an under­ standing of friendly feelings and intimacy, to optimize cooperative, mutual disclosure and a creative search for mutual understanding. (p. 25)

Raymond Gordan (1980) also emphasized on the social context of the interview to facilitate the flow of certain types of information. He noted the following statements:

Successful interviewing is not the routine application of mechanical techniques. People do not respond, like Pavlov's dog, in a direct stimulus-response fashion. In human affairs, the respondent's understanding of a question as well as the willingness and ability to answer it depend to a large extent upon the large social context of the conversation. It depends on who asks who what question, when, where, and why. (p. 71)

Finally, I would like to present two definitions of interviewing as a form of communication between two persons for gathering data. First, Charles Stewart and William Cash (1974) have defined interviewing as "a process of dyadic communication with a predetermined and serious purpose designed to interchange behavior and usually involving the asking and answering of questions" (pp. 3-4). And because the term 89

"dyadic" is difficult to explain, Stewart and Cash gave more details as follows:

The dyad is a subset of interpersonal communication and is best characterized as face-to-face communication with pervasive feedback and in which the roles of speaker and listener are constantly shifting. All interviews are dyads, but not all dyads are interviews. (p. 4)

The latter statement excludes some forms of dyads as forms of interviews. These excluded forms are: (1) intimate interaction of families and close friends, (2) social conversation, (3) interrogation or examination, and (4) debates.

Second, Harriet Nathan (1986) has noted:

Two people talk to each other, but not in the give-and- take of conversation. One asks questions and the other answers. This is an interview, a form of communication and information-gathering whose origins lie in the beginnings of human gesture and speech. The interviewer questions the narrator because the latter knows, remembers, or understands information the interviewer wants or needs to hear. (p. 1)

Population and Samples

Since the ultimate goal of this study was structuring a framework for the development of art and crafts museums in

Saudi Arabia, it was very important to make interviews with certain relevant samples of population. These samples were derived from the following four categories:

1. Officials who work in current museums and other cultural foundations— to learn their present direction and goals for art and crafts museums, and what kind of support and assistance could be expected from the government. 90

2. Private collectors of art and crafts--to learn what

kinds of collections they have, and their importance, and do

they encourage establishing new museums and presenting

donations, or do they have another opinion.

3. Artists— to learn their enthusiasm of the idea, their

experience and future participation, such as donations of works

and educational programs.

4. Scholars such as writers and university faculty

members— to understand the mainstream scholarly background, the

cultural significance of museums for any nation, particularly

Saudi Arabia.

Sample Size

The total size of samples was 24 including 18 face-to-face

interviews and 5 mailed questionnaires. The following table

illustrates this size:

category # Population ffele Female Face-to mailed Total face Interview Questionnaire

1 officials 6 6 - 5 1 6

2 collectors 6 6 - 5 1 6

3 artists 6 3 3 5 1 6

4 scholars 6 4 2 3 3 6

Total Interviews 24 91

This small size of samples was expected at the first proposal of this study in 1986, and that was because of some

overlapping factors as follows:

- Generally, the concept of museums is still very young

among the Saudi society (10 years old), and so it is not

reliable to do a comprehensive survey research without

developing the basics of that concept.

- There was no official organized information of how many,

where and how to reach these categories of people

especially the artists and private collectors.

- Six of ten private collectors have received interviews

- Three of six questions were addressed to all categories

(see Appendix E).

- Using the observation technique as an other source of

obtaining data.

Structure of Questions

The questions of the interviews were derived from specific

questions addressed in this study within the Questions and

Objectives section, pp. 11-12. They were structured in a

format which were used for both face-to-face interview and

mailed questionnaire, and that because of three factors: (1)

busy schedule concerning some samples of population such as the

officials, (2) access difficulty concerning the female samples

because of the conservative social traditions, and (3) shortage 92 of time concerning the research field trip which should cover three cities in a two-month period.

On the other hand, using more than one technique of gathering data is not a shortcoming of the research, but it adds more strength and reliability to its formation. Babbie

(1973) noted that, "The best social research format is usually one that involves the use of different methods focused on the same topic" (p. 38). Also, using the same format of questions for interviewing and the mailed questionnaire is an appropriate and complementary technique. Raymond Gorden (1980) described using both interviewing and questionnaire as follows:

Both the interview and the questionnaire have advantages under certain circumstances, but frequently they are used as complementary instruments. Both may be used to collect related data, or the interview may be used as an exploratory tool in building a valid questionnaire or as an evaluative tool after the data have been collected by questionnaire . . . all of the basic diagnostic concepts regarding the inhibitors and facilitators of communication and most of the tools described under the headings of strategy, tactics, and techniques are applicable to the design and administration of a questionnaire, as well as to interviewing. (p. 64)

The structure of the questions is simplified in order to read and respond to the general problem rather than divergent details. It is brief but includes the intended purpose of obtaining pertinent information. It consists of six open-ended questions which addressed the previous samples of the population. The first three questions are different for each sample to meet the differences of professions and backgrounds.

The other three questions are specified and standard to all samples as key questions to solve some parts of the research 93 problems. Therefore, we have a general structure consisting of fifteen different open-ended questions for the interviewing technique.

The questions were ordered and organized in four pages with each page including six questions addressed to a certain sample. At the bottom of each page there is an expositive note regarding what works should be included in the proposed museums. This note was to help both the interviewee— who preferred to see the questions in advance— and the questionnaire's respondent to distinguish between the proposed museums and the current museums of archaeology and ethnography in the Kingdom.

Also, concerning the above two types of samples, there was an introductory letter attached to the questionnaire. This letter includes two mailing addresses for the convenience of the questionnaire's respondents. An official letter was issued from the General Administration for Staff and Personnel Affairs at King Baud University for supporting the researcher in obtaining the data for his research, and to be presented if needed. (See Appendix E for the interview questions in English and Arabic plus the two introductory letters.)

Sequencing and Relationships Among the Questions

Referring to the previous format of questions' structure, we could see a logical intended sequence starting with general

information and ending with specific points. It is a logical 94 sequence because we cannot ask about the expected problems of museums without a precedent concept about them. If we did that, the interviewee would be stunned and the interview will be lost. Whatever the question, it is important that it be addressed within a logical sequence to meet the general objectives of obtaining more reliable data. Our questions' sequence may refer to what is called a funnel sequence.

Walizer and Wienir (1978) noted that the funnel sequence is:

To ask questions which "funnel" the respondents' answers from very general issues to very specific points. The funneling procedure starts at a very general level and, with subsequent probing questions, gets increasingly more specific. (p. 288)

Also, for our questions format it was not wise to ask the respondent what kind of support he/she can offer for the museums before knowing his/her support of the whole idea and why. In this case, the relationship and sequence of the questions was not just logical, but it was a matter of required tactic for the natural flow of intended information.

Practically, an interview without tactical patterns could be turned into a divergent normal conversation with no purposes in mind. Gorden (1980) noted that:

Techniques can be classified in isolation from the larger context of the interview, while tactics are the patterns or sequences of questions as they related to the progress of the interview as a whole. Thus, each question or statement by the interviewer has a technical form in itself and is part of a larger tactical pattern, (p. 275)

Our questions' structure could be seen in two patterns of sequence. First, there is one major sequence for maximizing intended information from all respondents through 95 the last three mutual questions and the first general one.

Second, there is a varied sequence through the first three questions to meet the nature of differences of each sample group and their relationship to the issue. Gorden (1980) discussed these two cases as follows;

In some cases, it is quite clear that one sequence of topics is better for maximizing the flow of information and maintaining optimum interpersonal relations than another, and that this optimum sequence would be the same for all respondents. In other cases, it may be apparent that the optimum sequence varies from respondent to respondent, depending upon the nature of each respondent's particular relationship to the topic of his particular experience. (pp. 352-353)

Generally, both sequencing and relationships among questions are very important for an effective communication.

They reduce the bias of information, increase the consistency of interview as a whole and the responses in particular.

Finally, they facilitate understanding the objectives of the interview and contribute to the natural flow of information.

Responses' Translation and Interpretation

As an Arabian, the researcher did his best to be a good translator of responses from Arabic language into English.

However, realizing that knowledge of the two languages is the least prerequisite for such translation, the researcher referred to other sources for help for this purpose. Following are some of these sources :

1. Dictionaries of both Arabic and English.

2. Lexicons of both languages. 96

3. Manuals for translation instructions.

Barzun and Graff (1977) have noted some duties of the translator as follows:

He must thoroughly understand the meaning of the words in his original— not their general purport, but their precise meaning. The researcher in his guise of translator must once again be a critical reader of words, a haggler over shades of meaning. (p. 270)

Through the process of translation, the responses were interpreted according to their comprehensive contents and the full concept that goes with them. Interpreting word by word or what is called "literalism" was avoided because it creates a loss of the original meaning of someone's thought. Instead of literalism, a rewording process of what the original means was followed, and this process is called "paraphrase." According to Barzun and Graff (1977):

It is almost impossible to translate a sentence without paraphrasing . . . in translating from a foreign language, what is loosely called paraphrasing is the only wording that deserves to be called a translation, no other being possible. To put into English each word separately would be to write nonsense. Take it as an absolute rule that translation occurs not between words but between meanings, (p. 273) CHAPTER IV

ANALYSIS OF DATA

Analysis of Observational Data

This section reports the general field notes of the observation's seven sources (see page 86), by using the technique of content analysis in order to present a qualitative and quantitative description of specific current conditions.

About content analysis, Walter Borg (1983) wrote:

Content analysis is a research technique for the objective, systematic, and quantitative description of the manifest of communication. The raw material for the research worker using the content-analysis technique may be any form of communication, usually written materials. Textbooks, newspapers, magazines, and advertisements are but a few of the sources available. Content analysis is often used in conjunction with observational studies. (pp. 511-512)

Three Current Museums

The first source of obtaining the observational data was achieved by making visits to three current museums :

(1) The Museum of Archaeology and Ethnography in Riyadh,

(2) The Museum of Archaeology and Ethnography in Dammam, and (3) Museum of Abdul-Raouf Khalil in Jeddah.

The Museum of Archaeology and Ethnography in Riyadh

The Museum of Riyadh is mainly devoted to the archaeological discoveries of Saudi Arabia and was opened in

97 98

1979. The main building— which was designed as a private residence— consists of two floors. The second floor was prepared for the administrative staff of The Department of

Antiquities and Museums. The first floor was divided and prepared to house the collections within twelve small and medium size rooms. These rooms include, respectively, objects related to the following topics:

General Introduction to the Kingdom's Archaeology.

The Stone Age of Saudi Arabia.

The Rock Carvings of Saudi Arabia.

The Ubaid Period in the Eastern Region.

Towards Civilization.

Arabia's Influence Beyond the Peninsula.

The Development of Writing and Arabian Scripts.

The Age of Trade.

The Horizons Widen.

The Emergence of the Arabs.

The Impact of the Overland Trade Routes.

After the Revelation (Islamic Sights).

The passages between the rooms was designed to lead the visitor from the entrance to the exit without an open space between. The display of objects is very well organized and comfortable in viewing, but the color of the floor and walls is dark and the light is dim in most of the rooms. There are no audio aids, and so the visitor has to watch and read what is written on labels and diagrams. There is one multi-screen 99 audio-visual display for the pre-Islamic history of the

Kingdom. The admission to the museum is free, and is open to the public from 8:00 AM to 3:00 PM Saturday through

Wednesday, and closed during the weekend (Thursday and Friday).

Four small buildings surround the main building of the museum, but they have no connection with it in regard to the architectural organization and the general view of the whole complex. They include (1) a photography lab; (2) designer's office; (3) a small library with some historical, traditional and archaeological references in Arabic and English; and (4) three connected rooms include very limited collections of local traditional crafts and the full collection of currencies and mail stamps of the Kingdom. In addition to these buildings, there is an Arabian black tent erected in front of the main building that includes pieces of the bedouins' daily use of tools and crafts.

There is no supplemental information about the Riyadh

Museum such as brochures, photographs and slides, but there is a handbook for sale (48 pages, in Arabic and English). This handbook describes historically the previous twelve topics, but it mentions nothing about the museum and its objectives, the visitors, the opening hours, the library and the small annex of traditional crafts. 100

The Museum of Archaeology and Ethnography in Dammam

The second museum is the one in Dammam which is mainly devoted to the archaeological discoveries and traditional crafts of the Eastern Province of the Kingdom. It is a very small museum and occupies one floor of a six-story governmental building. The floor is divided into five parts, three of them for the archaeological section which has been organized very well, and the other two parts for the crafts section which is very crowded because of lack of space. Both sections together house almost 300 pieces including the small pieces of jewelry and the big pieces of crafts, but half of them need documentation and labeling. There is not any sort of information about the museum and its objectives, and there is no security system except the supervision of the director and his assistant, closing the door at 3:00 PM, and one watchman for the whole building.

In its current condition, the Museum of Dammam could be characterized as a temporary display like a small gallery because it lacks the necessary basic facilities and services of any formal museum. But, according to the Fourth Development

Plan of the Kingdom (1985-1990), this display will be considered one of five regional museums across the country which will be devoted to archaeological discoveries and traditional crafts of their regions. These museums will be constructed in Jeddah, Abha, Hail, Taif and Dammam. Also, the

Riyadh Museum will be the national museum of the country. 101

The previous two museums of Riyadh and Dammam are

subordinate to the Ministry of Education through the

supervision of the Department of Antiquities and Museums even

though there is no intention of doing or creating any kind of

educational programs because of a lack of museum educators and

trained public relations personnel. In addition, the

researcher has noticed that most of the current administrative

staff still recognize these museums as governmental departments

that have nothing to do with education. Also, there is no kind

of advertising through mass media aimed at the general public

who might want to visit these museums, and no information is

available to tell them what is there.

So, it is clear that the relation between these museums and the public is almost an isolated one with the exception of

few schools' annual visits and few daily visitors. Schools have no obligation nor do they express much interest in visiting the current museums, but when it happens it comes as a

result of the art teacher's effort and the principal's acceptance to do so. Most people also have no interest in visiting the current museums; but when some of them do, they are motivated by their own curiosity for viewing something new, or because of some relevant educational backgrounds.

Museum of Abdul-Raouf Khalil in Jeddah

The third museum which has been observed is Museum of

Abdul-Raouf Khalil for Human Cultural Heritage in Jeddah (see 102 p. 15 for some details). This museum was opened in October,

1985, with a collection of more than 13,000 pieces of art and crafts from different historical eras. It consists of six main buildings representing the Mosque, Castle Facade,

Saudi Heritage House, Islamic Heritage House, World Heritage

House, and General Heritage Exhibition. These buildings are connected with each other by outside and inside narrow paths and stairways, and include 57 galleries of different dimensions. Most of these galleries were built and decorated in a style similar to the original environment of the objects, especially the galleries of Saudi, Islamic and European Houses.

Some of the other galleries are small and can accommodate only

5-7 visitors at once, while the rest of the galleries are very crowded with general objects because of lack of space and good organization.

From the pre-Islamic era, the museum contains hundreds of collections of art of different ages and civilizations as follows :

• The Stone Age

« Chalcolithic Age

• The Akkad Sumerian Art

• The Ancient Egyptian Art

• The Ancient Arabian Art

' Southern Part of the Arabian Peninsula

• The Assyrian Art

• The Chaldean or Neo Babylonian Art 103

The Persian Art

The Utyroskian Art

The Greek Art

The Roman Art

The Chinese Art

The Indian Art

The Japanese Art

The Sassanid Art

The Byzantine Art

The Coptic Art

Also, the museum houses a great treasury of Islamic art from the 7th century of the Omayyid period to the 19th century including collections of the following styles:

» The Omayyid Style 661-750

• The Abbasid Style 750-1258

• The Fatimid Style 969-1171

• The Ayyobid Style 1168-1250

" The Mameluke Style 1252-1517

• The Ottoman Turkish Style 1517-1917

• The Seljuk Style 1037-1194

• The Mogul Style 1526-1857

• The Spanish, Moorish Style 712-1492

• The Safavids Style 1502-1736

The previous types of arts and styles include works of:

• Calligraphy

' Miniature Paintings 104

Engraving

Gilding and Bookbinding

Wood Carving

Ivory and Bone Carving

Metal Works and Arms

Trinketry and Ornament Materials

Earthenware and Porcelain

Glass and Crystal

Weaving

Carpets

Stone, Gypsum and Marble Engraving

Oil Paintings

The above three lists of information were drawn from the museum's guide which consists of 100 pages for both Arabic and

English languages. It has an introduction, the owner's story of collecting art and crafts, description of the museum's divisions, directions for the visitors, obligatory

instructions, and eighteen plans of the museum's galleries.

The obligatory instructions are twelve points, but what

surprised the researcher is numbers 5, 7, 8 and 11 which said:

- Inside the furnished Museum galleries, it is not allowed to wear shoes or sandals.

- Individuals above twelve (12) are allowed to visit the Museum.

- The Museum Management reserves the right to search the visitors, if it deemed it necessary.

- The Museum should not be held responsible for the receipt of any kind of deposits, and the visitor should leave his belongings outside the Museum boundary. 105

Also, the opening hours are confusing because of applying the policy of sex segregation :

Saturday 9-12 for Ladies Tuesday 5-8 for Men Wednesday

Thursday morning and Friday evening for families Sunday

Monday: Closed

Fifteen months after its opening, the researcher noticed that Khalil Museum is still isolated from the public with the exception of a few daily visitors. This isolation may refer to:

- Rigid instructions and inconvenient opening hours.

- Lack of advertising.

- High cost of admission (50 S.R. per person ($13) and 100

S.R. for a family).

- Lack of administrative staff, trained personnel, and

public relations.

- Lack of educational and social connections between the

museum and the other related institutions.

- Lack of a library and research center.

- Lack of attractive and entertaining facilities.

Despite these shortages and limitations, we can say that

Khalil Museum is a unique phenomenon in the Arab world and in 106

Saudi Arabia in particular. It is unique because it was established "by one man, at a cost of $35 million, including 33 years of purchasing the collection and 10 consecutive years of construction. It is unique because it was built during the critical period of socioeconomic transition of the country,

1970-1985, where most people and businessmen were involved in investing in real estate and in corporations' financial shares. Also, it is unique because it houses works of almost all ages and that is very rare in the Arabian museums.

Finally, it is unique in its architectural constituents which combine both local and Islamic styles in one noticeable building (see the cover of Appendix D for a general view of the museum).

The only connection between this and the previous three museums is what they have of collections of local traditional crafts and Islamic art from which the nation can create the bases of the prospective more substantive public art and crafts museums. Creating effective public museums in Saudi Arabia means a lot of things need to be done (see next chapter for details), and many important public services have to be presented such as the educational programs which do not exist yet in current museums. Because of that, and to meet the general objectives of this study, the researcher has developed a special model of educational programs for Saudi art and crafts museums at the end of Chapter V. 107

Three Cultural Institutions

The second source of collecting the observation data was visits to (1) King Faisal Center for Research and Islamic

Studies in Riyadh, (2) Department of Educational and Cultural

Affairs at the National Guard, and (3) King Abdul Aziz

Foundation in Riyadh.

King Faisal Center for Research and Islamic Studies

The King Faisal Center was established in 1983 as a part of the private philanthropic King Faisal Foundation which was established by eight sons of the King in 1975. The center is located within the headquarters of the foundation and includes the following m o d e m and very well-organized units:

- A main computerized library uses the compact system of automatic rotating shelves, and includes references about Islamic studies such as Islamic education, manuscripts, orientalists, works on the Islamic world, Muslim minorities, Saudi authors and publishers, and other related subjects.

- A manuscript library contains a large number of Islamic original and photographed manuscripts of various periods and some catalogues of manuscripts found in several parts of the world.

- An audio-visual library provides information about the Islamic world culturally and scientifically in addition to the center's activities.

- A children's library has a large collection of children's books, audio-visual aids, and computer educational programs.

- Two lecture halls (auditoriums) are fully equipped with the m o d e m audio-visual aids and simultaneous translation.

- Four specialized labs for manuscripts restoration, printing, binding, and photography. 108

- Two exhibition halls are very well designed and furnished for displaying works of Islamic art and manuscripts.

- King Faisal Memorial Hall contains what he had received of numerous presents and awards on different occasions, some of the King's personal stuff and a small collection of Saudi traditional crafts of weapons and households.

In addition to these units, the Center has a number of halls for research circles, seminars, meetings and administrative offices. All these units and facilities were designed and prepared to achieve the general objectives of the

Center and to meet its functions which emphasize serving various aspects of Islamic civilization. Some of the Center's objectives and functions as published in English are:

Objectives:

- To expound the role of the Islamic civilization and its contributions to humanity in the various fields and to define the main characteristics which distinguished it from other civilizations throughout history.

- To participate in meeting the needs of Islamic countries by enabling groups of young Muslims to specialize in the various fields of Islamic civilization, and ly training them in the use of proper research methods and techniques through training courses, seminars and conferences.

- To acquire the largest possible number of manuscript fascimiles, books, documents and periodicals, especially those pertaining to Islamic civilization, in order to enrich the library and documentation section of the Center, and make them a focus of attraction for researchers and scholars.

Functions :

Build up a large library and archives collection for the Center by procuring the largest number possible copies of manuscripts, books, scientific magazines and periodicals. Of particular concern to the Center are publications dealing with Islamic civilization. 109

- Develop and use m o d e m technology for document control and storage, such as microfilm and microfiche. This will assist and facilitate communications with other research centers and universities.

- To cooperate in the exchange of research materials, documents and copies of original manuscripts with research centers and universities both within the Kingdom and abroad.

- Carry out restoration of rare Islamic manuscripts, to preserve them in the best way possible, and to train people in restoration and preservation techniques.

- To promote exhibits of materials belonging to the Center both within the Kingdom and internationally in order to fully reveal and document the comprehensive universalist nature of Islamic civilization.

- Conduct seminars, lectures and study groups which may benefit Islamic civilization and man's knowledge in general.

- Help preserve the Islamic heritage in its various fields by developing a comprehensive index of materials, by identifying and classifying them systematically so as to facilitate the work of specialist researchers and scholars of Islamic sciences, Arabic literature and languages, and social sciences.

The above objectives and functions have been performed practically in various forms of activities by the Center and with the cooperation of some local and international cultural institutions. Some of the activities relevant to this study's concerns are the consecutive Islamic art exhibitions and the presentation of lectures and documented publications about

them. Three exhibitions have been held to date as follows;

The first exhibition was held in Riyadh for two months

from February 11 to April 10, 1985, and then held in Jeddah for

two months. It was entitled "The Unity of Islamic Art," and

included more than 200 original rare pieces representing works 110

of calligraphy and ornamentation, calligraphers' tools,

architecture and decoration, metal works, ceramic, glass,

weaving, ivory, jewelry and gems. In addition to the Center,

the exhibition was sponsored by Ahuan Islamic Art in London,

Arab American Oil Company (ARAMCO), Mobil Oil Corporation,

Saudi Airlines, and three Saudi collectors. The exhibition by

itself was a big artistic event in the country because it was

the first of its kind and well covered by mass media. Also,

the Center published and distributed a large number of colorful brochures in both Arabic and English■languages and a special

colorful brochure of metal works (27 pieces) which belong to

Nuhad Es-Said and displayed for the first time in the Arab

world. Furthermore, the Center published a comprehensive

catalog (210 pages in full color) in two separate editions for

Arabic and English languages. The catalog's text was written by Oliver Hoare, the director of Ahuan Islamic Art in London,

who explained in detail historic and artistic information about

182 pieces, but without mentioning most of the possessors. The

introduction was written by Esin Atil, former curator of the

Freer Gallery of Art in Washington, D.C., who discussed the unity of Islamic art as a serious controversial issue among the historians and the academics. Atil sees that the rise of Islam

and its universal doctrine and the influence of Arabic language

on other cultures created that unity which was clear at that

time through the Arabic calligraphy, symbolism and

corresponding design. Ill

The second exhibition was held in Riyadh during the first

three months of 1987, and called "The Arabic Calligraphy

through the Islamic Manuscripts." It was an overwhelming

experience for the researcher to witness such an exhibition in

his country. The exhibition was described by the press and a

number of intellectuals as the first one of its kind in the

Kingdom because it included more than 225 original manuscripts

from different periods of Islamic civilization and was

introduced and documented by Arab scholars. The manuscripts

contained works of the Holy Quran; scientific; literary and

religious books; historical documents and letters; and a small number of miniatures. Most of these works were in good

condition, while some of them were restored at the advanced

technological lab of the Center which was founded primarily for

manuscripts restoration. The restored works were displayed in

a nearby special gallery with a complete written description

including examples of before and after the technical processes

of restoration.

The Center has published a colorful catalog (254 pages) in

two separate editions, for Arabic and English languages, and distributed free during the opening day which usually attracts a large audience and reporters. The introduction of this catalog was written by Hamad Al-Jasser, "a famous Saudi historian and literate," who discussed the historical and

cultural importance of the manuscripts as well as their preservation and display to the public and researchers in such 112

an organized exhibition. The catalog's text was written by a

number of Saudi and Arab scholars and collectors who also

participated in organizing the exhibition. Besides the

commentaries on seventy photographed works and three indexes of

the manuscripts' titles, authors and calligraphers, the text

includes twelve topics, some of which are:

^ The Art of Arabic Calligraphy and Its Types.

» Illiteracy and Writing.

" Names of Calligraphies and Their Organization.

- Definition of Calligraphies' Types.

• The Meanings of Calligraphies' Names in Arabic Language.

'• The Recordation and Copying.

" Negligence of Manuscripts.

During his visit and personal interviews, the researcher has learned that King Faisal Center is planning to hold in the near future four more exhibitions about Islamic Silverworks,

The Mamluks Manuscripts of the Holy Quran (1250-1517), Sciences and Islamic civilization and the Art of Islamic bookbinding.

The exhibition of Islamic Silverworks was held in Riyadh June

15th through August, 1988, and included 784 pieces belonging to

the Arabian collector Saad Al-Jaader. These pieces were

collected from different parts of the Arab and Islamic nations

and represent various styles of silver's technique and ornamentation through works of silverware, jewelry, daggers, belts, jars, mirrors, baskets, and small boxes (this 113 information was derived from the daily newspaper Asharq A1-

Awsat, issue 3488, June 15, 1988, and translated into English by the researcher).

Educationally, holding and sponsoring this series of

Islamic art exhibitions will help create positive effects on people's attitudes toward art appreciation and education, especially among students, parents and officials. Technically, it will enhance the local experience in organizing, displaying and documenting art and crafts works as well as their acquisition and preservation. Both points correspond with the general objectives of this study which creates a relevant connection between it and some specific functions of the

Center.

Department of Educational and Cultural Affairs

The second cultural institution of the researcher's observation was the Department of Cultural and Educational

Affairs of the National Guard in Riyadh. The observational data of this part were obtained through review of a number of publications about the cultural activities of the Department

(various issues of The National Guard and Al-Jeel magazines, and some brochures). Since 1975, the National Guard used to arrange an annual camel race as a part of its cultural concerns. After a decade, the race was developed into an annual National Festival of Heritage and Culture so that now the Department has more cultural responsibilities than before. 114

The festival has been held four times (1985 through 1988) during the last two weeks of March in the area of Janadriya,

45 kilometers (28 miles) northeast of Riyadh, and included various cultural and traditional forms of the following activities:

- Display of Saudi contemporary art including a display of

children drawings and works of photography.

- Display of traditional crafts of different regions.

- Traditional workshops of crafts.

- Slideshows of traditional crafts.

- Performance of folk dances and music.

- Performance of folk games and some aspects of

traditional way of life such as in education and

farming.

- Lectures and symposiums on Arabic poetry and literature,

modernization and cultural heritage, preservation of

Arab folk traditions, the cultural history of the

Arabian Peninsula, the Arabic calligraphy and other

rela ted topics.

- A book fair.

- Falconry exhibitions.

- Camel races-

Besides the numerous commendatory writings and opinions, the festival has been mildly criticized concerning its general organization and preparation, location, public services and formality. Also, it has been criticized for lack of space and 115

the crowded display of art, crafts and folk market objects, and

lack of guides, labels and signs (through many issues of daily

local newspapers and the catalogues of the previous three

festivals of 1985, 1986 and 1987). Furthermore, the Department has received many suggestions from the visitors about the general development of the festival, and the researcher has

translated some of them from the catalogue of the first

festival in 1985, p. 45, as follows:

- Developing the festival into a complete local village

including the traditional buildings and their household

crafts.

- Extending the time of the festival into one month, and

the current opening hours (4-11 PM) to include the

morning hours.

- Establishing a permanent display of crafts at the

festival ground.

- The buildings should be constructed of the traditional

mud bricks instead of cement bricks besides using the

other constructive materials of the local environment.

- Making a public auction of traditional crafts during the

festival to encourage collecting as a hobby, especially

among young people.

- Making a proper admission to the festival to help in the

maintenance and creating more facilities.

It seems that previous critiques and suggestions helped

the officials in the National Guard to rethink and do something 116 better and bigger about the festival. This has developed into establishing a permanent village. The Heritage and Folk Culture

Village, in the same location. The village project (2x3 kilometers) is designed in the form of the Arabian Peninsula map including a design of waterways of the Arabian Gulf,

Arabian Sea and the Red Sea, and should be completed in 1992.

It includes similar designs to the traditional architecture of the fifteen approved regions of the country plus the member states of the Gulf Co-operation Council (Oman, United Arab

Emirates, Qater, Bahrain and Kuwait). Each region occupies a land of 150 X 150 meters for its construction and facilities, and the vacant areas are linked by the project's general service network and recreational centers.

The village, when completed, is expected to be an important center for the demonstration of most of the Arabian

Peninsula's crafts and folk culture of this century, and to link the gap between the old and young generations. Therefore, the village project has some objectives which may reflect the concerns of officials toward cultural affairs. The following objectives were issued in the third festival booklet (English edition) in March, 1987;

• To emphasize the importance of heritage and the need for its revival, preservation and protection from the corruptive influential elements of m o d e m civilization.

• To emphasize and clarify the very close rapport between heritage and cultural growth and the role they both play in the making of human civilization. 117

To present the glorious, distinctive and bright traits of heritage, culture and the historic depths of our arts. Also, to show and present the ceaseless efforts and the unrelenting struggle of our ancestors in the march of life, and their great past achievements the fruition of which is our present progress. Moreover, to link our ancestors' noble devotion to their heritage in the past with our happy prosperous present.

To promote the innate abilities and talents of the youth, who are growing in a period of dramatic expansion, by developing cognizance with their past and make them realize that it is their heritage that constitutes the manured and fertile ground for the growth of their cultural, educational and technical abilities and development plans.

To provide a cultural and recreational centre for the inhabitants of Riyadh; thus the project is designed to include in addition to heritage and folk culture riches, general services facilities, cultural and recreational centres.

To display the variety of lyrics and folk arts. Also to portray, by video films, the general aspects of the kingdom.

To exhibit Saudi art in all its forms whether paintings, photographs, books, poems, articles, a piece of jewelery, pottery or woodwork and all other words that reflect our heritage which continues to give our culture its sense of identity and purpose.

The regions pavilions shall exhibit the "Old Folk Market", masoning old techniques and agricultural methods, clay industry. Nomads wool houses and pounding and sifting techniques; festive occasions performing traditional dances and chivalry. All this is demonstrated in the best manner that portrays the past and make us see our ancestors creating the present.

King Abdul Aziz Foundation

The third cultural institution observed is King Abdul

Aziz Foundation in Riyadh, which was established in 1972 as a glorification of King Abdul Aziz (1876-1953) the founder of Saudi Arabia. The foundation is recognized as an 118 independent institution with a private annual budget from the government, but submitted to the Minister of Education and it accepts public financial grants and related objects. The main objective of the foundation is preserving and documenting the country's history since the first rule of Al-Saud in 1745 and, in particular. King Abdul Aziz's period. This objective covers the interest of tales, narratives, poems, manuscripts, national and official documents, foreign publications, and the historical sights of various events. It also covers the interest of the country's foreign relations through acquisition or copying the original official documents and correspondences of that period and to make them available— as much as possible--for researchers and scholars. The objective has led the foundation to publish more than thirty historical books in

Arabic, and to acquire the following documents and manuscripts:

- 4,000 Turkish documents have been translated into

Arabic, summarized, categorized, indexed and filed.

- 135 files of foreign documents from England and India

have been translated into Arabic, summarized,

categorized and recorded on 180 reels of microfilm.

- 936 documents from the Arabian countries have been

categorized, indexed and filed.

- 675 Arabian manuscripts, some are original and the

others are recorded on microfilm. 119

The organizational structure of the foundation involves a number of specialized and administrative units, some of which are;

- A main library: consists of more than 20,000 books in

different languages about the Arabian Peninsula's

history, culture, literature and the same interest

concerning the Arabian and Islamic nations.

- King Abdul Aziz private library: comprises 1,551

volumes about the same interests outlined above and

includes a rare collection on Islam, politics,

international law, militarism, medicine, economics and

horsemanship. Also, it includes the King's desk which

had been presented as a gift in 1950 by Harry S. Truman,

the 33rd president of the United States.

- King Abdul Aziz Memorial Hall: houses the King's

personal belongings and two of his private cars plus a

collection of traditional crafts, arms, coins and

stamps. It houses a number of maps and diagrams

representing the reunification of the Kingdom from 1902

to 1932.

- A photography unit: includes five labs for photography,

cinematography, microfilm, TV recording and audio

recording.

- Other units: comprise research and publication,

translation, press and bookbinding, exchange and 120

donation, communication and services, financial affairs

and administrative affairs.

On the other hand, the foundation has a number of interests concerning its cultural activities and participations, some of which are:

- Issuance of a quarterly magazine called Al-Darah which

deals scientifically with issues and researches related

to the cultural heritage of the Arab and Islamic nations

besides covering national and international scientific

and cultural events.

- Presenting a series of lectures involving social,

historical and religious topics.

- Presenting two annual awards ($2,000 each) on specific

topics for young Saudi researchers including the history

of Al-Saud's rule and their achievements.

- Sponsoring and publishing a number of books related to

the foundation's concerns, such as: The Historical

Atlas of Saudi Rule by Abrahim Geommah; The Literary

Prose in Saudi Arabia by Mohammed Al-Shamic; The City of

Riyadh, A Historical and Geographical Study by Mohammed

Al-Sharief; and The Popular Proverbs in Najed by

Mohammed Al-Abudy.

- The foundation is the official representative of the

Kingdom at the International Council of Archives

established in 1950 in Brussels, and has

participated in some international and regional 121

meetings: Italy 1972, Libya 1975, U.S. 1976, Jordan

1980, and England in 1980.

- Participation of some researches and objects for display

within the following events:

• The Ninth and Tenth Seminars of Middle East Studies in

London, 1975 and 1976.

" The Festival of Islamic Art in London, 1976.

» The First International Seminar of the Arabian

Peninsula Studies in Riyadh, 1977.

• A seminar about the historical studies of the Arabian

Peninsula's Eastern Region in Qatar, 1977.

» The Third International Seminar of the Arabian Gulf

Studies Center in Iraq, 1978.

The previous information was obtained during the author's visit to the foundation and through a review of its guidebook (80 pages in Arabic). The guidebook was published in

1981, and therefore does not include the updated activities and development. This is one of the many problems among most of the governmental cultural institutions. It is a problem because people have nothing readily available to look at or to read while these institutions have their own publication facilities or have the accessibility to do so. It is a problem, also, because of the lack of effective strategies during the process of implementing and achieving the stated objectives while there are many specialists and advisors. 122

Another common problem among some cultural institutions is the small temporary buildings used as headquarters which lack space, landscaping and architectural organization. For instance, since 1972 the King Abdul Aziz Foundation has moved twice into two residential buildings, and yet there is no plan to establish its own building which should meet its functions and serve people effectively.

Two Collective Art Exhibits

The third source of obtaining the observational data was attending two collective art exhibits in Riyadh and Jeddah on

December 1986 and January 1987, respectively. The one in

Riyadh was the Third Exhibit of the Kingdom's Artists and included works of painting, drawing and ceramics of 65 participants, twenty percent of which were females. The ages of the participants were between 20s and 40s representing art amateurs, art students, art teachers and the leading artists. Therefore, the works' artistic quality was divergent, from rich to poor values according to the personal experience and educational background of each participant. In other words, some of the works are qualified to be displayed in a public art museum and other works were representing ambitious experiences of creating art, and the rest were just attempts at personal expression. The subject matters were also various, from local traditional themes to still life and abstracts through different art trends and techniques, but there was nothing new 123 or critical. Most of the works were for sale ($150-$1,500) and a few were for display only.

The exhibit was held at the "small" Cultural Center of the

General Presidency of Youth Welfare, and was opened by a high ranking official who usually attracts a large number of visitors and the local press reporters; but, during one hour, the crowd was gone and some of the attendant artists left for their hotel and dinner where informal discussions of different mutual concerns took place (see pp.138-139) for more details). To this point, the great attention of the exhibit had ended and there was no gallery talk, open seminar or a lecture during the two-week period of reception. What was there was a free colorful catalog (65 pages) which includes:

(1) two articles [11 pages] about schools of m o d e m art and art criticism, (2) 48 photographs from the displayed works, and (3) biographical information of 46 artists. The unusual thing in producing the catalogue was the inclusion of two artistic articles instead of the common introductory official statements; and the usual thing was repeating the biographical information without any analysis of the artists' works or styles.

The most unsatisfactory thing was the place of the exhibit and its arrangement at the Cultural Center where there was no special gallery or even large adequate space for such a display. This problem has happened in many previous collective 124 exhibits because of the shortage of professional art galleries whether they are governmental or private.

On the other hand, the collective exhibit in Jeddah was in better form than the Riyadh exhibit in terms of place, organization and the closeness of qualities of art works, and that may refer to the following:

- A private ownership of the gallery (Rochan Gallery).

- An adequately-equipped space (for the displayed works of

36 pieces of oil painting, watercolor, pastel and

plaster).

- Fewer participants (four artists from the second

generation, see pp. 58-62 for more details).

- A display of recent "latest" works (which usually do not

appear at the local collective exhibits on a national

range).

- A greater involvement of the artists in the arrangement

of the exhibit such as paying a special fee to the

gallery, updating the biographical information and their

frequent supervision.

In spite of the above positive points, the exhibit was held and ended like any other previous art exhibit in the country. It was so because there was no more than a display of works for two weeks, an opening reception and the publication of a catalogue. The educational approaches and other channels of communication with and for the sake of the public are still missing among the Saudi art exhibits during the last two 125

decades with the exception of some discontinuous attempts. The

problem here is lack of a comprehensive understanding of the

educational and cultural benefits which can be offered through

the individual or collective art exhibits. This problem may

refer directly to art authorities, artists and organizers of

art exhibits, but the main cause lies in the absence of some

directorial "effective" instructions towards arts during the

modern socioeconomic transition of the country. This absence has reflected directly or indirectly on formulating the

educational concept of art exhibits through the curriculums of

public education and art institutions. Some examples that may

explain the situation are:

- There is no obligation or encouragement for public

schools in regard to visits to art exhibits.

- There is no obligation or encouragement from the parents

towards their children in regard to visits to art

exhibits, and so it is rare to see a child under the age

of fifteen at an art exhibit.

- There is no single course that deals with educational

concepts and functions of the art exhibit at current art

education departments.

- There is no enthusiasm among the artists for presenting

gallery talks or lectures explaining their works and

experiences, and there is no encouragement from the

officials to do so. 126

- The private galleries have no obligation to cooperate

with the artists or to invite scholars for presenting

art dialogues, open seminars or lectures, and the

current official viewpoint does not encourage that

generally, and does not allow it to happen "publicly"

among men and women.

- There are no adequate educational publications or

supplemental aids of art works such as brochures,

reproductions, postcards, posters, slides and

videotapes.

Three Private Art Galleries in Three Cities

The fourth source of obtaining the observational data were visits to three private art galleries and they are: (1) The

Saudi Arts House in Riyadh, (2) Rochan Gallery in Jeddah, and

(3) The Arabian Heritage Gallery in Al-Khubar "Dammam area."

The Saudi Arts House

The Saudi Arts House was founded in the early '70s by

Mohamed Al-Saleem (see Appendix F for biographical information) who began with a small shop for selling art materials and equipment. Now it is located on a major street in Riyadh and comprises five administrative personnel, a section for selling art materials, a section for framing services and a gallery called "The International Gallery of Plastic Arts." The name of the gallery is merely a title, and has nothing to do 127 practically with the meaning of the word "international" in regard to the general technical standards, facilities and activities. The current condition of the gallery and its design (a circular passageway of four meters width and low ceiling) cannot accommodate more than 25 pieces of middle-size painting, and so it could be seen as a local gallery which needs a lot of technical preparations and expansion of space to become a national gallery. But since the entire Saudi Arts

House is rented, it is hard to expect any major change or development of the gallery, and that means the need for a governmental fund for building new facilities and promoting this type of private sector.

In spite of the different technical and structural shortcomings, the gallery was and still is an important place in Riyadh for public display of art works. During the last decade, it hosted 40-50 individual and collective exhibits for

Saudi, Arabian and foreign artists who work in the Riyadh area, and has collected a number of works for investment purposes. It also has organized, with the cooperation of some local companies, two open art competitions: (1) Spring

Competition in 1983, where ten good prizes and six certificates were awarded among 26 participants; and (2) the First Exhibit of Children Drawings Competition in 1983, where 40 elementary and intermediate schools participated. 128

Finally, the Saudi Arts House as an artistic and

commercial establishment has different interests concerning its

revenues and activities, some of which are;

• Selling art materials, equipment and small collection of

books and magazines.

" Producing and selling slides and postcards of Saudi art

works (selected works of three artists so far).

" Organizing a minimum of five art exhibits annually with

a weekly rate of $2,000.00 or 30 percent of the sales in

return for a display at the gallery.

- Designing and executing some of the beautification

projects in the country's airports and governmental

buildings, beside some works in Riyadh's streets and

squares (outdoor non-figurative sculpture and

constructive works derived from traditional elements).

The Rochan Gallery

The second art gallery observed is the Rochan Gallery in

Jeddah, which also includes Rochan International in London and

is owned by the Rochan Company. Generally, the Rochan Company

has the same interests and activities as the Saudi Arts House

in Riyadh, but on a larger scale and with more art services and

more specified goal. The main goal and programs of the company

have been explained on the back cover of its quarterly magazine

Art, Premier Issue, Summer 1985 (as it appears in English): 129

Rochan's main goal in all its Fine Arts Projects is to achieve total coherence and harmony between all proposed works of art in ways that bestow a unique character to every individual project. Integral Art Presentations are also part of Rochan Art Programmes, complementing architectural and interior design projects. Examples are various, including the carved wooden doors, hand-knotted carpets, etc...

(Rochan is uniquely placed as the Arab Company specialising in Fine Art Projects. Through its organizational structure, programme and specialized teams, Rochan has established an excellent relation with most Arab and Saudi Artists, as well as created an ideal method to study, develop, present and produce the company Art Projects).

In accordance with the above statements, we should expect an actual international gallery in Jeddah; but it seems that the art commercial projects of the company (private or public) have the priority and the most attention and that has reflected on the gallery as a secondary interest, although the gallery could be recognized as the best in the country in terms of general appearance, space and technical installations. But, in fact, it is merely a good model of a regional gallery which can accommodate almost forty pieces of middle-size painting and some three dimensional works.

Beside running the gallery, art shop and art projects the owner of the company (Talal Kurdi, a civil engineer) has a collection of more than a thousand pieces of Islamic art from

Ninth Century to Twentieth Centur^n This collection was inherited from his grandfather and includes works of Quran manuscripts, calligraphy, ceramic, glass, metal, wood and weaving. This artistic inheritance could be the main stimulus for Kurdi to become an art supporter and businessman who 130 collects more works of Islamic art and recently works of

Arabian contemporary art. Therefore, he opened Rochan

International in London to create a more and closer connection with the leading auction houses and art experts for purchasing and documenting the Rochan collection. In London, Rochan has another interest through the publishing of a quarterly art magazine called Art, mostly in Arabic, it deals with Arabian,

Islamic and Western art issues and topics beside art news and seminars of the Arab artists locally and abroad. But it seems that the magazine has some unknown difficulties regarding its issuance (two issues only since summer of 1985), however, the author has learned indirectly that obtaining the legal right of distribucing the magazine on a large scale in Saudi Arabia could be the difficulty which needs to be solved with the

Ministry of Information.

To conclude Rochan's part, it should be mentioned that in addition to its regular art exhibits for local and Arabian artists, the gallery has organized two distinctive exhibits in

Jeddah in 1985: (1) The Exhibit of Islamic Rare Pieces which included a small number from the Rochan collection, but the rest of the collection has not been displayed yet; (2) The

Exhibit of Saudi Arabia in the Thirties including 31 oil paintings representing the Holy Mosque in Mecca and different aspects of the country at that time. These works were derived from black and white photographs and duplicated in color by the 131

British painter, Edman, who spent eighteen months to do the job which was sponsored by Rochan itself.

The Arabian Heritage Gallery

On the other hand, the Arabian Heritage Gallery in Al-

Khubar is completely different from the previous two galleries in terms of its objective, space and activities. It is a small divided part of the owner's house and includes a crowded but organized display of Arab women's traditional costumes, small antiques, a small collection of local crafts, and some art and crafts books. The displayed objects are for sale and the dominant pieces are feminine including traditional dresses, sweaters, quilts, and accessories. The gallery is merely an antique shop which reflects the personal touch of the owner,

Nabilah Al-Bassam, a scholar and artist who studied in the West and has some interest in her country's traditional and cultural affairs. Some of her interests are collecting more pieces of traditional crafts and a plan to turn the current shop into a larger gallery or a small local museum in the near future. She also works on a book about Saudi traditional crafts and her experience of collecting and preserving them. By doing that,

Al-Bassam could be the first woman in the country who is practically involved in art and crafts concerns, including promoting and recording the feminine products in particular. 132

One Traditional Antique Market in Riyadh

The traditional antique market in downtown Riyadh is one

of the major traditional markets in the country and consists of many crowded shops including different local and Middle Eastern

crafts beside some workshops of the remaining crafts, and the best description of it is just a bazaar. The going activity at

the market includes:

1. Shops specialized in buying and selling all kinds of

local traditional crafts especially the old and rare pieces.

They are full of hundreds of pieces and have more than that at

their warehouses. Their major source is the abandoned crafts

of the urban, villager and bedouin peoples who gradually

disposed of their "old" stuff and crafts as a result of the

country's socioeconomic change since 1970.

2. Shops specialized in buying and selling different brands of imported rugs and other weaving products from China,

Afghanistan, Iran and Turkey along with metal and wood works

from Syria and Egypt.

3. Shops combining of various local and imported crafts

of the above two categories, small valuable pieces and

ornamental items.

4. Workshops for some of the remaining traditional crafts

such as weaponry, cloakmaking, leather works and tentmaking.

5. A frequent public auction for a wholesale or even a

single item by a number of ambulant auctioneers across the

market, who usually earned 5-10% of the sale value and 133 sometimes more than that according to the nature of the sold item(s).

6. The market is one of the good places for social gatherings of elderly men where remembering the past and discussing the present take place, and sometimes making deals of exchanging or selling some of their possessions whether it is a valuable rare piece of craft or a piece of land.

The importance of the market comes from its consistently receiving the abandoned traditional crafts from different regions in the country, and that makes it one of the major sources for creating a primary base of establishing a museum.

But this importance may vanish within a decade or so because of three considerations: (1) selling the crafts to everyone including the foreigners who sometimes can pay more and so they buy more, (2) the Department of Antiquities and Museum has no agency at the market for the acquisition of rare and valuable pieces or even for recording the sales, and (3) there is no strong policy organizing the possession of traditional crafts and preventing their transference outside the country.

However, it is important to mention that the Department of

Antiquities and Museums has made a general survey of all traditional crafts' shops in each of Riyadh, Jeddah, Dammam,

Taif, Al-Khubar and Al-Hasa, and notified these shops to obtain their official business licenses. The Department also has issued some instructions which forbid exporting and transfering outside any piece of traditional crafts or archaeological 134

discoveries without official written permission. All antique

markets, immigration/emigration and customs offices have been

notified of these instructions (Al-Riyadh, a Saudi daily

newspaper. Issue 6519, April 29, 1986). (This statement

translated from Arabic into English by the author.)

Three Daily Newspapers from Three Cities

During a two-month period of the field trip, the author

observed the weekly art pages of three Saudi daily newspapers:

Al-Riyadh from Riyadh, Okaz, from Jeddah, and Al-Yaum from

Dammam. These three newspapers were chosen because of their popularity in the country (the author's opinion). The observation is based upon the analysis of the general content and direction of these pages in terms of presenting art materials and issues which supposedly reflect current concerns and conditions. But first, it should be mentioned that there is no major difference in the general direction of these pages because they have many similarities such as statements of the editors, local art news, different interviews with local and

Arabian artists, and the journalistic style in writings.

Through eight weeks, the weekly art pages of Al-Riyadh has dealt with five topics in an attempt to establish short-term periodic articles instead of the w e e k l y various topics. The

following is a summarized analysis of the five topics which

include : 135

- Reading of Saudi works: The central topic occupies half

or more of the pages including the headlines of 3-5

artists, their photographs, examples of their works,

biographical information and an analysis of their works

and trends. The analysis reflects a mixture of romantic

and journalistic terms and sometimes exaggerated

complimentary descriptive terms. Using these terms

the analyst refers to himself as an editor of the page

for more than six years and to his own artistic

experience and educational background. It also refers

to the dominant mainstream of journalism which mostly

promotes the policy of total support and disregards

objectivity and realistic evaluation. Therefore,

constructive criticism is almost missing among art

activities in the country.

- Art Psychology: A number of short articles written by a

Saudi art education graduate who tries to connect his

writings with current conditions in the country, using

psychological and comparative terms. These articles

include perception of color, the element and background

of art work, optical illusion, art creativity, self

expression and women's art.

- Arab Artists: Includes each week an art work by an

Arabian artist with a short analysis of it and some

biographical information about the artist and his style. 136

- Art News: Includes the news of cultural events and art

exhibits across the six Gulf Cooperation Council (GCC)

countries.

- From the Readers: Includes 1-3 different articles a

week as a participation from the readers representing

their writings, comments and suggestions; and if there

is nothing to be published the art news from the world

is the alternative.

On the other hand, the art pages of both Okaz and Al-Yaum have various topics each week according to the prepared materials and the going activities in the country. So, it is usual to see three extended articles one week and ten short articles the next week. An example for that is Al-Yaum, Issue

4977, January 30, 1987, and Issue 4984, February 6, 1987. The extended articles of Al-Yaum consist of readings of local individual and collective art exhibits, interviews with Arab artists, reviews of the world famous artists, and some of current issues like the Arabic School of Letterism as a new trend in the art. The ten articles page mostly consists of art news of individual artists, exhibits, local and neighboring art associations. Western art and one serious article just to enhance the page.

The difference between Okaz and Al-Yaum is that Okaz has more extensive interviews with the Saudi artists, more writings about the beautification projects in Jeddah and more organization in presenting the art issues. One of the issues 137 was called the pending questions of art, and each week one artist answers these questions which briefly discuss the artistic identity, subject matter, art criticism and creativity, the scholarly or skilled artist, artist and society, and society and art. The answers, however, may suggest that some artists need to improve their educational background and make it parallel to their skills at least.

To conclude this part, it is worth mentioning that through eight weeks of observation the author has found two relevant points to this study: (1) a short article about the Saudi traditional crafts and their continuous dissolution that suggests establishing a museum for preserving them and offering formal or informal courses in the public schools of these crafts (Al-Riyadh, Issue 5801, February 5, 1987); (2) a comment by the president of the General Presidency of Youth Welfare at the opening reception of a Saudi Bahraini art exhibit where he said, "this exhibit should be a starting point for a modern art museum" (Okaz, Issue 7482, December 22, 1986).

Finally, it seems that all three newsppaers are far away from presenting and discussing serious and/or urgent issues in regard to art and crafts conditions within the whole context of the current socioeconomic change in the country. Ignoring this important point means a shortcoming in their pages' performance which has to be turned into a comprehensive reality and not just art news. Dealing with this reality requires: (1) more freedom of expression, (2) providing more facilities for the 138

field works, (3) employing professional writers in arts and

crafts, (4) making connections with the local collectors of

arts and crafts, (5) employing correspondents across the

country, and (6) increasing the number of pages to become 2-3

pages per week.

Informal Conversations During Social Meetings and Phone Calls

Various informal talks and phone calls took place between

the author and a number of Saudi artists, crafts collectors and

scholars. Different opinions and correlative concerns have been discussed individually with the collectors and scholars,

and collectively with the artists during three social meetings.

In regard to this study's theme, some of the artists look

at it as a beautiful dream which needs a lot of convincing

explanations to become a reality, and they say "now, we have no

adequate professional art galleries, and so how could we think

or ask about organized museums." Other artists say that "it is a right move at the right time because of the country's needs

for this kind of cultural institution as well as the other

aspects of developments." Third opinion says that "it is a

good academic research, but it needs various and continuous

supports, otherwise it will remain as a research."

Another side of the artists' concerns reflect their

current social, economic and cultural conditions which have

been expressed through the lack of art studios, financial

supports, independent art societies and organized intensive art 139 courses. Talking about these concerns led to discussion of the idea of art professionalism in the country in order to create a more convenient environment of art creativity and protecting the artist's rights. It also led to a discussion of different issues and demands such as: lack of art critics, the need for issuing a periodic art magazine, the need for establishing art libraries, the need for organized tours to the world major art museums and galleries. Finally, the necessity for establishing an art academy which has been discussed primarily in 1973 by three committees from Italy, King Saud University and the

Ministry of Education, and rediscussed by the author and another artist through Al-Yamamah, a Saudi weekly magazine

(Issue 761, July 27, 1983, and Issue 778, November 23, 1983).

Of course, discussing these issues and concerns in social meetings has nothing to do with obtaining them in reality, but it is still the most useful way of expressing and exchanging thoughts among the Saudi artists. The problem here is that the artists have no intention of presenting collectively their thoughts to the authorities because of some conservative considerations such as a suspension from some committees or losing the main "governmental" job. But the main cause lies, in the first place, with the general absence of independent art societies which can unify those artists and support their thoughts and demands in an organized collective way.

As to the traditional crafts' collectors whom I talked with, they seem optimistic because the Fourth Development 140

Plan of the country (1985-1990) has room for their collections at the five regional archaeological museums of the Plan.

However, they have some complaints and concerns which could be summarized in the following four points:

" A continuous competition between local and foreign

collectors for acquiring different favorite pieces

directly or indirectly from the antique markets raises

the price sometimes to threefold of the regular one.

Another aspect of the competition has happened when a

well-known collector received a very generous offer for

buying his collection, but when he learned that the

collection will be exported to someone in Europe, he

dismissed the offer.

" The Department of Antiquities and Museums does not

present good offers so far for purchasing from those

collectors, and so it has no frequent or sufficient

relation with them or information about their

collections (according to responses of three of five

collectors).

The department has the usual bureaucracy in the process

of purchasing any collection of art works or crafts

which may take 2-3 years of exchanging written materials

between different officials, committees and the owner.

One of the collectors has said "this long process is

weariful to me as an old man, and it is doubtful that I

can do it again unless they have a new convenient way of 141

purchasing policy." Another younger collector was

asking for a purchaser for his collection of the

eastern region because he has a financial hardship and

needs money as soon as possible. In this case, the

collector was excluding the department from the deal

because he knows that it pays less and too late.

" The collectors do not have enough space for their

increasing collections where a great part of their

houses and additional warehouses are full of numerous

traditional crafts, rare coins, stamps and photographs.

One of the collectors died in 1987 at the age of 80 and

left ten full rooms of Arabian collections, and it seems

that there are no family members with the same interests.

Other collectors are generally concerned about their

collections' future including their safety,

documentation, conservation, restoration and display

because they are not able to do that individually. They

are looking for a practical help as one collector said,

"I am a professional collector and not a dealer, I spent

all what I can on these crowded rooms and I want to turn

them into a real small museum as in Europe, but I need

someone to help me practically and the land is

available."

In respect to the scholars, they support the idea of this study because of its three resources of collections which represent a part of the historical sequence in the area, and 142 the attempt to unify this sequence within one cultural context.

However, one of the scholars believes it is hopeless to think of translating a Saudi cultural or educational research into a reality because most of these researches are placed on the shelves, and the only user is the researcher himself and his students if he is an instructor. He sees that "most of the

Arab countries including Saudi Arabia utilize some researches in agriculture, industry and medicine because they have the priority, but education, art and culture are based upon changeable decisions and not academic researches."

Reaching that decision(s) is the key of reality for this study which suggests gradual steps to obtain its ultimate objectives through the implementation of art and crafts museums. These steps have been discussed informally with another two scholars who also have different viewpoints concerning the effective way of carrying out this study. The first sees that an initial official adoption by King Saud

University eind the Ministry of Education is sufficient to present the project to the Council of Ministers for study and final approval. The second prefers more involvement of different cultural institutions, intellectuals and the press in order to create a wider base of supporters which could help more in obtaining the final approval. (See Chapter V for phases of development and implementation of museums.) 143

Analysis of Interviews' Data

As another source of obtaining relevant data, the researcher has made eighteen interviews and received six mailed responses (see population and samples in Chapter III, and

Appendix F for the structure of interview questions). The interviews were planned through prior appointments by phone calls or initial visits, and took place at the offices of the officials and scholars and at homes of the artists and collectors. All interviewees preferred not to record their responses on tape, so all responses were written in a format of quick notes, outlines and detailed statements according to flow of information and interrelation thoughts. The average of each interview was 75 minutes. However, the analysis is based upon a concise interpretation of the comprehensive contents of each response in order to clarify some intended information, so the expanded and literal interpretation was avoided in this analysis. The following is the analysis of each one of the four categories; officials, collectors, artists and scholars.

Analysis of Category #1 Interviews

This category includes six officials who work in six different institutions:

- The Department of Antiquities and Museums in Riyadh.

- The Museum of Archaeology and Ethnography in Dammam.

- The Department of Archaeology and Museology at King Saud

University in Riyadh. 144

- The Cultural Center of the General Presidency of Youth

Welfare in Riyadh.

- King Faisal Center for Research and Islamic Studies in

Riyadh.

- King Abdul Aziz Foundation in Riyadh.

Since these institutions have different objectives and

functions, the analysis was designed individually for each official concerning the responses of the first three questions according to the above sequence of each institution. The other responses were analyzed totally for all six officials. The following is a list of the first three questions and the analyzed responses.

Question 1; What are your department's roles concerning art and crafts in the Kingdom?

Question 2; Are there any future plans or projects concerning art promotion and/or crafts preservation in the

Kingdom?

Question 3: What is the nature of your department's relation with the artists, private collectors and other cultural institutions?

Responses of Official #1 (mailed responses from the Director of

Antiquities and Museums of the Kingdom)

Response of Question 1. Establishing regional and local museums across the country for archaeological discoveries and

traditional crafts is one major role of the department 145 including documenting, preserving and display of these collections. Restoration of all historical palaces and sights is another role of the department in the long run, and that includes creating convenient public facilities and services around them. The department also has a role for spreading the archaeological awareness among the citizens by presenting TV films and distributing some books.

Response of Question 2. There is a joint plan between the department and the Ministry of Municipal and Rural Affairs for establishing a series of cultural centers across the country's small towns and villages. This was done to create permanent displays of traditional crafts and permanent workshops for elderly craftsmen and presenting awards to the more prominent of them. These centers will participate in preserving local culture through continuous displays of craftsmen products, presenting lectures, films and other supplemental publications on Saudi crafts and culture. Concerning the art, there will be a hall for the Saudi contemporary art within the National

Museum in Riyadh which will be completed in 1990, and there is a plan for establishing two Islamic museums in Makkah and Al-

Madinah.

Response of Question 3. The department's relation with the artists is limited, so far, to purchasing some of their art works (almost 100 works) which will be displayed at the

National Museum when it is completed in 1990. The same relation has been exercised with the private collectors for 146 purchasing and documenting hundreds of objects of traditional crafts and displaying them at the country's current museums.

The relation with the cultural institutions depends on their

inquiry of the department's participation in some occasions

such as the National Festival of Heritage and Culture of the

National Guard (1985 and 1986), and the touring exhibit o f ’'The

Kingdom: Yesterday and Today"of the Govemate of Riyadh.

Responses of Official #2 (the Assistant Director of Dammam

Museum)

Response of Question 1. The museum is mainly devoted to the archaeological discoveries and traditional crafts of the

Eastern Province of the Kingdom, and has no interest yet in contemporary art. The major role of the museum at the present time is documenting and displaying what it has of a small collection and explaining some information to the visitors when they need it.

Response of Question 2. The museum is waiting for the completion of its permanent building in 1990. The museum will then be more responsible for a larger collection, more professional staff and specialized labs which will expand its plans for documenting and preserving the Eastern Province traditional crafts. Collecting or displaying art works will be

submitted to the general policy of the Department of

Antiquities and Museums. 147

Response of Question 3. According to the current

condition of the museum, and its limited capability, it has no

specific relation with artists, collectors, or cultural

institutions. However, the museum has purchased some pieces of traditional crafts and is working with some collectors for documenting them.

Response of Official #3 (the Assistant Director of Archaeology

of the Department of Archaeology and Museology at King Saud

University)

Response of Question 1. The department offers different

courses in archaeology including excavation, recording, documenting, preserving, restoring and display of a specimen

whether it is a piece of art or crafts. These courses were

designed to create specialists in these fields for working at

the country's museums which currently emphasize

archaeological discoveries and traditional crafts of this

century.

Response of Question 2. There is a plan for establishing

the university museum which will house a large collection of

traditional crafts, a hall for temporary art exhibits beside

the main collection of archaeological discoveries of the department.

Response of Question 3. The department has no specific

relations with the artists and collectors because of lack of

communication and lack of knowledge of everyone's interests. 148

However, it is important for the department to make the first move of communication with these categories in order to meet the general objective of establishing the university museum in the near future. In regard to the cultural institutions, the department has two kinds of relations: academic and general.

The academic relation involves presenting lectures and/or exchanging information with some departments such as the

Department of Antiquities and Museums of the Ministry of

Education, the Community Service Center, the Architecture

Department and the Art Education Department at King Saud

University. The general relation includes the participation of some of the department's collections of different occasions and exhibits such as the National Festival of Heritage and Culture in 1985 and 1985, and "'The Kingdom: Yesterday and Today"exhibit in Germany, 1985, and Britain in 1986.

Responses of Official #4 (the Supervisor of the Cultural Center of the General Presidency of Youth Welfare)

Response of Question 1. The Cultural Center is subject to the general policy of the GPYW which provides the center the needed materials and funds to meet its roles as follows:

- Providing adequate space and materials for practicing

drawing and painting by young amateurs all year long.

- Organizing individual or collective art exhibits with

the cooperation of the Saudi Art and Culture

Association. 149

- Organizing 1-2 informal evening meetings per month for

discussing different aspects of the Saudi folk culture

such as tales, narratives, poems, proverbs and literary

prose.

- Presenting some dramas at the center's theater with the

cooperation of the Saudi Art and Culture Association (3-

4 dramas a year).

- Acquiring the largest possible number of books,

especially those pertaining to the Saudi folk culture

and traditional crafts, in order to enrich the current

small library and make them available for scholars and

researchers.

Response of Question 2. There is no immediate plan, but the center is looking for the expansion and remodeling of its current building in order to exercise its roles effectively and sufficiently.

Response of Question 3. The center's relation with the artists appears during the time of holding art exhibits at the center where side talks and social gatherings take place between the artists and others. But the center has a strong relation with some private collectors because of their frequent visits and participation in the monthly meeting(s) about Saudi folk culture. The relation with cultural institutions is currently limited among the GPYW departments for the continuation of the center's five roles (response of Question

# 1). 150

Response of Official #5 (the Assistant Director of Public

Relations and Administration at King Faisal Center for Research and Islamic Studies)

Response of Question 1. Concerning art, the center is interested in organizing a series of exhibits devoted to different types of Islamic art with a presentation of some lectures and distribution of catalogues. This series includes the following themes:

- The Unity of Islamic Art (held in 1985 with more than

200 original pieces)

- The Arabic Calligraphy through the Islamic Manuscripts

(held in 1987 with 225 original pieces)

- Islamic Silverwork (held June-August, 1988, with 784

pieces)

- The Mamluks Manuscripts of the Holy Quran

- Sciences and Islamic civilization

- Islamic Bookbinding

(For more details about the first three exhibits, see pp.

109-113.)

Concerning Saudi traditional crafts, the center has a small collection of weapons and households in display at King

Faisal Memorial Hall.

Response of Question 2. The future plans include the continuation in organizing the series of exhibits of Islamic art, widening the scope of lectures and seminars, and publishing more brochures and catalogues about these exhibits. 151

Also included is the restoration of rare Islamic manuscripts and training people in restoration and preservation techniques at the center's lab and abroad, but preserving the traditional crafts is not included yet within these plans.

Response of Question 3. Referring to the current activities, the center has established many correlations with some of the Arabian collectors of Islamic art such as Nuhad Es-

Said, Abdul-Rahman Farfoor, Nasir El-Deen Farfoor and Saad Al-

Jaader. Other relations have been established with some of the

Islamic art historians and experts such as Abdul-Faatah El-

Helow, Khasim Al-Sammariy, Mahmmud Hammudah, Fawziy Al-Affeefi,

AAbed Al-Mashoofy, Oliver Hoare, Esin Atil and Peter Showred.

Furthermore, the center has mutual relations with the

Department of Antiquities and Museums of the Ministry of

Education, the Department of Archaeology and Museology at King

Saud University and Ahuan Islamic Art in London. The relation with artists is not clear yet, but the center welcomes them and appreciates their experiences.

Responses of Official #6 (the Director General of King Abdul

Aziz Foundation)

Response of Question 1. The foundation has no major concern for art and crafts issues because of other interests and objectives (see pp. 117-122 for more details). However, it has a permanent display consisting of a small number of Saudi paintings representing some of the historical events during the 152 reunification of the Kingdom between 1902 and 1932, and a small collection of traditional crafts, arms, coins and stamps of that period. It also has 675 Arabian manuscripts on different cultural and religious fields; some are original and others are recorded on microfilm.

Response of Question 2. There is no such plan at this time but the foundation may need to increase its current collection of art and crafts according to the development of

King Abdul Aziz Memorial Hall in the near future.

Response of Question 3. The relation with the artists and collectors depends upon purchasing or receiving donations of their works and collections, which should correspond with the interest of the foundation. The relation with the cultural institutions includes more than that, however. It includes exchanging mutual experiences, acquisition of historical documents and manuscripts, attending conferences and the participation in specific researches and different exhibits of traditional crafts. Some of these institutions are King Saud

University in Riyadh, the Main Library of the Holy Mosque in

Makkah, the National Guard in Riyadh, the Arabian Gulf Studies

Center in Iraq, and other Arabian and Western institutions.

Following the individual analysis of the responses of the officials for the first three questions, a total analysis of their responses for the other three questions is presented.

Question 4: Do you support the idea of establishing art and crafts museums in the Kingdom? Why? 153

All six officials support the idea, but one of them has a conservative opinion about the proposed resources of these museums; and he sees that all resources should be derived from the country itself, its ancient heritage and m o d e m culture.

This opinion reflects the current policy of museums which concentrates on archaeological discoveries and traditional crafts; this means an exclusion of the Arabian contemporary art and a great part of Islamic art works from the country's museums. However, the officials support the idea because of some basic concerns which are summarized in the following points :

- The Kingdom is facing a rapid socioeconomic transition

toward modernization and these museums will help in

preserving the local culture from dissolution and bind

people with their heritage.

- These museums will promote the cultural side of the

general developments of the country, and will introduce

new experiences and more opportunities for museum

education.

- These museums will enhance the general cultural

awareness among people through the concept of self-

education of knowing what is there, what to read, and

what information to receive.

- These museums will support the foreign cultural policy

of the country especially with the Arab and Islamic

countries. 154

Question #5: From your experience, what kind of support can your department offer for such museums?

The response to this question includes three kinds of support as follows:

- An appreciation of the research itself and supporting it

in the future, which means an inclusion of indirect

initial adoption of implementing such museums (all six

officials).

- Presenting and exchanging lectures, objects of artworks

and crafts, publications, some experiences, and using

the available facilities and laboratories (five

officials).

- More than this support will be presented as four

officials said "we are willing to present any effort for

such museums, but when authorized by higher officials."

This support includes planning and drawing the general policies of museums and supervision of implementation, training programs, and activities.

Question 6: What kind of problems do you expect in establishing those museums?

Ihe expected problems were explained in four points:

- Obtaining the final approval for the implementation of

those museums from higher officials at the Council of

Ministers (all six officials).

- Obtaining long-term financial support and the

involvement of volunteers at those museums (three of

six). 155

- Creating an adequate number of specialists and trained

personnel and providing them with a financially

successful and productive life (all six officials).

- The acquisition of works of Islamic art from outside the

country will be more difficult than other resources

because of high prices and different policies of

possession of these works by the world major collectors

and museums (three of six).

Analysis of Category #2 Interviews

This category includes six private collectors of art and crafts: two of them are in their 80s, one in the 70s, and three in their 50s. Their collections consist mainly from Saudi traditional crafts of this century, old coins, stamps, photographs (two of them also include some Islamic art works).

Three of the collectors are folk poets and historians and have some unpublished works on local folk culture and traditional crafts.

Question #1: Would you summarize to us your story of collecting art and/or crafts?

Each collector has a different story of collecting art and/or crafts, and to summarize these stories I derived the main reasons beyond their starting points of collecting as follows :

- One started to collect any old object after World War I

when he read in the newspapers that the Turkish 156

government had sold two old stamps or posters, found in

Hagia Sophia in Istanbul, for 15 thousand gold lira.

- Another started to collect antiques as an adolescent

when he discovered that his mother was preserving his

childhood toys and games in a small, old wooden box with

her belongings.

- Two started to collect old objects at an early age as a

natural tendency, and it became a regular hobby later on

because of their field work across the country for 5-10

years, which allowed them to enrich their collections of

various objects and crafts.

- The last two started to collect during the last two

decades when they noticed the beginning of the current

socioeconomic transition in the country and the

disposition of their traditional crafts.

Question #2: What is the nature of your collections, and what is their value historically and artistically?

All six collectors have a mutual interest in acquiring

Saudi traditional crafts of this century and beyond (see pp.

55-56, and Appendix A for details and examples). Three have a large collection of brass, silver and gold coins from Greek,

Roman, Byzantine, Islamic and m o d e m periods, in addition to a collection of the world stamps, rare photographs and some

Islamic manuscripts. The historical value of their collections lie in their originality, rarity and representation of various periods of time and different regions in the area. The 157 artistic value lies in the good condition which demonstrates different skills, techniques and experiences of the past craftsmen as well as the people's taste and aesthetic appreciation.

Question #3: From your experience, what are the major resources for art and/or crafts works acquisition?

Purchasing from antique markets and public traditional auctions and traveling to small towns and villages inside and outside the country is the major resource for the acquisition of traditional collections. Purchasing from some collectors who couldn't continue for any reason is another resource besides exchanging the similar pieces and receiving some objects as gifts. For the art, there was no particular answer because all six collectors have no interest in acquiring works of contemporary art yet.

Question #4: Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

All six collectors support the idea, but one of them sees that these museums should include various collections of all cultures and civilizations and not only three resources of collections and their support because of the following points:

- Lack of such museums in the Kingdom.

- They are important for preserving local crafts from

dissolution and the continuous exportation by some

foreigners. 158

- They will demonstrate the way of life of preceding

generations, their traditions, culture, experiences and

skills to the present generations.

- They are important for the historians, researchers and

students in their cultural and educational endeavors.

- They are important for the local collectors and artists

in developing the current relation with the officials

concerning the policy of purchasing and documenting

their works.

- They are important for the public concerning the

entertaining side and the indirect learning by seeing

many organized objects and different displays.

Question #5: As a private collector, what kind of support can you offer for such museums?

Not one of the six collectors is willing to make donations because they believe that the government is able and should pay for all expenses of such museums, and so their support is as follows :

- Selling the required pieces for such museums, as one

collector said "from one piece to a thousand pieces."

- Presenting different ideas and plans for the general

activities of such museums, only when they become a

reality.

■ - Offering their historical backgrounds for recording and

documenting the traditional crafts as well as the other

aspects of folk culture of the country. For example,

Saad Al-Jinadel, a poet, historian and collector in his 159

'70s, is working on a historic encyclopedia about the

traditional crafts of the Arabian Peninsula. It is

organized alphabetically according to the crafts' names

and includes a comprehensive information about:

- The original name of a craft in Arabic or Persian or

Turkish languages and the popular names in different

regions.

- Description of the craft and its use.

- Description of the craft's material and where it had

been made.

- Comparison between similar crafts in different regions.

- Recording the literary works on crafts including folk,

poem, proverbs and tales.

Question #6: Wliat kind of problems can you expect for establishing those museums?

The collectors expect two problems: (1) creating the sufficient funds for constructions and acquisition of collections; and (2) creating the adequate loyal managements, specialists and trained personnel for display, maintenance and restoration.

Analysis of Category #3 Interviews

This category includes six artists: three males and three females with different educational backgrounds and art experience. Two artists represent each one of the three art generations in the country (see pp. 55-63 for more details). 160

Question #1: What is your general concept of museums?

The artists' concept of museums includes various statements from definitions of museums to their objectives and functions which are summarized in the following points :

- Museums are a cultural necessity of each nation for

preserving its heritage against all changes through the

years, and they are the place which houses the prior

thoughts and experiences.

- Museums are places for preserving the national culture

and heritage of any nation, and important means for

linking people to their culture, land and identity.

- Museums are centers for the investigation of numerous

aspects of arts, sciences and social affairs through

what they house of objects and research facilities.

- Museums are supplemental means for public education

where different direct or indirect art programs are

presented for young people and adults.

- Museums are places for increasing the public culture

among people and developing their aesthetic taste and

appreciation of a work of art or a piece of crafts.

Question #2; Through your visits to museums outside the Kingdom, what is the nature of Arabian and Islamic art or crafts that you have seen?

All six artists have not seen any works of the Saudi art or crafts outside the Kingdom, but they saw different collections of Arabian contemporary art at some of the Arabian art museums in Egypt, Iraq and Kuwait and these collections 161 belong to local artists (see Appendix D for the Arab World

Museums). For Islamic art, they saw the great collections at the world major museums especially in Europe and the U.S. which include works of miniature paintings, gilding and bookbinding,

Arabic calligraphy, glass and crystal, metal works, wood carving, weaving, ceramic and jewelry. One artist has said,

"it is needless to count or to describe what is there, but I can say that all fields of Islamic art of different periods and several styles are existent at the West museums." Another artist has said, "I have visited many art museums around the world and I am proud of the spread of Islamic works among them, but I believe that a part of these works should come back to its origins and that is possible" (see p. 76 for some of these museums' names and locations).

Question #3: What is your opinion about the current art activities in the Kingdom?

The responses of this question have some similarities of given information in different sections (see pp. 57-58, 64-65,

122-126, 138-139), and to avoid this repetition, I have summarized the new opinions as follows:

- The current art activities in the Kingdom are "good" in

spite of the short experience of three decades, the

social and religious discouragements and the limited art

general facilities.

- The current art activities are not more than individual

sprawling efforts, and so there is no coherence among

artists themselves and society. 162

- The current themes of art expression are limited on the

Islamic heritage and local traditions, and lack of human

general issues and individual exploration.

- The current activities need to emphasize on art quality

instead of the quantity of art exhibits.

Question 4: Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

All six artists support the idea strongly, but two of them suggest establishing two separate kinds of museums for art and crafts because of the different aspects and functions of both fields. Their support refers to the following reasons:

- Lack of public knowledge of Arabian contemporary art

and Islamic art and museums will introduce this

knowledge in respectable and organized way of learning.

The Saudi artists need such museums for unifying and

documenting their diverse works and experiences of the

last thirty years.

They will preserve and document the cultural aspects of

the country's past, present and future development and

will be a cultural link between all generations.

They are great institutions for presenting local

culture to other societies and creating a better

understanding of cultural backgrounds.

- They are great institutions for different researches,

understanding and appreciation of art and for producing

several educational aids and programs. 163

Question # 5: As an artist, what kind of support can you offer for such museums?

The artists' support includes: (1) donation of some works,

(2) selling more works, (3) the participation in temporary exhibits, and (4) the participation in cultural and educational programs.

Question #6: What kind of problems do you expect for establishing those museums?

The artists expect five problems: (1) obtaining the final approval of higher officials, (2) providing adequate long-term funding, (3) creating the trained personnel, (4) collecting and documenting the collections, and (5) providing the continuous maintenance of the museums.

Analysis of Category #4 Interviews

This category includes six scholars ; one art critic, two writers of cultural interests, and three faculty members.

Question #1: In your opinion, what is the general role of a museum?

The scholars' opinions include six points:

Linking the past with the present and stimulating new

ideas.

Presenting the history and cultural development of any

nation in a factual and honest way through live

objects.

Enhancing the cultural awareness and educational

approaches among people through different displays and

activities. 164

Documenting and introducing the new developments of

cultural and art creativity for supporting the national

identity.

- Creating more opportunities for research, students'

learning, and public participation in some programs.

- Providing more entertaining facilities to the public

and enhancing tourism between the countries.

Question #2: What roles can museums play for a developing country such as the Kingdom?

For the Kingdom, such museums can play many important roles according to its history and current general developments. These roles include:

- Clarifying and demonstrating the historical and

cultural connections of Islamic civilization through

the last fourteen centuries.

- Enhancing the current cultural relations with the Arab

and Islamic countries by exchanging several collections

and different experiences.

- Preserving the country's traditional crafts from the

current continuous dissolution, and providing new ways

for their continuity such as permanent workshops for

old and young craftsmen.

- Promoting the current art activities by collecting and

displaying the local scattering artworks, widening the

scope of art appreciation, and encouraging the artists

for more educational participation and seeking the

higher quality of creating art. 165

Presenting different aspects of indirect and informal

education about the country's cultural history for all

people, especially the young generations, through

viewing many organized displays and/or attending

different workshops and lectures.

Question #3: What do you think of Arabian contemporary art in terms of values and trends?

The responses to this question were similar in describing the values and trends through some specific conditions and backgrounds :

There are great artistic values in Arabian artworks of

painting, drawing and sculpture which have the richness

and high quality of expression and creativity. These

values vary from artist to artist and from country to

country according to (1) different beginnings and

circumstances of introducing modern plastic arts to the

22 Arab countries (see pp. 65-71 for more details); (2)

different educational backgrounds and art experiences

as a result of (1); (3) different political systems

which usually control or supervise art programs and

activities including certain instructions for the

freedom of art expression in some countries; and (4)

different economic and social problems create

impediments for most of the Arab artists and their

creativity. However, several great examples of

artworks could be seen in Egypt, Iraq, Morocco,

Algeria, Syria and Kuwait. 166

- The art trends are a struggle between local traditions

and Islamic heritage from one side and the Western

influence of many art schools from the other. The

local side tends to embody various elements and themes

derived from the ancient and Islamic arts beside the

Arabian traditions and folk cultures, so there are

almost three trends: literal, decorative and folkish.

The Western influence includes trends derived from

Realism, Impressionism, Cubism, Surrealism and Abstract

and that refers to (1) European colonization of most of

the Arab world from 1850 to 1950; (2) a great number of

Arab artists have studied in Europe and the U.S., and

some live there; (3) regular art activities at the

Western cultural centers in the Arab world; and (4)

convenient communication and good political relations

between Europe and most of the Arab world allows the

flow of Western art ideas and philosophies to the

artists without difficulty.

Question #4: Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

All six scholars support the idea because of its importance to the country through the following points:

Museums are a historical record that proves our cultural

developments to other nations.

- Linking the past with the present and spreading the

pride and self-esteem among the new generations. 167

- Opening more educational channels through different

programs, displays and research opportunities.

- Opening more opportunities for promoting art and crafts

and enhancing the people's understanding about them.

Supporting the scope of cultural relations among

specialists inside and outside the country, and

exchanging different materials and experiences.

Question #5; As a concerned person of cultural issues, what kind of support can you offer for such museums?

Three of the six had no answer for this question (mailed responses), and the other three are willing to participate in one or more of the following:

Support writings through newspapers, periodicals and

magazines concerning art and local culture at the

museums.

Presenting some lectures and dialogues concerning local

culture and the current developments.

Permanent membership at these museums.

Question #6: What kind of problems can you expect for establishing those museums?

The scholars expect four problems: (1) lack of organized planning and local experts, (2) the administrative bureaucracy, (3) the process of acquiring collections, and (4) economic problems in the long run. CHAPTER V

PHASES OF DEVELOPMENT AND IMPLEMENTATION OF MUSEUMS

This chapter was designed according to (1) the results of analysis of data Chapter IV, and (2) the current central government system in the country. It includes six anticipated phases, and each phase has different influential elements and factors regarding the subject project.

Phase I : Basic Preparation

Basic preparation involves obtaining a solid base of information about the issue and other relative topics. Series of studies, field research and references are required for the cultural consistency of this phase. From this beginning, this research could be a part of this basic preparation.

A second aspect of this phase is to have an abstract plan to reveal the "big picture" of the proposed museums. This plan includes the following points:

A. Development of a Rationale

According to current progress and transition to modernization and technology, Saudi Arabia needs a balanced, simultaneous development of cultural public institutions. Art and crafts museums are important institutions which demonstrate

168 169 and preserve the country's ancient and contemporary heritage.

A country's heritage belongs to its people and should be organized for the people and the following generations.

Details of this point have been given through Statement of the Problem, Objectives, and Significance of the Study (Chapter

I).

B. A Physical Structure

The plan suggests a buildup of three large structures to house the proposed museums. These structures should reveal some patterns of Arabian and Islamic architecture to create a correspondent environment with the content. They should also embody some elements of Saudi traditional buildings to express the architectural identity of the country.

C. Construction and Implementation

The construction should follow and apply the necessary standards and regulations of museum buildings. It begins with installation of lighting and security systems to the required departments, galleries, and general facilities. Surrounding space and flexible interior design should be considered for future expansion and development of new facilities.

The construction should be implemented in the first three major cities of Saudi Arabia because of:

- Strategic geographical locations in three regions.

- High population. 170

- Accessibility of many governmental departments, cultural

and educational institutions and modern facilities of

communication.

- Civic and cultural influence of these cities on

neighboring cities and towns.

The proposed cities are: (1) Riyadh, the capital, in the center of the country; (2) Jiddah, the main seaport on the Red

Sea in the west; and (3) Dammam, the main seaport on the

Arabian Gulf in the east.

D. Stages of Implementation

The plan allows a maximum of fifteen years to implement the proposed museums gradually. This period of time is divided into three five-year stages as follows:

First stage should include:

- Introduction and diffusion of related knowledge and

information through mass media.

- Offering scholarships for museum training of personnel.

- Official correspondence and meetings with individuals

and institutions who possess relevant collections.

- Beginning an acquisition of collections nationally and

internationally.

. - First phase of Riyadh museum construction.

Second stage should include:

- Continuation of collection acquisition and

documentation. 171

- Completion of and opening the museum in Riyadh.

- First phase of Jiddah and Dammam museum construction.

- Continuation of scholarships for museum training of

personnel.

Third stage should include:

- Continuation of collection acquisition and

documentation.

- Continuation of scholarships for museum training of

personnel.

- Completion of and opening museums in Jiddah and

Dammam.

Phase II: Obtaining Intellectual Support

Adequate intellectual support is definitely required for the emergence of art and crafts museums in Saudi Arabia. This support is expected from artists, private collectors, and scholars who are interested in art and crafts issues. Their support would be obtained through making and/or receiving interviews, seminars, lectures, and written materials.

Another area of intellectual support is expected from the private art and/or cultural establishments which have direct or indirect involvement in art and crafts. Some of these establishments are the Museum of Abdul-Raouf Khalil and Rochan

Gallery in Jiddah, King Faisal Center for Research and Islamic

Studies, International and Shada Galleries in Riyadh. 172

Phase III; An Official Adoption

A primai official adoption is something more than necessary for the emergence of art and crafts museums because it helps in:

- Widening the scope of the previous two phases.

- Obtaining more general support of official departments

which have an interest or activities in regard to art

and crafts. These departments are Saudi Arts and

Culture Association of the General Presidency of Youth

Welfare, Department of Cultural and Educational Affairs

of the National Guard, and King Abdul Aziz Memorial Hall

of the King Abdul Aziz Foundation.

- Developing the whole study by experts and special

committees.

- Obtaining more access to the public through mass media

associated with organized and motivating presentations

for the subject area.

- Presenting the whole study as a project to the higher

officials for their final approval (Phase IV).

The primal official adoption is a responsibility of the

Department of Antiquities and Museums of the Ministry of

Education. However, this responsibility could be a joint cooperation with two academic institutions. First, King Saud

University, where there are two relevant departments:

Archaeology and Museology, and Art Education; and second, Umm

A1 Quara University's Department of Art Education. Such a 173 joint adoption creates special significance and serious attention to the project by high level decision makers.

Phase IV; Final Approval

To get final approval, the Ministry of Education and other supporting institutions should present the project to the

Council of Ministers for study. This process follows the legislative and executive central system and has to be followed in order to get government support. About this system, Stacey

International (1983) has noted the following:

The legislative and executive power in Saudi Arabia is exercised by the Council of Ministers. When they draft a decree, they submit it to the King for signature. He may return it for further consideration, but the whole active operation of the government machine is carried out by the Council . . . Saudi Arabia has no effective local government as the term is understood in Western democracies. The municipalities are completely dependent on central government for funds. The people expect the government to provide whatever utilities and services are necessary, and the government accepts an obligation to do so. (pp. 120-122)

The above points out the extent to which centralism is dominant in the Saudi legislative and executive system and from which the country's plans are carried out. To be carried out, this study needs more strong supporters among the decision makers who can obtain the government's obligation to do so. In my consideration, the obligation here means the government's complete understanding, recognition, and trust of the subject project. It also means many administrative procedures and consultations will be followed through the different departments and commissions. So we could expect a long 174

critical journey for this important phase before reaching the

final approval for government support.

However, obtaining government support means that the

project becomes valid and desirable for the country. It means

that the government is committed to an annual fund in order to

run the new institutions. This fund could be high or low depending upon (1) the nature of the general persuasion of the new institutions in the long run, (2) the nature of the

economic situation of the country, (3) the nature of the annual budget of the responsible ministry, and (4) the nature of the administrative changing policy in the future, such as creating a new independent ministry for arts and culture.

Phase V; Public Support and Participation

According to the current Saudi central administrative

system, there are no independent public institutions,

associations or unions for public cultural interests and

concerns Everything there is subject to regulation of a

certain official department or ministry with the exception of

few individually owned institutions. Therefore, public support

of any project is associated usually with an invitation from

the government for participation. This invitation is presented

through mass media and official letters. And, in this case,

the expected support will be individual and/or corporate by the

regional emirates and the private sector's establishments. 175

This way of getting public support seems the dominant one

which has been exercised for various purposes and organizations

both inside and outside the country. The outcome is financial

support in the first place and then different contributions and

participation of physical objects. The following categories

are some examples where public support has been called for.

Political National Issues Riilanthropic Fields Cultural Activities

Algeria's liberation war Philanthropic Asso­ Participation in against France, 1954-1952. ciations, since 1977. cultural events, Saudi cultural week Continuous aid for The Higher Commission in some Arabian Palestine Liberation of Mosques Building. countries, the Organization, since 1974. National Festival of Heritage and Continuous aid for Aid for natural Culture, "The King­ Afghanistan Liberation disasters in the dom: Yesterday and Fighters, since 1980. Arabian world. Today" exhibit in Germany, 1985 Aid for hunger in British, 1986 Africa. France,1986 (p.63)

I mentioned the above examples to emphasize that public

support of art and crafts museums will not be effective and

adequate without the government's invitation and encouragement

to do so. This adds another responsibility to the government

aside from the official adoption and the annual fund of

museums. However, these responsibilities and more should be

accepted as a natural result of a central system everywhere and

everytime. At the same time, they should be recognized as a

part of general concerns toward a specific cultural move.

Above all, execution of such responsibilities means an 176 important cultural contribution to the country and its m o d e m history in the area.

On the other hand, public support is needed for (1) creating a general base of understending museums, (2) creating public relations between museums and society, (3) creating a national feeling of identity and participation, and (4) securing the future of museums and their various activities.

For public support of museums, the researcher expects two periods, early and late. The first period should rise as a response to a national comprehensive invitation for participation. It will be a period of enthusiasm and quickness in presenting different forms of support. Flow of individual financial contributions will be received. Works of local and

Arabian contemporary arts will be granted. Flow of local traditional crafts will be gifted. Artists, private collectors and art and crafts dealers are expected to raise these forms of support, and therefore special attention and care has to be taken.

The later period of public support will begin when museums become a visible fact and effective organized institutions concerning their functions and widening public relations.

Aside from a nonconsecutive support of the last period, this period may receive corporate grants, annual contributions and physical assets such as major collections or new buildings.

The prospective donors of these kinds of support are rich 177 people, major Arabian collectors, international cultural organizations, and the major world museums.

Phase VI; Museums' Continuation and Responsibilities

Museums' continuation means their survival. At the first stages, museums have to survive against bureaucrats, competitor institutions or unexpected disturbance of specific people.

Such responsibilities need strong supporters and loyal management and personnel for continuation of museums' message.

Museums are not temporary institutions, but permanent, for generations to come. Once again, they have to survive against different sociopolitical and socioeconomic changes, including variable laws and regulations. To meet these changes and for continuous survival, museums have to have the following;

- loyal management and personnel,

- permanent public support,

- continuous evaluation of all activities,

- continuous maintenance, and

- adequate security system.

A Model of an Educational Program for Art and

Crafts Museums in the Kingdom

According to the discussion of the educational functions of museums (pp. 41-45), and lack of these functions at the

Saudi current museums (pp. 97-106), and to meet the general objectives of this study, the author has developed a special 178 model of educational programs which corresponds to the current cultural and social policy of the country. This model has been derived from some programs and activities of a number of

American art museums and cultural centers such as Metropolitan

Museum of Art, Museum of M o d e m Art in New York City, Dade

County Art Museum in Miami, Indiana University Art Museum in

Bloomington, Indianapolis Museum of Art, Cleveland Museum of

Art, Cincinnati Art Museum, Columbus Museum of Art, and

Columbus Cultural Arts Center. Each museum or center has limited or extended programs depending on its objectives, roles and resources, but generally the American museums offer numerous programs for children, adults, families and handicapped people. These programs are varied from museum to museum and offered free or with simple fees, and including the following list (according to the author's review of different publications of many American museums):

1. Various supplemental publications (catalogues,

brochures, art reproductions, photographs, slides and

postcards).

2. Research facilities (organized rich libraries, study

rooms and collections, equipped labs and bookstores).

3. Guided tours for groups of students, adults and

tourists.

4. Regular art exhibits (monthly or quarterly including

gallery talks, lectures and publishing brochures. 179

catalogues and/or books about the exhibitors and their

works).

5. Regular art studio classes and workshops (for all, and

especially for kids during the summer).

6. Special events (art festivals, scholarly seminars and

symposiums, international exhibits, art films and

concerts).

7. Performing arts (music, dance and drama).

8. Conversations and coffee (with artists, art critics,

writers and scholars).

The above list of programs and activities are applicable through the Saudi art and crafts museum and can be implemented gradually and by different means, with the exception of some programs (numbers 6 and 7). Therefore, the development model suggests providing materials and offering programs that each single museum should deal with all year long.

1. Providing all supplemental publications as far as

possible about Islamic art, Arabian contemporary art

and the local traditional crafts.

2. Providing audio aids with simple and direct

information about the museums' objectives and

functions, major collections or pavilions and public

support.

3. Providing convenient surroundings for the pleasure of

children and family gatherings. 180

4. Creating educational correlations with public schools

for daily visits of student groups.

5. Presenting monthly lectures about the various aspects

of Islamic art, Arabian contemporary art and local

traditional crafts, with open discussions and/or

dialogues.

6. Presenting six annual art exhibits of Arabian artists

with gallery talks and/or lectures with slides.

7. Permanent art studios for amateurs, and permanent

workshops for different types of traditional crafts.

8. Offering a weekly social gathering with artists,

craftsmen, historians and other scholars.

9. Extending the opening hours from 9 AM to 9 PM for

covering these activities adequately and sufficiently. CHAPTER VI

CONCLUSION AND RECOMMENDATIONS

Throughout what has been discussed in Chapters II and TV,

it is obvious that museums in general are very important

institutions for historical, cultural and educational purposes

of any country without any discrimination. These purposes have been recognized and obtained through the last two centuries by

different means, resources and policies in different countries.

For instance, Bahrain, an Arab country and a small island in

the Arabian Gulf (area: 258 sq. mi.; population: 250,000, est.

1977; H. Haddad and B. Nijim, 1978), has two museums devoted

mainly to archaeological discoveries of the ancient

civilization of Dilmun (3000-700 B.C.) and other excavations

(see Appendix D for details). On the other hand is the United

States which has more than 5,700 museums (in 1981), while the

Soviet Union has almost 500 museums listed in 1981 (Hudson and

Nicholl, 1981). This large number of museums represents man's

vast capacity for knowledge and creativity, and the intentional

goal for spreading this knowledge to all peoples. This has

created more than seventy specialized museums recognized by

different names and languages (UNESCO, 1973, Museum: Index,

1948-1973, Volumes I-XXV, Paris).

181 182

Saudi Arabia has expressed its attitudes towards art

issues and cultural affairs by establishing some departments

and allowing some activities (see pp. 51-52, 56-65, 107-137,

147-149). For museums, it has established two archaeological

museums and six others will be completed in 1990 (see pp. 14-

15, 81, 97-106). These museums are mainly devoted to the display of excavated materials of ancient civilizations to the

Islamic era, and with some attention to traditional crafts of

this century. But, it should be understood that the country has the responsibility for demonstrating, documenting and displaying most of the art and cultural developments of the

last fourteen centuries, and not just the ancient

archaeological discoveries. This responsibility rises as a

result of certain historical, cultural and socioeconomic

considerations (see p. 11) and, therefore, this study comes to meet these considerations and to widen the plans for museums in

the country. It comes also to meet the general cultural needs

of Saudi people which have been expressed in different ways

through Chapter IV, pp. 138-167, and summarized in five points:

- The people need to know more about their past and their

present through scientific and physical applications.

- The people need more cultural and educational channels

besides the academic public schools to clarify the

general concept of the arts.

- The people need to preserve their own cultural identity

because of the frequent waves of Western modernization. 183

- The people need to use their local resources in creating

a body of cultural knowledge for themselves and for

future generations.

- The people need to enter the wide world of the arts and

enlightenment, making it possible for everyone, to show

they are someone other than "people of oil."

Establishing art and crafts museums means the direct move for offering these needs to people, and that has been supported through 20 reasons or opinions: 4 by officials, p. 153; 6 by collectors, pp. 157-158; 5 by artists, p. 152; and 5 by scholars, pp. 167-157. However, this support does not mean that there is an ultimate solution because there are 15 ex­ pected problems (mentioned by the same groups in pp. 154-155,

159, 163, 167) which are compounded in the following five:

- Obtaining the final approval for the implementation of

those museums from higher officials at the Council of

Ministers (see pp. 172-174 for procedures).

- Creating adequate loyal managements, specialists and

trained personnel for display techniques, maintenance

and restoration (see pp. 80-81 for some solutions).

- Acquiring and documenting the collections, especially

those from outside the country (see pp. 106, 129-130,

157 for some successful examples of acquiring

collections).

- The administrative bureaucracy (see pp. 140-141 for an

example). 184

- Economie problems in the long run (see pp. 174-177 for

public support).

Recommendations

Obtaining some information as responses of specific questions addressed to this study (pp. 11-12) was not easy; however, it is just a beginning for the investigation of different issues which might structure a framework for the implementation of art and crafts museums in the near future.

Some issues have been discussed and more need to be considered for public preparation and participation which include;

- Offering a basic course of museology at the last year of

high school for the coming fifteen years.

- Offering museology courses at the current two art

education departmentsincluding museum history, their

purposes, educational function and display techniques.

- Developing the current Department of Archaeology and

Museology at KSU by offering more specialized courses in

museum education, public relation, restoration and

conservation and exhibition techniques.

- Developing the current policy of acquiring artworks and

crafts objects by the Department of Antiquities and

Miseums and other cultural institutions.

- Expanding the current methods of collecting traditional

crafts by creating authorized offices across the

country. 185

- Providing funds for major collectors to establish their

own local museums.

- Enhancing the current conditions of the artists and

providing more facilities (see pp. 138-139).

- Appointing special committees for acquiring collections

of Islamic art from the world's leading auction houses

and galleries.

- Documenting the current collections of Islamic art at

local collector. BIBLIOGRAPHY

Adams, D. (1983). Museum public relations. Nashville, Tennessee: The American Association for State and Local History.

Adams, P. (1960). The exhibition. The Organization of Museums. Paris, France: UNESCO.

Alexander, E. (1983). Museum masters. Nashville, Tenn.: The American Association for State and Local History.

Al-Kaissi, 0. (1984). Radwi. Geneva: Art and Design Consultants S.A.

Allan, D. (1960). The museum and its functions. The Organization of Museums. Paris, France: UNESCO.

Alan, D. (1960). The staff. The Organization of Museums. Paris, France: UNESCO.

Alzailaei, S. (1985). The history and development of handicrafts in southwestern Saudi Arabia, a Masters thesis at University of Wisconsin, Madison.

American Association of Museums. (1984). Museums for a new century. Washington, D.C.: AAM.

Atil, E. (1975). Art of the Arab world. Washington, B.C.: anithsonian Institution.

Babbie, E. (1973). Survey research methods. Belmont, California: Wadsworth Publishing Company, Inc.

Banfield, E. (1984). The democratic muse. New York: Basic Books, Inc.

Bahnasi, A. (1980). The modern art in the Arabian countries (an Arabic edition). Tunisia: Bar Al-Janoob for publication.

Barzun, J. & Graff, H. (1970). The m o d e m researcher. New York, NY: Harcourt Brace Jovanovich, Inc.

Basic, M. (1977). Saudi Arabia through the eyes of an artist. London: Falcon Press.

186 187

Bazin, G. (1967). The museum age. New York: Universe Books.

Becker, H. (1978). Arts and crafts. American Journal of Sociology, ^(4), pp. 865, 868, 888.

Binzagr, 0. (1979). Saudi Arabia, an artists*s view of the past. Lausanne, Switzerland: Three Continents, Publishers.

Bingham, W. & Moore, B. (1959). How to interview. New York, NY: Harper and Brothers.

Bollens, J. & Marshall, D. (1973). A guide to participation. New Jersey: Prentice-Hall, Inc.

Bond, C. (1983). Traditional crafts of Saudia Arabia. Smithsonian, 14(1), p. 148.

Booth, J., Krockover, G. & Woods, P. (1982). Creative museum methods and educational techniques. Springfield, Illinois: Charles C. Thomas Publisher.

Borg, W. & Gall, M. (1983). Educational research. New York, NY: Longman, Inc.

Borun, M. (1984). Do you read me. Museum Education Anthology, 1973-1983. Washington, D.C.: Museum Education Roundtable.

Burcaw, G. (1975). Introduction to museum work. Nashville: American Association for State and Local History.

Chipp, H. (1968). Theories of modern art. California: University of California Press.

Clark, A. (1985). Unity in Riyadh. Aramco World Magazine, 26(6), pp. 4-9.

Coremans, P. (1969). Training of restorers. Problems of conservation in museums. Paris: UNESCO.

Daifuku, H. (1960). Collections: Their care and storage. The organization of museums. Paris, France: UNESCO.

Department of Antiquities and Museums, Ministry of Education (1977). The historic legacy of Saudi Arabia. Atlal: The Journal of Saudi Arabian Archaeology, 1(1), pp. 9-17.

Douglas, J. (1985). Creative interviewing. Beverly Hills, California: SAGE Publications. 188

Ettinghausen, R. (1978). Islamic Art. Bulletin, New York, New York: The Metropolitan Museum of Art.

Fleming, E. (1974). Artifact study: A proposed model. Winterther Portfoloi, 9^, pp. 153-160.

Fry, E. (1972). The dilemmas of the curator. Museums in Crisis. New York: Art in America, Inc.

Ghulam, Y. (1982). The Art of Arabid Calligraphy. Lafayette, California.

Gorden, R. (1980). Interviewing, strategy, techniques, and tactics. Homewood, Illinois: The Dorsey Press.

Hablin, D. (1982). Treasure of the sand. Smithsonian, JL4(6), pp. 43-54.

Harvard University (1980). Arab and Persian Painting in the Fogg Art Museum. Cambridge, Mass: Harvard University.

Hobson, D. (1984). Lungs for our art to breath. Aramco World Magazine, 36(6), pp. 4-9.

Hopkins, C. (1976). Educational research: A structure for inquiry. Columbus, Ohio: Bell and Howell Company.

Hudson, K. (1977). Museums for the 1980s. New York: Holmes and Meier Publishers.

Hudson, K., & Nicholl, A. (1981). The Directory of World Museums. London, England: Macmillan Press Ltd.

Isaac, S. & Michael, W. (1981). Handbook in research and evaluation. San Diego, California: Edits Publishers.

Islamic art center promoted by Kingdom. Saudi Arabia, 1_(3), pp. 12-13.

Jenkins, M. & Sabah, N. (1983). Islamic art in the Kuwait National Museum. London: Sotheby.

Johnson, J. (1975). Doing field research. New York, NY: The Free Press.

Katz, H. Sc M. (1965). Museums, U.S.A., A history and guide. Garden City, NY: Doubleday and Company, Inc.

Kingdom commemorates National Day. (1986) Saudi Arabia, 3(10), p. 2. 189

The Kingdom; Yesterday and today. (1986) Saudi Arabia, ^(8), p. 2.

King Faisal Center for Research and Islamic Studies. (1985). The Unity of Islamic Art. The Introduction by Atil, E. Kent, England: Westerham Press.

Leedy, P. (1985). Practical research; Planning and design. New York, NY; MacMillan Publishing Company.

Levi, A. (1985). The art museum as an agency of culture. Journal of Aesthetic Education, 19(2), pp. 23-40.

Long, D. (1976). Saudi Arabia. The Washington Papers, 39(5), p. 5.

Lopez, F. (1975). Personnel interviewing. New York, NY; McGraw-Hill Book Company.

Martin, E. (1984). Museum education-power and future. Museum Education Anthology, 1973-1983. Washington, D.C.; Museum Education Roundtable.

Meyer, K. (1979). The art museum; Power, money ethics. New York; William Morrow and Company, Inc.

Ministry of Information (1982). Features from Saudi Arabia. Saudi Arabia; Riyadh.

Moe, J. (1984). Folk art and society. Ohio Antique Review, 10(1), pp. 11-12.

Molyneaux, D. & Lane, V. (1982). Effective interviewing, techniques and analysis. Boston; Allyn and Bacon, Inc.

Montaner, J. & Cliveras, J. (1986). The museums of the last generation. New York; St. Martin's Press.

Myers, B. (1967). Art and civilization. New York, NY; McGraw-Hill, Inc.

Nasr, S. (1976). Islamic science; An illustrated study. London: The World of Islam Festival Publishing Co.

Nathan, H. (1986). Critical choices in interviewing. Berkeley, California; Regents of the University of California.

Nochlin, L. (1972). Museums and radicals; A history of emergencies. Museums in crisis. New York; Art in America, Inc. 190

Osborne, H. (1974). Primitive art and society. The British Journal of Aesthetics, 14(4), p. 297.

Rice, D. (1975). Islamic Art. Bulletin, New York, NY: The Metropolitan Museum of Art.

Ripley, D. (1969). The sacred grove, essays on museums. New York, NY: Simon and Schuster.

Rogers, L. (1969). Museums and related institutions, a basic program survey. Washington, D.C.: U.S. Government Printing Office.

Ross, H. (1978). Bedouin jewelry in Saudi Arabia. London: Stacey International.

Ross, H. (1981). The art of Arabian costume: A Saudi Arabian profile. Friburg, Switzerland.

Ross, H. (1981). The art of Bedouin jewelry. Friburg, Switzerland: Arabesque Commercial SA.

Schlereth, T.J. (1984). Object knowledge: Every museum visitor an interpreter. Museum education anthology, 1973- 1983. Washington, D.C.: Museum Education Roundtable.

Sculptures adorn the Kingdom's cities. Saudi Arabia, _2(3), pp. 14-17.

Stacey International. (1983). The kingdom of Saudi Arabia. London: Stacey International.

Stewart, C. & Cash, W. (1974). Interviewing: Principles and practices. Dubuque, Iowa: William C. Brown Company Publishers.

Stokstad, M. & Humphrey, P. (1982). The humanist in the museum. Museums, humanities and educated eyes. Lawrence, Kansas: University of Kansas Printing Services.

Thames & Hudson. (1971). Treasures of the British museum. London: Thames and Hudson Ltd.

The making of the Mishlah. (1986). Saudi Arabia, _2(4), p. 15.

Topham, J. (1981). Traditional crafts of Saudi Arabia. London: Stacey International.

UNESCO (1960). The organization of museums, practical advice. France : Paris. 191

Verma, G. & Beard, R. (1981). What is educational research. Aldershot, Hants, Great Britain; Gower Publishing Co. Limited.

Walizer, M. & Wienir, P. (1978). Research methods and analysis. New York: Harper and Row, Publishers.

Wittlin, A. (1970). Museums: In search of a usable future. Cambridge, Mass.: The MIT Press.

Zakariya, M. (1979). The calligraphy of Islam. Washington: Center for Contemporary Arab Studies, Georgetown University.

Zaybari, A. & dijk, V. (1964). Texts in the Iraq museums. Baghdad, Iraq: Directorate General of Antiquities. APPENDIX A

EXAMPLES OF SAUDI ARABIAN TRADITIONAL CRAFTS

One of the popular types of short daggers in Saudi Arabia, a sketch by the author.

Source: Aramco World Magazine, V 38, No. 5, Septeihber-October, 1987, and fron the collections of John Topham.

192 PLEASE NOTE:

Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation, however, in the author’s university library.

These consist of pages: 193-198, Examples of Saudi Arabian Traditional Crafts

200-210, Examples of the Arabian Contemporary Art

212-218, Examples of Islamic Art

220-246, The Arab World Museums

UMI APPENDIX B

EXAMPLES OF THE ARABIAN CONTEMPORARY ART

Source: The M o d e m Art in the Arabian Countries (1980), by Afief Bahnasi (an Arabic edition).

199 APPENDIX C

EXAMPLES OF ISLAMIC ART

Source: Aramco World Magazine, V 35, No. 6, November-December, 1985, V 38, No, 2, March-April, 1987, and King Faisal Foundation, Exhibit of the Unity of Islamic Art, Riyadh, 1985.

211 APPENDIX D

THE ARAB WORLD MUSEUMS

Arranged Alphabetically by Country

Sketch of a general view of Khalil Museum in Jeddah, Saudi Arabia

Reference: The Directory of World Museums, Second edition (1981) by Kenneth Hudson and Ann Nicholls.

219 APPENDIX E

THE INTERVIEW QUESTIONS IN ENGLISH AND ARABIC

PLUS TIVG INTRODUCTORY LETTERS

247 248

QUESTIONS ADDRESSED TO OFFICIALS IN

(RELEVANT CULTURAL INSTITUTIONS)

No:

1. What are your department's roles concerning art and crafts in the Kingdom?

2. Are there any future plans or projects concerning art promotion and/or crafts preservation in the Kingdom?

3. What is the nature of your department's relation with the artists, private collectors and other cultural institutions?

4. Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

5. From your experience, what kind of support can your department offer for such museums?

6. What kind of problems do you expect in establishing those museums?

Note

The proposed museums are supposed to house works from:

1. Islamic Art

2. Arabian Contemporary Art

3. Traditional Crafts of the Kingdom 249

QUESTIONS ADDRESSED TO PRIVATE COLLECTORS OF ART AND/OR CRAFTS

No:

1. Would you summarize to us your story of collecting art and/or crafts?

2. What is the nature of your collections, and what is their value historically and artistically?

3. From your experience, what are the major resources for art and/or crafts works acquisition?

4. Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

5. As a private collector, what kind of support can you offer for such museums?

6. What kind of problems can you expect in establishing those museums?

Note

The proposed museums are supposed to house works from:

1. Islamic Art

2. Arabian Contemporary Art

3. Traditional Crafts of the Kingdom 250

QUESTIONS ADDRESSED TO ARTISTS

No:

1. What is your general concept of museums?

2. Through your visits to museums outside the Kingdom, what is the nature of Arabian and Islamic art or crafts that you have seen?

3. What is your opinion about the current art activities in the Kingdom?

4. Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

5. As an artist, what kind of support can you offer for such museums?

6. What kind of problems do you expect for establishing those museums?

Note

The proposed museums are supposed to house works from:

1. Islamic Art

2. Arabian Contemporary Art

3. Traditional Crafts of the Kingdom 251

QUESTIONS ADDRESSED TO SCHOLARS

(CONCERNED OF CULTURAL ISSUES)

No.

1. In your opinion, what is the general role of museums?

2. What roles can museums play for a developing country such as the Kingdom?

3. What do you think of Arabian contemporary arts in terms of values and trends?

4. Do you support the idea of establishing art and crafts museums in the Kingdom? Why?

5. As a concerned person of cultural issues, what kind of support can you offer for such museums?

6. What kind of problems can you expect in establishing those museums?

Note

The proposed museums are supposed to house works from:

1. Islamic Art

2. Arabian Contemporary Art

3. Traditional Crafts of the Kingdom 252

General Administration = | ji "ji .11 I 4_^UJl •jb'^l For Stair and Personnel Affairs = Y T\ Jyib^1j j Jdl û j jJJ \cnnm Ti tgi^ ■*--* r qr. -I AtMfl oaua.rilntvcrâüij

Date: ....\.^..V....(.^..VCJ/.... : No.: :^J\

jeVl

1 _.l - II ^1 ...Ij J-U S-J-.I '*«* /

JI loL^JjcJI y.-J1 _,. L l i > j « 4 ls*

►h. jj-Ms Â-*J>>Î ) JUw S-^S ila-jJ as—Ija ^ . ( îSU «Jbi.A ^» O-Lb-Jl^

, i> *--.^ . ^ — L^l «i*Jlr A— Ij as^l_— J«li • '^1-i f Uj-a.

\? O*^

RIYADH 11451.P.O, Box 2454 Tfof \\ie\ 253

•; j *rs*

JL- j LUI U ^ y Jjju. JJll U .U J j ^ UUI j^î ^ ] •Ij^ J I 'HL.j J-xî if'i U. ÎJ-jdl oLV* L Du ^ lyjJI . " 4w 4^.t« liL 4j \j^ IîÎTII «S»Ltlî«< llj ^yâJI «.JI* I? « 4—jJkl * ^Ijaljw : L ^ • :ULjJI ILjXjl « = , L ^ I ^ > 3 ^ ;*j^i u L ^ I

^ ^ OÎ L? . IfeU LL ^ U ^ ' ^ 1 cr c r ^ l j! J-Î L.^. J^3U JL»yi JfJaJÜI ^1 «±«^ * J* «i«.*Ul . Sj-« jiSmUI • *Ljl 4a.,*^l Ja! 4^^»yi JLwjj

Mohammed Resayes 5248 Brandy Oaks LN *\"\ATTatt ^ Columbus, Ohio 43220 USA \UVT 254

^ji\

S *£,1^1 (ÿJI o 3U I4I 4..I..Â:,-.. *JL* J* j T^

. .£,1^1^ ^1 tzs*^^ ‘ ir J^j 0=f **rr^ ^ ' ^cr

S ^>.^1 w U d i *=,L».>ll J

9 I3U^ S 4SJLIL Î^JuJîiJI *=»ltl««AJI^ ^yiJL4>A

S &JLalzi( kiUs 4*JÛÜ ^1 l 3l« > ^ O "

S >.ii»HI ijlls fg^zfl *=»L^jkaJI ^jU L» I '^ij“

ΫÈ^)L-

t r * J L » t l 0)^ *l*aJI ^ 4» y ill taù>üdi

^ *:L.yi ()iji — \

j^Lall ^Ij T

. 13UIL Â^ Jd l O J ^ I *=,ULJI __ T 255

f 3 j

s <>*il if* L» ’ 'tr

S wiJIj ^ «S-Lllïll kf* l* : ^tr

5 o UîTïlt ailJL» J i JyaaJI L»: T ^

S LUj S lüUlL :Lj,^l c/LLwJI^ Uu-Lu .lâjl %^ J* .

S hJlaLzU «iUb ililK g^zjl t^Lj iViJI L» 3 ^cT*

^ hJi»Uâll «iljbr Jii V ^yuU 4«» jl!"! ^1 ^yL^àmâ» IjLt ) '^c/*

c *,,. .h->3L^

tr* t±.aJI J *ja.Ldl

«^Lw^l ^yill — %

j ^ U l l <>iJI — T

. ;üJLL ï^jjII o .u1ï.:H cLLJI - T 256

S *Ju»Lill ^ (j#lâjl »dL»j| i » t* J ^

J I ^jiJI ^ L» < S L U L I «-l»lzl J2lâ ^ : '^tj»

^ L kJal^ C. b?»y J ÏSJULL !u Ju jlsl! oU L üaJI ^ J I _ÿ««lall ^yjjl^

9 Ua.UI JJb

S ;HJIL ULJI yXi:ll yJI clLUJI ^ ^ W l J J j ^ L ,

S I jU ^ S 4,^1»! L ^JuJjLÜ I ^yâJL 4;WW«kà,Z„» fcJL»li~ » «Lm I Ç}T^ ^ ’ ^Ü"

s Uuküll düb J d < 0 ^ ^1 ^jKt..", Ü L : 0 ^

9 «J|%L«H >îLL» oL^^aaJI^ j A L i i "^o“

tr- *i-»JI ÿ

^___.3L.^I (yJI _ \

^ U l Jailj ^1 T

. ;1LJIL 5^jJLI L , j ^ l o U L J I _ T 257

r^' ^ «-&»lz*JU ^IjJI ^ÿ^lnÂaJI ^^jJI ^ J L» ^ (J»

S a SLULI JjL » p b j JL ^ v jl Lî ^I 1^ jJlj fcjL>lj«iU ^yuJLlzJIj L* «

^ j-*L»ll ^ jf*UJI J* I - ’

S liUj S :ÜUIL ÂwjJzJI c,LL#Jlj ULklz. #Liil *^ ùj^ J* ’ V

S kjukldl JLb «Liil! ^ 1 o Lj m JI L : o ^

S oLablll «iLlS J ^yJL ^7|« <«.\Ï7 ^1 ^^i».7iin.*î IjL> "^0“

M l

(^. ■ «^~^l <>iJl — '

^ U l l ^^ I j <>iil -•- T

. -i^Ul 5^jjll 0A>bdl oUU-JI - T 258

In the name of God, The Most Merciful, and Most Compassionate

Dear Miss/Mrs.

Dear Mr.

Good Greetings.

I am a sponsored student by King Saud University to pursue my higher education in the field of Art Education at The Ohio State University in the United States. I am working on my dissertation for the Ph.D. degree, and my research entitled "Significance of the Development and Emergence of Art and Crafts Museums in the Kingdom of Saudi Arabia."

An important part of gathering data for the research is your answer on the attached questions as soon as you can. I am looking for your cooperation, and I would like to assure you that the purpose of the questions and the answers is a pure academic purpose, and no one will see your responses but the researcher.

For sending your response there are two addresses:

Mohammed Resayes P.O. Box 6923, Riyadh 11472

or

Mohammed Resayes 5248 Brandy Oaks Ln. Columbus, Ohio 43220

My thanks and appreciation to you.

Sincerely yours,

Mohammed Resayes APPENDIX F

BIOGRAPHICAL INFORMATION OF FIVE SAUDI ARTISTS

Source: The artists' works guidebooks and exhibitions catalogues.

259 250

Safeya Binzagr:

- Safeya Binzagr was b o m in Jiddah, Saudi Arabia, and was educated in Jiddah and in Cairo. Her interest in art developed while in Egypt, and after three years at finishing school in England she returned to Cairo to study painting privately. She has since taken a two-year advanced course at St. Martin's School in London. - The main inspiration for her work comes from her native environment, and results from her desire to preserve on canvas the fast disappearing customs and tradition of her native land. - Safeya held three exhibitions in Jiddah, in 1968, 1970 and 1976, and one in Dhahran in 1976, and she exhibited at the Woodstock Gallery, London, in 1973. - Further exhibitions were held in 1980 at the Patrick Seale Gallery, London, in October, in the Galerie Drouant, Paris, in November and in the Galerie du Vieux- Chene, Geneva, in December. - In 1981 exhibitions were held in Riyadh and Juba il and Yanbu. In 1983 and 1984 exhibitions were held in the U.S.A. and Japan.

Mohamed Al-Saleem:

- Born in Marat, Saudi Arabia, 1938. - He worked as a teacher of art education since 1957, then as inspector of art education in Riyadh Educational Zone. - He worked as a painter in Riyadh Television in 1964. - Graduate of Florence Academy of Fine Arts in Italy. - He worked as decoration architect in Riyadh Television from 1973 to 1979. - Member of the Fine Arts Center (Dante House) and the Arts Friends of Florence in 1971. - Member of the Board and Head of the Fine Arts Committee of the Saudi Arabian Cultural and Arts Society in Riyadh from 1973 to 1979. - He delegated the Kingdom in the 4th Arab Art Biennial Exhibition in Kuwait in 1975, the Conference of Fine Arts organized by the Arab League in Damascus in 1975, and in the General Assembly of the Union of the Arab Artists in each of Algeria, Maghrib, Tripoli, Alexandria, and Baghdad. - He held 31 personal exhibitions in each of Riyadh, Dhahran, Dammam, Jeddah and Florence. - He participated in more than 50 collective exhibitions on national and international scales in each of the kingdoms of Kuwait, Iraq, Libya, Italy, Maghrib, Qatar and West Germany. - His works are in collections of the Kingdom, Kuwait, Italy, Bahrain, USA, Britain, West Germany, and Japan. 251

- He was awarded more than twenty prizes and certificates of honor and appreciation, most of them from Italy, Saudi Arabia, and Kuwait. - He occupies page 75 of volume 9 of The Contemporary Italian Art Record. - Now he is the owner and manager of the Saudi Arts House in Riyadh.

Abdul-Halim Radwi:

- B o m in 1939. - 1962-1968 graduate of the Academy of Fine Arts, Rome, where he held nine exhibitions. - 1968-1979 graduate of the Madrid Academy of Fine Arts, with the level of professor. Has held eight exhibitions in Madrid and two in the Spanish island of Ibiza (3rd prize). - 1964-1974 four exhibitions in Beirut, Lebanon. - 1964-1981 five exhibitions in Jeddah, two in Riyadh, and one in Dhahran. - Has held seven exhibitions in Cologne, Bonn (Saudi Week), Paris, London, Amsterdam, Brussels, and Zurich. - Has won more than 37 prizes. - Elected president of Arab Artists League and International Selection Jury of Fine Arts Club in Madrid. - The number of his art works reached more than three thousand between oil paintings, water color, engraving and sculptures. - Presently Director of Saudi Association for Culture and Arts in Jeddah.

Abdul-Jabbar Al-Yahya:

- Born in Al-Zubair (Iraq) in 1931. - He held his first personal exhibition in 1973. This was first exhibition organized by the Saudi Arabian Cultural and Arts Society, Riyadh. - He organized another personal exhibition in Riyadh, 1984. - He participated many times in the collective exhibitions organized by the General Presidency of Youth Welfare. - He participated in the Exhibition of Riyadh Yesterday and Today in Germany in 1985. - He represented the Kingdom in the International Communication Fair "Expo '86" in Vancouver, Canada, 1986. - He worked as an art journalist in Al-Madinah Newspaper in ■ 1967. - He wrote some articles in local newspapers in the field of artistic criticism and analysis. 262

Saad Al-Obaied;

- Born in Riyadh in 1944. - Holder of Diploma of the Teachers Training Institute in Riyadh in 1961. - Attended two artistic seminars in the Kingdom on the years 1964 and 1965, and a third one in Paris in 1976. - He worked as an "Art Education" teacher for 8 years up till the end of 1970. - He is the President of the Fine Arts Committee at the headquarters of the Cultural and Arts Society in Riyadh. - He works as a painter in the decoration section of Riyadh Television. - He held four personal exhibitions in Riyadh in 1971, 1975, 1977, and 1979. - He participated in the sixth Biennial Exhibition of the Arab Art in Kuwait in 1978. - He participated in the Youth Exhibition in Onan in 1983. - He participated in the Silver Jubilee of Getty Company in Al-Khafgy sharing with Kuwait Artists in 1984. - He participated in the Bazaar Exhibition in London in 1984. - He participated in the Saudi Exhibition in Sweden in 1977. - He participated in the Saudi Exhibition in Bonn, West Germany in 1981. - He participated in the Gulf Cultural Week in Paris in 1981. - He represented the Kingdom in the Saudi Cultural Week in Algeria in 1984. - He represented the Kingdom in the Fine Arts and Popular Crafts Festival of the Gulf States in the United Arab Emirates in 1985. - Some of his works are acquired abroad, in Syria, Egypt, Greece, England and U.S.A. - He got some shields and medals on some local and foreign occasions.