Rare archaeological finds from pre-Islamic era discovered in Saudi Arabia’s Najran

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The rare finds occurred at Al-Okhdood in Najran. (Supplied)
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Updated 21 February 2023
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Rare archaeological finds from pre-Islamic era discovered in Saudi Arabia’s Najran

  • Najran was a compulsory stop for caravans traveling from the south of the Arabian Peninsula
  • The bronze bull’s head had traces of oxidation, a natural reaction when bronze is exposed to air

MAKKAH/RIYADH: The Heritage Commission announced the discovery of three gold rings, a bronze bull’s head and a southern Musnad inscription on a granite stone — all dating back to the pre-Islamic era — at Al-Okhdood, a village in Najran, on Feb.15.

The rare finds are currently in the hands of professionals and undergoing restoration.

Dr. Salma Hawsawi, an associate professor of ancient history at King Saud University, told Arab News that Najran was a compulsory stop for caravans traveling from the south of the Arabian Peninsula.

“Two commercial routes branch out from it, one of which is towards the northeast, passing through the village of Al-Faw, and ends in the east of the Arabian Peninsula, while the second road heads north to reach Petra and from there to the cities of the Levant and Mesopotamia,” she said.

The inscription is written with unique standing letters using an old South Arabian script, called Musnad. It is 230 cm long and approximately 48 cm high, with the length of the letters 32 cm, making it the longest Musnad inscription found in the region.

It belonged to a former resident of Al-Ukhdood, Wahb El bin Maqen.

“Commemorative inscriptions can be found across most of the Arabian Peninsula in great numbers, which reflects the advanced knowledge and cultural level that the society reached and how much it cared for writing and documenting.

“The inscription also shows that watering was the profession of Wahb El, which consists of delivering water to the houses, including his own. It also shows the common Arabic names of that period, as the owner of the inscription mentions his and his father’s name,” Hawsawi noted.

Another interesting discovery was the bronze bull’s head that had traces of oxidation, a natural reaction when bronze is exposed to air, creating a patina coating that can range in colors.

“The bull head drawings and statues first started to emerge in the south of the Arabian Peninsula around the first millennium BC,” she said.

It is said to have been a symbol of strength and fertility for pre-Islamic groups of South Arabians: Sabaeans, Minaeans, and Qatabanians. It was also known for its versatility in daily life, as it was used to plow the lands, its meat was eaten and its skin was used in various industries.

It symbolizes the moon because of the resemblance of the bull’s horns to the crescent. According to the Hawsawi, the moon was called “Wad” by the Minaeans, and it was known to the Sabaeans and others as “Warkh,” “Al-Maqah,” “Shahr,”“Kahl” and “Sun” in Hadramout.

“The moon is the eldest of deities and precedes them all. It is commonly referred to as ‘Al’ or ‘El’, while the Arabs of the north called it ‘Baal’ or ‘Hubal’. The moon held a very distinguished position, as it was a guide for trade caravans and travelers. This is why it was given titles such as ‘The Wise,’ ‘The Truthful,’ ‘The Wise,’ ‘The Blessed,’‘The Helper,’ and ‘The Protector,’” she said.

Talking about the three gold rings, Hawsawi said: “Through this discovery, we came to know the metals that were used by the people during that period. The golden rings equipped with locks at both ends show that they were used in different ways and places, along with the possibility of adjusting their sizes as needed.

“They were worn on the fingers, on the arm or around the ankles. They were worn for aesthetic purposes by men and women alike.

“When it comes to the rings discovered at Al-Okhdood site, they were used by women based on the way they were made, the golden lobes on them and the butterfly-shaped locks.”

The associate professor highlighted that the profession of goldsmiths was found in ancient Arabic inscriptions.

“This profession spread across the Arabian Peninsula, where the jeweler melted and purified the metals by blowing into the flame to melt the metals before reshaping them.”

Archeologists also found great number of potteries in a variety of sizes with one of them being attic pottery, signifying human settlements in the region that date back to third century B.C.

Hawsawi explained that the site at Al-Okhdood, which they visited recently with a group of researchers and specialists, was located inside walls with around 20 multi-story buildings made of mud bricks. The smallest building on the site is 6 meters tall and the largest is 14 meters.

“Only their foundations remain, which are a group of stone installations, inscribed with drawings of some animals, such as horses and camels. Some of the buildings are engraved with inscriptions in the southern Musnad line, most of which are commemorative inscriptions.”

The site also includes two millstones each used for a different purpose.

“Some researchers suggested that they were for grinding grain while others stated that they were for melting metals, due to their large size, and the inability to be moved by humans because of their weight. Being built of stone, and also because of their large size, it is likely that many animals were used to move these mills,” she said

This is the eleventh season that Saudi experts have fulfilled an archeological excavation project.

The Heritage Commission has conducted exploration of Najran in the past and found many discoveries about the land’s history, culture, and community.

The commission has divided projects into various categories, such as archaeology, urban heritage, crafts, and intangible cultural heritage.

Within each category, a specialized group of people from Saudi Arabia and abroad unravel more of the Kingdom’s heritage, culture, and purpose than ever before.

Reflecting Saudi’s Vision 2030 “vibrant society with strong roots” promise, the Heritage Commission has established great initiatives to expand research of the explored and unexplored parts of Saudi Arabia.


Role of culture in governance highlighted at Culture Summit Abu Dhabi

Updated 27 April 2025
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Role of culture in governance highlighted at Culture Summit Abu Dhabi

ABU DHABI: World leaders discussed how culture can transform global challenges at the seventh edition of the Culture Summit Abu Dhabi.

The summit — which opened on Sunday in the heart of Abu Dhabi’s culture district at the Manarat Al-Saadiyat — is hosting a range of panels and discussions exploring the theme “Culture for Humanity and Beyond.”

One of the panels featured former world leaders discussing the role of culture within global governance.

Former Slovak Prime Minister Iveta Radicova set the tone at the “Bridging the Cultural Gap: The Role of Culture in Shaping Global Governance” panel, saying that “400 years ago, there were 800 million people on the planet. Today, it’s 8 billion, divided into 195 states and 6,000 different community groups with their own languages and cultures.”

The panel featured former world leaders discussing the role of culture within global governance. AN Photo

New Zealand’s former Prime Minister Jenny Shipley emphasized the importance of inclusive leadership, sharing her country’s successful model of integrating Maori cultural heritage into national governance.

She noted that leadership must be “intentional” about diversity. “I always start with the ‘I’,” she explained, “because if you’re not a committed, inclusive leader, you will not get to the destination of equity.”

Former President of Mauritius Cassam Uteem illustrated how cultural diplomacy works in practice, sharing how his small island nation has played a major role in international cultural politics. He highlighted Mauritius’ participation in UNESCO, bringing perspectives of small, developing island states into global discussions.

The panelists unanimously agreed that traditional international institutions are ill-equipped to handle today’s complex cultural landscape. They called for more innovative approaches that place culture at the center of global governance, rather than treating it as a peripheral concern.

“Culture is the mirror of human existence and the producer of new dreams, and without dreams, we lose our human dignity,” said Radicova.

A recurring theme was the need to combat misinformation and protect cultural authenticity in an era of tech moguls ruling the roost and advancements in artificial intelligence.

“If you would like to build social cohesion and solidarity around the world, you have to fight for the truth, and openly, without dancing around, with courage and really verified arguments,” said Radicova.


Hazem Harb explores displacement and memory in new Dubai exhibition

Updated 26 April 2025
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Hazem Harb explores displacement and memory in new Dubai exhibition

DUBAI: In his new exhibition, “Not There, Yet Felt,” at Tabari Artspace in Dubai, the Palestinian artist Hazem Harb is making things personal, both literally and figuratively, exploring the theme of displacement.

“It’s an out-of-body experience. I’m here and I’m not here,” he told Arab News. Harb is feeling torn; while his life and studio are physically based in Dubai, his heart and mind are emotionally attached to his birthplace of Gaza. 

The show, on view until May 27, is lined with a series of aluminium self-portraits, based on silhouettes of the artist’s head and upper chest. Instead of seeing detailed facial features, the silhouettes are black, filled with images of colorful walls of Harb’s family home, which was destroyed as a result of the continuing Israeli assault. Such details of the walls, which were photographed by Harb’s nephew and a photojournalist in Gaza, took him by surprise. “I had no idea we had shades of blue, pink and yellow in the house,” he said. “There are so many layers and memories in that house.” 

Above this series of self-portraits, a central neon artwork reads “Hope Is Power,” yet ‘power’ is flickering, indicating uncertainty and a loss of normalcy in daily life. Another instance of disturbance can be sensed in a large self-portrait, printed on paper and hanging on the wall, where the end parts of the paper are intensely crumpled. Exploring the multi-layered idea of peeling, there is also a group of calming, hand-made collage works, where wall peelings resemble figurative shapes. 

Unlike his solo exhibition last year, in which there was a heady showcase of violently passionate work, entering Harb’s new show has a lighter, romantic feel, thanks to the gentle and romantic hues and language used. “Your Skin Is My Homeland,” a wall text reads. In the back room of the gallery, Harb is also presenting figurative paintings he made 20 years ago, resembling the flowing forms he experimented with for his new exhibition. 

Despite the uncertainty felt by the artist, there is a glimmer of hope. One piece that shows this is a large work, where a body (made of medical gauze) stands still, carrying emotional wounds yet rising from the ashes. “The show is a statement. I felt a responsibility,” he said. “The whole world, not just Palestine, is in a very critical time, and I was thinking about the role of art in a sensitive, genocidal time. Art is a way to say something and is a part of history, an archive for the future.” 


UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

Updated 25 April 2025
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UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

  • Third installment of popular franchise will be released in November

DUBAI: The UAE has landed a starring role in the upcoming Hollywood film “Now You See Me: Now You Don’t,” with scenes filmed in the capital city Abu Dhabi.

The production, which will be released in November, wrapped up a 13-day shoot at several of the capital’s landmark locations, according to the Creative Media Authority on Thursday. 

The film, which is packed with high-stakes heist scenes, was shot at destinations including the Louvre Abu Dhabi, Sheikh Zayed Bridge, the Liwa Desert, Ferrari World Abu Dhabi, CLYMB, Yas Marina Circuit, W Abu Dhabi — Yas Island, and various city streets.

The third installment of the popular franchise, directed by US filmmaker Ruben Fleischer, brings back Jesse Eisenberg, Woody Harrelson, Dave Franco, and Morgan Freeman in their previous roles, joined by an ensemble cast that includes Justice Smith, Dominic Sessa, Ariana Greenblatt, and Rosamund Pike.


Saudi historical highlights on display at Abu Dhabi Book Fair 

Updated 25 April 2025
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Saudi historical highlights on display at Abu Dhabi Book Fair 

  • Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair, April 26 to May 5 

‘The Holy Mosque at Makkah’ 

With a foreword by former Saudi Minister of Finance Sheikh Mohammed Abalkhail and images by the award-winning African photojournalist Mohamed Amin, this “sumptuous production” tracks the quarter century of restoration of the Sacred Mosque and Holy Kaaba in Makkah in the mid-20th century. “The text contains a historical description of the Holy Kaaba, Masjid al-Haram, a summary of recent construction in the Saudi era, and architectural notes, with the rest of the volume dedicated to Amin’s photographs, presenting detailed views of the diverse and extensive developments,” the book dealer’s notes state. Amin was “the first photographer to be given access to document the Hajj and among the first to photograph sections of the Holy Mosques of Makkah and Madinah. Over three years during the 1970s, he travelled by camel, helicopter, car and on foot to Madinah, Arafat, and Makkah.” 

Confidential reports from the First and Third Arab Petroleum congresses 

The historical global significance of the first Arab Petroleum Congress in 1959 cannot be understated. It was here that the idea of an oil-producing organization (an idea that eventually turned into OPEC) was introduced. “During proceedings, the influential oil journalist Wanda Jablonski introduced Saudi Arabia’s Abdullah Tariki to Venezuela’s Juan Pablo Perez Alfonzo, both of whom were upset by recent price cuts. They rallied delegates to sign the secret Maadi Pact, suggesting a Petroleum Consultation Commission to coordinate producer responses. This laid the groundwork for the 1960 Baghdad Conference, at which OPEC was officially formed,” the book dealer’s notes state. This grouping of documents contains in-house reports from Aramco on that congress, and the Third Arab Petroleum Congress in Dec. 1961, as well as other Aramco-produced materials from 1956-1961. 

Photographic archive and reports from the recommissioning of the Hejaz Railway 

The book dealer describes this collection as “a unique archive relating to the earliest post-war attempt to reconstruct the Hejaz railway and link Damascus with Madinah.” The last train to travel the full length of the railway was reportedly in 1925, after which “the line south of Mudawwara was washed away, and the conflicts that led to the creation of Saudi Arabia in 1932 dampened collective efforts at reconstruction.” The archive includes previously unpublished photos and original reports issued by the International Resources Engineering and Exploration Group, which was awarded to contract to design the project in 1956. “Coverage is particularly detailed for central and northern Saudi Arabia, especially the area around Mada’in Salih and Khur Himar,” the dealer states, and includes images of the party meeting with local officials including the rulers of AlUla and Tabuk. 

A collection of magic lantern slides by Harry St John Bridger Philby & Alec Horace Edward Litton Holt 

The British intelligence officer Philby — who served as an advisor to Saudi Arabia’s founder, King Abdulaziz Ibn Saud — and the engineer and explorer Holt travelled 600 miles together in 1922 through the desert via Al-Jawf province in Saudi Arabia “at the height of increasing tensions between Ibn Saud and the Hashemites.” These 23 slides were, the book dealer believes, likely used to illustrate the presentation the pair gave about their journey before the Royal Geographic Society in the UK on Feb. 12, 1923. “The collection shows Holt and Philby in Arab dress; Ford cars and aeroplanes at Jidd, desert scenes, a Ford condenser, and ploughing for landing fields, among others.” 

Aramco educational PR pack 

In an attempt to attract US students and graduates in the Sixties and Seventies, Aramco produced several collections of promotional material that included posters much like this one, which it distributed to schools and universities in the States. “The lively posters explore the history of Saudi Arabia and the company’s operations, each illustrated with photographs of historical figures (including T. E. Lawrence), company personnel and oil wells, and Saudi architecture,” the book dealer states.  


‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’ 

Updated 25 April 2025
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‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’ 

  • Exhibition showcases ceramic works by 11 Arab artists  

RIYADH: The Saudi Arabian Museum of Contemporary Art in Riyadh is currently hosting “Adaptability,” an exhibition of work in clay by 11 artists from five different Arab countries, each offering their unique perspective on our relationship with the material. The show runs until May 20. 

“This exhibition beautifully illustrates the adaptability of clay, showcasing human creativity and our capacity for enduring change across cultures and civilizations,” curator Samer Yamani told Arab News. “It shows the similarity between clay and humans: We both are so strong, but fragile, and the higher the fire gets, the stronger we get — we adapt to new circumstances and new things happening in life; we are able to innovate and to be present.”  

The show is laid out in three circles. The inner one includes work that expresses inner thoughts and emotions; the middle explores topics related to communities, culture, and life; the outer circle addresses heritage, urbanism, and sustainability.  

Hana El-Sagini's 'The Doctor's Desk.' (Supplied)

“Clay is such a malleable material that you can shape through many different forms — hand-made, technological, mechanical… so it’s interesting to see all the different ways that the various artists have used or thought about clay; some more technical, some to express more emotional stories. The dialogue between the different ways of thinking with the same material is very interesting,” participating Jordanian artist Sama Alsaket told Arab News.  

Alsaket’s piece, found in the middle circle, is titled “Shades of Terracotta” and was constructed from five different types of clay sourced from her home country. Combining her background in architecture with visual art, her work is intended to spark discourse around handmade, digital, and industrial processes.  

“My work focuses on researching the different kinds of clay in Jordan and documenting traditional techniques there,” she said. “Through exploring these kinds of clay, which are iron-rich and usually used for terracotta, I was thinking about how to translate a vessel which is usually made out of terracotta and used to store water into something that is vertical. I was also thinking about how to leverage the different qualities and characteristics of terracotta in architecture.”  

She added: “Riyadh seems like such an amazing platform for artists and they’re trying to shape and think about what contemporary art in the Middle East is.”  

Sama Alsaket's ‘Shades of Terracotta.’ (Supplied)

Egyptian artist Hana El-Sagini’s “The Doctor’s Desk” also features in the exhibition.  

“It’s a reflection on illness as a female,” El-Sagini told Arab News. “I was a cancer patient and as a Middle Eastern Muslim woman you kind of protect your body and it’s very sacred, but once you become a patient, things totally change. You become this object they need to fix, which is very noble of them, but it’s a very overwhelming experience for us. Anyone who’s going through adversity goes through surreal ideas of reality versus illusion and ‘Is this really happening to me?’ Like with heartbreak, or the death of a loved one, or illness — all of these — you find yourself in a surreal state. This is why there are a lot of fingers in the work.” 

The work is playful as well, she added. “I’m Egyptian, so I need to have that dark humor.”  

El-Sagini is better known as a painter. In fact, “The Doctor’s Desk” is her first ceramic work.  

“It was the right medium for this work: it’s fragile, it’s real, it’s malleable, raw, and very expressive,” she said. “It’s not perfect. It’s kind of a reflection on the human form.”