Royal Commission for AlUla launches Hegra Conservation Project
Royal Commission for AlUla launches Hegra Conservation Project/node/2446801/art-culture
Royal Commission for AlUla launches Hegra Conservation Project
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The primary goal of the Hegra Conservation Project is to identify the causes of degradation in the ancient carved tombs and devise measures that ensure their long-term preservation. (SPA)
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The primary goal of the Hegra Conservation Project is to identify the causes of degradation in the ancient carved tombs and devise measures that ensure their long-term preservation. (SPA)
Royal Commission for AlUla launches Hegra Conservation Project
A team of scientists, experts, and cultural heritage conservation technicians are investigating the factors leading to the deterioration of the ancient carved tombs in Hegra
Beyond its 110 monumental tombs, inscriptions, monuments, and rock-cut chambers, Hegra thrived as a center of trade and culture
Updated 23 January 2024
Arab News
JEDDAH: The Royal Commission for AlUla has launched the Hegra Conservation Project in collaboration with the Italian company Estia, which has 30 years of experience in the field.
Hegra is the first Saudi archeological site on UNESCO’s World Heritage List.
Led by Prof. Mauro Matteini, former director of the Italian National Research Council, a team of scientists, experts, and cultural heritage conservation technicians are investigating the factors leading to the deterioration of the ancient carved tombs in Hegra, which are over 2000 years old.
The primary goal of the project is to identify the causes of degradation and devise measures that ensure their long-term preservation; the project will end by 2025.
Hegra Conservation Project gives the chance to share the beauty of antiquities in AlUla. The technical and scientific aspects of the work to preserve them can be found in the project’s website (www.hegraconservation.com) and its social media platforms.
The Hegra Archaeological Site, a distinguished historical site in the Kingdom, features carved tombs dating back to the Nabataean era. Originating in the mid-1st century B.C., Hegra showcases the Nabataeans’ pioneering spirit and hydraulic expertise, evident in over 130 wells that preserved essential water resources for thriving communities in northern Arabia.
Beyond its 110 monumental tombs, inscriptions, monuments, and rock-cut chambers, Hegra thrived as a center of trade and culture. The Nabataeans controlled trade routes through Arabia, Jordan, the Mediterranean, Egypt, Syria, and Mesopotamia, mastering the incense and spice trades.
Hegra’s legacy intertwines the stories of the Nabataeans, Dadanites, and Lihyanites, revealing cultural exchanges in architecture, decoration, language use, and caravan trade. After becoming part of the Roman province of Arabia in 106 A.D., Hegra incorporated a Roman fort into its city wall, leaving a lasting influence on defensive structures.
Reopened to the public in 2020, Hegra attracts visitors exploring the secrets of the Nabataean Kingdom’s second principal city. It unravels the mysteries left behind by ancient civilizations, offering a mesmerizing on-site experience with Roman influences and diverse historical narratives.
Saudi artist Rana Alsaggaf: ‘I hope my work inspires people to explore these places’
The Saudi artist’s sketches of landmarks from her homeland are on display at the Islamic Arts Biennale
Updated 20 March 2025
Nada Hameed
JEDDAH: Rana Alsaggaf has carved her own space in the Saudi art scene with her intricate sketches of landmarks from across the Kingdom. With a background in interior design and master’s degrees in entrepreneurship and innovation as well as international art and culture management, her practice is deeply rooted in both technical knowledge and a passion for heritage.
Rana Alsaggaf. (Supplied)
Recently, she had the honor of showcasing her work at the second Islamic Art Biennale in Jeddah, an experience she describes as both meaningful and humbling.
“It’s an opportunity to present my work in a space that celebrates the intersection of faith, culture, and artistic expression,” she told Arab News.
Alsaggaf is showcasing “Sacred Journeys” at the biennale, which runs until May 25. It is a collection of works that visually narrate the journey from Jeddah to Makkah, a path traveled by millions of pilgrims. It was installed at the Jeddah Airport Pilgrims Gateway, a setting that naturally resonated with the work.
'Bab Al-Salam Gate.' (Supplied)
“This route is more than just a road, it is a transition into a sacred experience,” Alsaggaf explained. “By sketching its key landmarks, I wanted to highlight the gateways that pilgrims pass through on their way to Makkah. I hope my work inspires people to explore these places and to connect with their history in a way that feels tangible and relevant today.”
Alsaggaf’s artistic process always begins with firsthand exploration. She visits the sites, sketches on location whenever possible, and refines her compositions by focusing on perspective, architectural details, and the emotions these places evoke. Research also plays a key role in her work; she digs into the history of each landmark, uncovering stories that add depth to the experience.
To enhance this connection, with each artwork she includes a card sharing insights about the location. By keeping her color palette minimal, she ensures the focus remains on the form, history, and character of each landmark.
'Historic city wall of Jeddah' by Rana Alsaggaf. (Supplied)
Alsaggaf chose to highlight the pilgrimage gates because of their historical and functional significance, as well as their strong connection to the Islamic Art Biennale’s location.
“These gates mark important entry points for travelers and pilgrims, making them both symbolic and relevant. Each one represents a threshold, a moment of arrival and transition on the journey to Makkah,” she said.
Through her art, Alsaggaf hopes to spark curiosity and inspire people to visit these sites, experiencing their significance firsthand. “I want my sketches to create a sense of connection,” she stated. To enhance this connection, she draws from an eye-level perspective, making viewers feel as though they are standing right in front of the landmarks. Her illustrations act as a bridge between the past and present, preserving the spiritual and cultural heritage of the Hajj.
“These places are not just remnants of the past; they continue to welcome travelers and pilgrims every day. Through my art, I want to ensure they remain part of our cultural dialogue,” Alsaggaf said.
While her work is rooted in direct observation, Alsaggaf takes care to research each site’s historical context. However, rather than reconstructing what no longer exists, she prefers to depict landmarks as they stand today, emphasizing their continued presence and relevance.
“The biggest challenge is capturing the depth of the experience in a way that feels immediate and real. I wanted my sketches to reflect the emotional weight of the journey while staying true to the landmarks’ current state,” she explained. “Balancing simplicity with meaning was key.”
Jeddah’s Rawasheen, the intricately carved wooden balconies found on historic buildings, have been a recurring theme in Alsaggaf’s work. Beyond their striking appearance, they represent the layered history of Jeddah as a gateway for travelers and pilgrims.
“For me, they are windows into the soul of the city, reflecting both its past and its living heritage,” she said.
These ornate facades are a symbol of craftsmanship, cultural exchange, and architectural identity — elements that Alsaggaf is passionate about preserving through her sketches.
'The Pilgrim's Gateway' by Rana Alsaggaf. (Supplied)
Alsaggaf uses her Instagram page, Wings Over Saudi, to share her art — which includes paintings as well as sketches — with a wider audience. The name was inspired by a legendary Jeddah folktale involving seagulls, and reflects her artistic vision of movement, exploration, and perspective.
“It represents the way I approach my art, not just as static images, but as invitations to discover Saudi’s landscapes, cities, and cultural landmarks,” she explained.
Her collection of paintings titled “Reflections of Jeddah” is a tribute to the coastal city’s historic streets. Created in her studio within Jeddah’s heritage district, the series captures the play of light, shadow, and intricate designs that define its acclaimed architecture.
“Through these works, I aim to preserve Jeddah’s historic charm while celebrating its enduring cultural significance,” she said.
Another series, “Sketchbook Journey,” highlights the wider Kingdom’s diverse architecture, from grand mosques to ancient alleyways.
“Each piece in this series honors Saudi Arabia’s architectural legacy, preserving its beauty for future generations while encouraging a deeper appreciation for the artistry and heritage that define the Kingdom,” she said.
Alsaggaf sees endless opportunities to continue exploring and documenting her homeland.
“There are so many incredible landmarks still to capture,” she said. “I want to keep sketching, discovering, and sharing the beauty of these places with others.”
Farjana Salahuddin explores AI, tradition through interactive installation in Qatar
Updated 17 March 2025
Hams Saleh
DOHA: Artists from around the world are showcasing their work in Qatar at “Ai or Nay? Artificial vs. Intelligent,” an exhibition running until May 15 at Doha’s Media Majlis Museum at Northwestern University.
The show features more than 20 installations by international artists exploring themes of artificial intelligence, creativity and identity. Among the contributors is Doha-based Bangladeshi artist Farjana Salahuddin, whose interactive installation “Patterned Deserts: Where AI and Traditions Meet” is a key highlight.
The experiential piece invites visitors to run their fingers through sand, encouraging them to reflect on the dynamic relationship between human creativity and technological advancement, Salahuddin said. As they move their fingers, shapes and lines form in response to their touch.
“It’s an interactive, sensory experience where people can connect with the piece and move their fingers through the sand,” Salahuddin told Arab News. “It’s a way to contemplate how much impact we’re really having, or whether technology is taking over all aspects of our lives.”
Inspired by natural elements such as desert roses and shells, the installation blends human-made forms with tech-driven designs. “Sometimes the sand follows your movements, but other times it moves on its own,” Salahuddin said. “This reflects how technology is evolving, sometimes complementing us and other times taking its own course.”
The interactive media artist, who was raised in Doha, drew inspiration from the city’s changing landscapes. “Doha is my home and it is transforming so much. In some places, you'll see that their identity is completely changing, and it’s all steel and glass,” she explained.
“But then in some other places, we are trying to preserve the meaning in so many different ways, like the National Museum. It is such a contemporary place. So, we can build contemporary things, while keeping our identity in place as well.”
Unusual and memorable iftars to check out in Saudi Arabia
Updated 20 March 2025
Nada Hameed Jeddah and Nada Alturki
RIYADH: As we center our days around fasting in Ramadan, it can be fun to spice things up. Here are a few unusual and memorable ways you can experience iftar this month.
A desert experience
(Supplied)
Take a journey back to how our elders used to break their fast with this unique experience in the desert.
The journey starts at a camel farm where a guide will share more about the treasured animals and their significance in Saudi culture.
Sit down and relax afterwards at a traditional Kashta, an outdoor picnic, to break your fast with dates and laban before heading to the tent for the main meal.
The cost per person is SR700 ($187) through the WeBook app.
24-hour escape to Hofuf
Known as one of the largest date-producing areas in the world, Al-Hofuf is the perfect place for a day of serenity in the midst of nature’s beauty.
Departing from Riyadh, this experience takes you to the city in the Eastern Province where you will enjoy the sunset at Al-Asfar Lake to break your fast.
You will then depart to the Old Souk for a traditional iftar at a local restaurant, to immerse yourself in the authentic flavors of the region.
It also includes a trip to the historic Ibrahim Palace. The next morning, you will discover the unique rock formations of Al-Qara mountain and its caves before returning to the capital.
The price per person is SR2,500 through WeBook.com.
Iftar at a family farm in Muzahmiya
This year, the Ftoon family are opening up their home to guests.
This memorable Ramadan experience is a chance to break your fast with the family before enjoying a peaceful horse ride on the premises.
You will then head back for the main meal, a home cooked dish prepared by Umm Ftoon.
The experience is SR500 per person via WeBook.com.
Break your fast on a traditional mud house rooftop
Gaze at the stars atop a traditional mud house in Diriyah before the summer heat sets in.
A culinary expert will guide you through a traditional Saudi Arabia dining experience, explaining the significance of each dish, as you mingle with new faces in an intimate setting.
The price per person is SR300 through WeBook.com.
Unique Ramadan experience on Red Sea with AROYA Cruise
If you are looking for an unforgettable way to enjoy iftar or sahoor this Ramadan, AROYA Cruise, the first-ever Saudi Arabia cruise line, offers a truly special experience.
Throughout the holy month, AROYA will be anchored in front of the prestigious Jeddah Yacht Club, welcoming guests to break their fast or enjoy a late-night meal while surrounded by the serene beauty of the Red Sea.
From 4 p.m. until noon the next day, visitors can explore the ship’s luxurious facilities, including a state-of-the-art fitness center and one of the largest kids’ clubs at sea.
Special Ramadan-themed activities include guest speakers and wellness programs, adding to the immersive experience.
For those who want to extend their evening, “Ramadan Along the Horizon” offers the option of an overnight stay.
Tickets start at SR499 for adults and SR299 for children under 17 through Aroya.com.
Jeddah’s Islamic Arts Biennale celebrates Ramadan with Biennale Nights
Held at the Western Hajj Terminal at King Abdulaziz Airport, the event offers visitors a cultural and spiritual experience
Updated 15 March 2025
Nada Hameed
JEDDAH: The Diriyah Biennale Foundation has unveiled Biennale Nights, a special Ramadan program at the Islamic Arts Biennale in Jeddah.
Held at the Western Hajj Terminal at King Abdulaziz International Airport, the event runs until May 25, offering visitors a cultural and spiritual experience that celebrates the holy month while showcasing Saudi Arabia’s rich Islamic heritage.
Under the warm glow of Ramadan nights, visitors at the Islamic Arts Biennale in Jeddah come together to celebrate faith, art, and tradition. (Supplied)
During Ramadan, visitors can take part in workshops featuring Arabic calligraphy and traditional craftsmanship, as well as interactive experiences exploring the artistic expressions associated with the holy month.
Sharing his experience, Ahmed Ramadan told Arab News: “This was my first time visiting the Islamic Arts Biennale, but I had planned to go for a while. When they announced the Ramadan events, I got even more excited. I feel that there is a strong connection between Ramadan activities and Islamic arts. I came with a group of friends, and we found many activities that suited young people.”
HIGHLIGHTS
• Guests can explore an array of international cuisines, indulge in specialty delicacies like dates, honey and chocolates, and enjoy traditional beverages such as Karak and Arabic coffee.
• The market also features henna art, storytelling sessions for children and game wagons, creating an engaging atmosphere for families.
He added: “We played some group games, enjoyed a variety of food, including traditional Saudi dishes and Ramadan sweets popular in the western region. Honestly, it was a wonderful experience.
The Islamic Arts Biennale serves as a global platform for dialogue and exploration of Islamic arts. (Supplied)
“The timing, in the middle of Ramadan, was ideal, after the initial days of the month, which are usually packed with family gatherings and invitations. It was a great opportunity for my friends and me to come together in such a unique place.”
Running from March 6-15, the Ramadan Market welcomes visitors daily from 8 p.m. to 2:00 a.m., offering a vibrant mix of activities and attractions.
Under the warm glow of Ramadan nights, visitors at the Islamic Arts Biennale in Jeddah come together to celebrate faith, art, and tradition. (Supplied)
Guests can explore an array of international cuisines, indulge in specialty delicacies like dates, honey and chocolates, and enjoy traditional beverages such as Karak and Arabic coffee.
The market also features henna art, storytelling sessions for children and game wagons, creating an engaging atmosphere for families.
Under the warm glow of Ramadan nights, visitors at the Islamic Arts Biennale in Jeddah come together to celebrate faith, art, and tradition. (Supplied)
Adding to the festive spirit, live music and cultural performances take place, while visitors can find unique Ramadan-themed gifts at the Biennale Design Store.
For many, the Ramadan Market has been a memorable experience.
Walaa Ali, a visitor from Jeddah, said: “The venue offered a diverse range of activities specifically designed for the holy month of Ramadan. What made these activities special was how well they aligned with the spirit of the month, covering various disciplines and formats — some were workshops, others were entertainment spaces and some featured food.”
Rowa Haddad from Makkah said: “I found it to be the perfect place to visit with my family. The venue offers a variety of activities that cater to all family members, and what makes it even more special is the spiritual Islamic theme that fits both the location and the essence of this holy month. That’s why visiting this place was an excellent choice for us.”
In partnership with the Red Sea Film Foundation, the biennale also presents a curated selection of film screenings, delving into themes of resilience, faith and identity from across the Islamic world.
These experiences offer visitors a meaningful way to engage with art, culture and heritage, blending traditional Islamic aesthetics with contemporary artistic expression.
The Ramadan Market offers iftar and suhoor options, including curated iftar menus for pre-booked gatherings featuring dishes inspired by Saudi and Middle Eastern cuisines.
The Islamic Arts Biennale serves as a global platform for dialogue and exploration of Islamic arts. It is held at the Western Hajj Terminal in Jeddah, an award-winning architectural site that has long served as a gateway for pilgrims traveling to Makkah and Madinah.
The first biennale welcomed more than 600,000 visitors, and the second expands on this success with an even richer program.
The Ramadan events are open to all biennale visitors. Registration is available through the official website at biennale.org.sa.
Saudi artist Lulua Alyahya discusses the works from her current solo show ‘Nafs’
‘I hope people see themselves in my work,’ says Lulua Alyahya
Updated 14 March 2025
Jasmine Bager
JEDDAH: Saudi artist Lulua Alyahya’s “Nafs,” running at Jeddah’s Athr Gallery until March 25, is her first solo show in her homeland.
“The title means ‘self,’” Alyahya tells Arab News. “I thought that would be suitable for my first Saudi solo. I’ve exhibited loads in the UK, but the work takes on a completely different meaning when it’s home. The work is very much about the Gulf in general, but specifically Saudi in a lot of ways.”
The 26-year-old is a graduate of the Slade School of Fine Art and Goldsmiths, University of London. Her work blends personal and collective narratives to explore identity through introspective, minimalist paintings.
Alyahya’s process is intuitive. Her latest works, primed with black gesso, embrace darker tones and undefined backgrounds. Here, she talks us through five pieces from her current show — something she says she doesn’t find that easy.
“It’s kind of hard to speak about my work because what I hope is that people see it and see themselves in it. That’s kind of the story behind the title too. I wanted a word that people could literally see themselves in and for that to be the underscore behind all the images.”
‘Jubbah Petroglyphs’
I made this painting in 2023. At the time, I was really fascinated by pre-Islamic petroglyphs in various parts of Saudi Arabia. This one is from Jubbah, near Hail. My family is originally from Hail and when Saudi started to take all these incredible initiatives of uncovering our pre-Islamic history and integrating those stories into our national identity, I just got super interested in looking through, like, Aramco’s archaeology archives and all these different things. I spoke to friends and family about their experiences of these places. I really wanted to make a painting of this specific rock where there are these repeated carvings of camels; I’m interested in camels as a symbol as well, because they’re obviously visually linked to this part of the world. If you go to a tourist shop in the Gulf, you get camel keychains and stuff. I don’t know if ‘kitsch’ is the right word — probably not — but it’s just feels very obvious; it’s very on the nose. And I’m interested in taking symbols that feel on the nose and making them mysterious or playing with the effect of that imagery. I pull from different things all the time; there’s never just one thing that I’m looking at, it’s more that I’m living, reading, speaking and then the paintings come out. There’s a painting I have at Hayy Jameel called “Boardroom” which has these men sitting at a meeting table and looking at a wall which has one of these petroglyph camels on it. Sometimes, there are references to other paintings — little callbacks. There are a lot of inside jokes. Humor is such a big part of the work.
‘Smoke Break’
The titles always come after the paintings, and I often leave things untitled — but this one kind of lends itself to the title because the guy’s having a coffee and smoking a cigarette. This is just a painting about rest, but there’s a lot of energy in the way that I’ve painted it; it’s very gestural and there are lots of these marks and splotches of paint.
‘Magic Chocolate Ball’
These girls are very funny. Like I said, humor is a big part of my work and this is a piece where I had fun and it was fun to show people. It’s based on a memory of a dessert that I think is so familiar to people living in the Gulf; you order this chocolate ball and the waiter comes over and pours hot melted chocolate on it and the ball melts and reveals something inside of it. I’ve seen it so many times and it just came to mind as I was painting, super-impulsively. What I’m interested in is how people see themselves, or others, in the imagery — or how they don’t. It’s a satirical approach to what’s happening in society. Satire is super-important, but it’s never just one thing or the other — it’s always a combination of various different tones and positions that I’m taking. Like, this is funny to me and I’m choosing to show it, but obviously there’s an emotional connection happening as I’m painting it.
‘Untitled (2024)’
It’s this guy on his phone sitting near a pool. He’s a solitary figure. Then there’s two horses and two palm trees. This took me quite a few months to paint. Sometimes I’ll have an idea and paint it and it doesn’t work out at all. That happens a lot more than you’d think. So, I’ll cover something over, then add something new and then cover that thing and then add something new, just waiting for this moment where the elements carry some kind of poetic logic that I trust will translate to the viewer. It’s always hard to articulate — but very easy to know — when it hits that point.
‘Guard Dog’
I love dogs. I paint them a lot. This one is a German Shepherd, which is a guard dog. It’s based on a sketch — it’s very similar to a lot of other works I made. Sometimes, I get stuck on something and it repeats itself across multiple works and other times it’s a one-off thing. I prefer not to try and control it and just let things direct me.
