#palestinianart

[jumanasalim4]

[harvardfineartslib]

The art of embroidery in Palestine, practices, skills, knowledge, and rituals was inscribed into UNESCO’s Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in 2021.

According to the Nomination file No. 01722 for inscription in 2021 on the Representative List of the Intangible Cultural Heritage of Humanity, it was described as:

“The art of embroidery is widespread in all cities, villages, and camps of Palestine, and is rooted there since the Canaanite era. The Palestinian embroidery was affected by the multiplicity of places in which it originated or moved to and due to the inter-cultural process after the exodus of the Palestinians in 1948, but the style and method of embroidery remained the same. Palestinian women carried their embroidery art with them to their places of refuge in all parts of the world as a symbol of national identity and pride. In view of the development in the means of communication and outreach, embroidery has become widespread and influential in neighbouring countries, as it has taken modern patterns while retaining the known traditional form that is distinguished from the rest of the forms of embroidery in the world as it carries the story of Palestinian women and summarizes their style and their relationship to land and life.”

February is National Embroidery Month. We want to highlight this beautiful heritage of embroidery in Palestine, amid destruction of cultural and historical heritage sites in Gaza. According to an article on the Guardian on February 4th, more than 200 buildings of cultural or historical significance have been destroyed in Gaza.

Palestinian cross-stitch embroidery, “fallahi” comes from the word “fallaha” which means farm woman, because it was embroidered mostly by village women.

Palestinian embroidery : traditional "Fallahi" cross-stitch Kawar, Widad and Nasir, Tania Tamari 2nd edition. Beirut : Al-Mo'assasa al-Aarabiyyah Lidirasat wa al-Nashr, 2003. English HOLLIS number: 990093496510203941

[trascapades]

🎨🇵🇸 #ArtIsAWeapon

Reposted from @hyperallergic Every May 15 for the last 76 years, Palestinians around the world commemorate the #Nakba (Arabic for "the catastrophe”), during which 750,000 Palestinians were permanently displaced from their homelands as a result of the establishment of the State of Isr@el. During this mass exodus, the ancient embroidery practice known as taṭrīz or tatreez became an invaluable way for Palestinians to preserve their history and culture.

In the last seven months, amid Israel’s relentless attacks on G@za, many have engaged in and revived the shared practice. In November, artist Maya Amer used the embroidery as a way to visualize the more than 8,000 Palestinians who had been killed by Israeli airstrikes at that time. Others led the collaborative project Tatriz for Palestine to honor the civilians killed by the Israeli military in G@za. Today, the death toll in the G@za Strip has risen to more than 34,904.

Zain Masri was first introduced to the practice as a child while visiting her grandmother in Jordan. Decades later, when she reconnected with the art form during the pandemic, she quickly realized that there was an urgent need for accessible, high-resolution, and simple taṭrīz patterns in the international embroidery community and Palestinian diaspora.

To address this issue, Masri launched the Tirazain Initiative — a free online searchable library available in English and Arabic containing digitized patterns for more than one thousand taṭrīz motifs.

Masri told Hyperallergic that she hoped the digital library would help provide “a platform for Palestinian women to share their work and to connect with other taṭrīz enthusiasts,” as well as promote the art form across cultures and communities.

Read more through the link in bio

🔗https://hyperallergic.com/915145/preserving-the-art-of-palestinian-tatriz-76-years-after-the-nakba/https://hyperallergic.com/915145/preserving-the-art-of-palestinian-tatriz-76-years-after-the-nakba/

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1-3, 5, 6 - Images via Tirazain Initiative, courtesy Zain Masri

4 - Photo by Philippe Lissac/Getty Images

#Embroidery #Tatriz #Tatreez

[baraamutair]

🌿 Celebrate Heritage with Timeless Elegance! 🌿

Introducing my latest artwork: “The Olive Symbol: Heritage of the Palestinian Land and its Eternal Roots” – a design that brings the essence of culture, resilience, and natural beauty to life.

✨ This piece is more than just art; it’s a tribute to the rich traditions of Palestine, featuring: 🎨 Stunning traditional embroidery patterns woven into the attire. 🌳 The iconic olive tree, a timeless symbol of peace and perseverance. 🏞️ A breathtaking backdrop of Palestinian landscapes that whispers history.

Whether you're passionate about cultural preservation or simply drawn to captivating designs, this artwork will speak to your heart and your space.

💡 Perfect for:

Home decor that sparks conversations.

Gifting to loved ones who cherish heritage and beauty.

Adding a piece of timeless culture to your collection.

🛒 Own This Artwork Today! 👉 Click the link below to explore or DM me for details!

💬 I’d love to hear your thoughts! What does this design mean to YOU? Drop a comment or share with someone who’d appreciate this cultural masterpiece!

🔗 [https://www.pictorem.com/2169688/The%20Olive%20Symbol:%20Heritage%20of%20the%20Palestinian%20Land%20and%20its%20Eternal%20Roots.html?artistbuy=1]

Let’s keep the spirit of heritage alive—one design at a time. 💚

Got it now from clicking here

[willow-al-najjar]

[samishahinart]

2011 vs 2021: first time recreating an old illustration of mine, the original illustration was a realistic fantasy animal (I mixed a lion with an oryx, prey and predator). This version I went with a stylized approach, inspired by old Persian manuscripts. Mar/27/2021 ~~ #procreate ~ #SamiShahinArt ~~~ . . #art#instaart#canadianartist#desert#illustration#illustrator#namibia#oryx#africa#wildlife#fantasyart#nowvsthen#manuscriptart#manuscript#illustration#palestinianart#digitalartist#queerart#syrianart#queerarab#pride#arabculture#lion#arabicmanuscript#illustrationdaily#persianmanuscript (at Namibia) https://www.instagram.com/p/CM8mAPHjbKu/?igshid=s1f8jbcog5r0

[lizz-ed]

JORDAN NASSER, (TOP) A GREEN SUN AN EXTINGUISHED SUN A GREEN SUN, 2019; (BOTTOM) A LOST KEY, 2019

[p21gallery]

Ahlam Shibli Ahlam Shibli is a Palestinian artist (b. 1970) who works through the medium of photography. Shibli uses the aesthetics of documentary to explore the contradictory implications embedded in the notion of “ the home.” For instance, the subject matter of her photographs are often about the lives of Arabs in villages that are unrecognised by Israel in the Negev and northern Galilee regions. One the one hand, while her photographs of these individuals and their belongings serves to fight against their erasure, some of her images are also records and reflections pertaining to the loss of home. In Shibli’s own words, she notes that: I am not documenting reality. I am making the work out of reality by using its images. That’s why it’s much more correct to say  hese are political images and not a commentary or just documentary images. The artist’s work has been presented in solo and group exhibitions internationally from Barcelona to Dundee and Amman. Currently, Shibli lives and works in Haifa, Palestine. This post is part of a series put together by Adela Foo, an intern at the P21 Gallery, featuring Arab artists on our social media platforms. #AhlamShibli #MiddleEastArtist #ContemporaryArt #ArabArt #PalestinianArtist #ContemporaryArabArt #MENA #ModernArabArtist #arabartist #PalestinianArt @p21gallery #adelafoo https://www.instagram.com/p/BzQQpsCFeuu/?igshid=ivjuh0g058hh