Page 33 - Studio International - April 1973

itself. The explanation seems to be that the to Jerusalem, Cairo and Damascus, though for other localities where this art was practised
murals celebrate the fact that the pilgrim has these, as well as for Jerusalem, we lack many and it would be significant to establish the
come full circle: he has completed the last stage, links to make possible an assessment of the particularities of each place. Even for the
the return to the ancient and revered Dome of chronological continuity of the tradition. Jerusalem murals, basic data are lacking. For
the Rock in Jerusalem. Here it seems to be of In the case of Cairo there is little evidence example: when did the custom begin to take
preponderant weight to use the motif of the about the early period, though a rare description root there ? There is a brief mention, early this
Dome of the Rock in its connection with of the practices on the pilgrim's return is given century: `. . . A not unusual method, however,
Jerusalem. by Lane's unique record of the first half of the of publishing the fact of pilgrimage to Mecca is
The last 'architectural' motif is a small nineteenth century: by so to speak affixing a certificate to the front
dome-shaped building, with a minaret either `. . It is a common custom to ornament door. Pictures roughly painted upon the stone
next to it, or, occasionally, alone. These are the entrance of a prilgrim's house a day, or doorway represent the dangers that have been
allusions to the Prophet's Tomb in Medina. two or three days, before his arrival; braved; the forests, wild beasts and in some
Finally, one notices the lettering and painting the door, and colouring the cases the ship and railway train, while the
inscriptions scattered over the surface. If the alternate courses of stone on each side and sanctity of the owner is exhibited by the
artist has some schooling, he adds appropriate above it with a deep dull red and white or, inscription of texts and pious ejaculations ...'8
invocations such as 'Allah', or 'Muhammad', if it be of brick, ornamenting it in a similar Systematic collection of the various motifs
and sometimes the formula of welcome — manner, with broad horizontal stripes of red used might well prove instructive in terms not
`Ahlan wasahlan', as well as the name of the and white often also trees, camels, etc., are only of painting but of sociology and folklore
pilgrim. Often the date is added, giving the painted in a very rude manner, in green, as well.9 The decorations from the Moslem
year of the Hajj, not only in the Hijri calendar black, red, and other colours. The pilgrim quarter of the Old City of Jerusalem are only a
but in the Christian calendar as well. sometimes writes to order this to be beginning to a wider study. q
The murals are very colourful, with blues and done . . .'6 M. ROSEN-AYALON
reds dominating; shades of yellow-orange, Here are some of the elements found in [The photographs for this article were taken by
green, black and brown are less frequent. The Jerusalem like the idea of using the wall as a the Swiss photographer Leonardo Bezzola.]
paintings are loosely constructed, and even way of advertising the accomplished pilgrimage.
symmetry, which seems the only guiding The other aspect is the spontaneity of the 'Hajj — Encyclopedia of Islam, new edition.
'Op cit., p. 31.
principle, is not adhered to rigidly. In the decoration — the non 'professional' execution — 3Ibn el Hajj, el Madkhal, Cairo, 1329 h., vol. III,
Old City, one can see the most schematic which relates it clearly to a popular form of art. p. 135,156.
representations as well as intricate For Damascus, we have a nineteenth-century 4E. F. C. Lake, 'Some notes on the evil eye round the
constructions which employ slanted perspective. testimony giving a full account of the return of Mediterranean basin', Folk-lore, vol. 44,1933,
P. 93-98.
However, even when the artist cannot render the pilgrims to the accompaniment of music 5J. Herber, 'La main de Fathma', Hespéris, vol. 7,
1927, pp. 209-219.
work of high standard, he can use 'stencils' into and festivities.7 There is no mention of painting, 6E. W. Lane, An Account of the Manners and Customs
which the designs have been cut. These provide but there are mentions of decorations, mainly of the Modern Egyptians, written in Egypt during the
him with all the necessary forms, from the green foliage, which reminds one of similar years 1833-1835, London, 1842, p. 403.
7R. Tresse, Le Pèlerinage Syrien aux villes saintes de
shape of flowers and the Dome of the Rock to decorations in Jerusalem. l'Islam, Paris, 1937, p. 258.
passages from the Koran. This whole phenomenom implies a custom "A. Goodrich-Freer, Inner Jerusalem, London, 1904,
To bring out the local character of this existing in other areas. Yet there are many p. 249.
tradition, one must compare it with other parts unknown aspects. It is not clear how widespread 'For the first attempt to draw attention to this
practise, see M. Rosen-Ayalon, 'Murals in the
of the Moslem world. The best comparison is the custom is. Though common in Cairo, no Moslem Quarter of Jerusalem', Ariel, Jerusalem,
with the two important Moslem centres closest detailed study is available. There may well be No. 31,1972, pp. 11-17.
Inscriptions from the Kuran, Jordanian flag, schematic representation of a One of the oldest representations of the Dome of the Rock. It was covered by a new
mosque and flower pot painting in January 1973

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