Ancient secrets of love and happiness — set in stone across Arabian Peninsula

Across the Arabian Peninsula, written inscriptions offer clues to the Arab communities that lived in various areas. (Shutterstock)
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Updated 04 January 2022
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Ancient secrets of love and happiness — set in stone across Arabian Peninsula

  • Rock engravings are offering surprising clues about the Arabian Peninsula’s earliest cultures

MAKKAH: Ancient inscriptions on rocks throughout the Arabian Peninsula are helping to paint a picture of the earliest Arabic cultures, including economic and social conditions — and even people’s thoughts on love, marriage and happiness.

The engravings provide evidence of early religious belief and ritual performances, as well as details of professions, crafts and currencies, and also highlight the professionalism and skill of the engravers, according to Dr. Salma Hawsawi, professor of ancient history at King Saud University in Riyadh.
“Writing is an invention of man,” Hawsawi told Arab News. “It is a means of exchanging ideas and knowledge, as well as discussing it within societies, regardless of class, beliefs and sects.”
She added that historical information gleaned from these inscriptions can reflect the feelings of love, fear, longing, sadness and happiness felt by people at the time.
“That is why inscriptions are seen as a true witness of what the people of that era experienced, which highlights the region’s cultural depth.”
Hawsawi said that writing and engraving were regarded as professions. “Writing, in general, illustrates the level of civilization and education that Arab society reached, and also demonstrates writing’s role in the progress of humanity.”

The existence of writing in civilizations of all kinds is proof of their importance in codification, communication and relations between societies.

Dr. Salma Hawsawi

She said that writing developed through two stages — “the pre-alphabet stage, which is figurative writing, or depicting material things in the human environment to denote moral aspects through rock drawings. Then, after that, symbolic with syllabic sounds.”




Engravings also provided details of tribal names and locations, as well as professions and crafts, trade provisions, currencies, and exports and imports.

According to Hawsawi, cuneiform script spread throughout Mesopotamia from about 3,200 B.C. and was used until A.D.100.
Hieroglyphic script was in use in Egypt by 4,000 B.C., while Ugaritic script was used in northern Syria. Sinaitic script dates back to 1,400 B.C. and was invented by a group of Canaanites working in turquoise and copper mines in the Sinai desert.
Meanwhile, Phoenician script, which dates back to 1,000 B.C., and Punic script spread throughout North Africa from 300 B.C. until A.D. 300.
“The existence of writing in civilizations of all kinds is proof of their importance in codification, communication and relations between societies,” Hawsawi said.
Across the Arabian Peninsula, written inscriptions offer clues to the Arab communities that lived in various areas. Some of the inscriptions had a religious aspect, focusing on the names of gods and religious rituals, while others were more social, discussing personal status, marriage, divorce, and people’s names.
Engravings also provided details of tribal names and locations, as well as professions and crafts, trade provisions, currencies, and exports and imports.




The engravings provide evidence of early religious belief and ritual performances.

“On the political level, inscriptions included the names of kings and rulers, wars and the rise and fall of states,” she said.
“These inscriptions are an important source of historical and cultural knowledge of the region. The spread of these inscriptions and their large number give us an idea of the level of knowledge and culture reached by the societies and the attention they paid to writing and documentation.”
Hawsawi said that inscriptions can be found on rocks in an arranged or random manner, depending on the writer’s skill, as well as on the facades of temples, houses and even gravestones. Some depicted society through famous events or the aphorisms of its rulers.
In southern Arabia, Ancient South Arabian script was used from about 800 B.C. the A.D 600. Inscriptions are widespread, and can be found on stones, timber, and bones in eastern Arabia, Al-Faw, Najran and as far north as AlUla.
“The Zabur script also appeared in the south and dates back to about 500 B.C. Some say that the ancient South Arabian script and Zabur script emerged at about the same time,” Hawsawi said.
In the north of the Arabian Peninsula, Thamudic script was in use from 800 B.C. and consisted of 29 characters. Inscriptions have been found on rock facades along the trade route from the far south of the Arab world to the far north.
The Safaitic script is similar to the Thamudic script and dates back to the first century B.C. Dating back to the ninth century, the Aramaic script contains 22 letters, taken from Phoenician writing, and spread widely in the ancient world, especially in Mesopotamia, Iran, India, Egypt and the northern Arabian Peninsula.
Hawsawi pointed out that “the Dadanite and Lihyanite scripts date back to the sixth or fifth centuries B.C. and contain 28 letters, some of which resemble the Thamudic and ancient South Arabian scripts. It is written from right to left and the words are separated by a vertical line. The Palmyrene and Syriac scripts derived from Aramaic date back to the first century B.C. The Nabati script is derived from the Aramaic, however some of its letters have changed in terms of form and adding a dot, giving way to the Arabic script in which we write today.”
She said that writing in Arabian Peninsula societies differed from that of other cultures due to its distinctive scripts and range of topics.
“Life and related events were recorded, unlike other civilizations that focused on codifying political events,” she said.


French musician joins Saudi talents for creative residency in historic Al-Balad

Updated 04 December 2025
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French musician joins Saudi talents for creative residency in historic Al-Balad

  • Collaboration ‘fosters dialogue through music’ ahead of Jeddah concert
  • Stracho Temelkovski: ‘Maybe it’s humility, maybe it’s the respect I feel in this area. I know it’s a very important place, and I feel good energy’

JEDDAH: A creative residency encouraging musical collaboration between Saudi and French artists was held in Jeddah’s Al-Balad this week. 

The French Consulate General in Jeddah, in partnership with the Tariq Abdulhakim Museum, the French Embassy, and Alliance Francaise, brought together French musician Stracho Temelkovski and five Saudi artists for the residency. 

Held from Nov. 27 to Dec. 5, the program featured multi-instrumentalist Temelkovski along with Saudi talents Sultan Al-Qurashi on oud, Ziyad Ayman Saeed on violin, Amin Mohammed Abu Harb on semsemiya, Abadi Abdulrahim Al-Qurashi on drums, and singer Mada Ali Al-Ghamdi. 

Over several afternoons of musical exchange, they worked on a collaborative repertoire that will culminate in a public performance on Friday night, Dec. 5, at Festival Garden in Al-Balad’s Cultural Square. 

Temelkovski described the residency as a natural extension of his lifelong artistic mission. “I really like to make bridges in my music,” he said. “That’s one of the aims. Music has to be something deep, and I try every time to make a real meeting with another culture.” 

He added that the chance to collaborate with Saudi musicians resonated with his own background. “I have oriental roots from Macedonia. Even though I’m French, this inspired me to make this bridge happen with Saudi culture because it’s something different from what I’m used to, and it was really exciting.” 

During his time in Jeddah’s Old Town, Temelkovski said Al-Balad became a source of quiet creative energy. 

“I feel really welcomed at Al-Balad. It’s something you cannot explain. Maybe it’s humility, maybe it’s the respect I feel in this area. I know it’s a very important place, and I feel good energy. I feel I’m welcome. Every person, every musician I met and all the staff have been so kind to me. 

“That’s not a small detail because I feel everyone is really involved, and it helps me be in a creative process. 

“Being in this museum feels like meeting between my music and Saudi Arabia. Tariq Abdulhakim was one of the greatest musicians in this land, and I have the impression that I’m meeting his sons. It’s something very deep for me.” 

Studying the late maestro’s compositions further shaped Temelkovski’s experience. 

“I have listened to his music, and it really inspires me because I like this music. It’s so rich in the melodic interpretation and in the rhythm. I even feel a link with my Macedonian roots in the rhythmic way,” he said. 

Mohammed Nehad, consul general of France in Jeddah, highlighted the significance of the collaboration, saying: “This artistic residency illustrates the ambition shared by France and Saudi Arabia to foster dialogue between traditions, open up new spaces for creativity, and support today’s talents. 

Nehad said that meeting between Temelkovski and the Saudi musicians, made possible thanks to the commitment of the Tariq Abdulhakim Museum, “demonstrates the strength of Saudi Arabia’s musical heritage and the creativity that arises from the intersection of cultures.” 

Larry Lamartiniere, managing director of Alliance Française, added: “This event perfectly embodies the mission of the Alliance Française Saudi Arabia which is building cultural bridges through dialogue, creativity and shared experiences.” 

Saudi drummer Al-Qurashi said that the residency expanded his creative perspective. 

“Working with Stracho mixed Arabic, French and Saudi styles, and it really changed how I listen, perform and connect with musicians. It was a big step for me personally, and it helps show the world the beauty of Saudi music when it blends with new cultures.” 

Referring to the upcoming concert, he said: “I’m excited for the audience to feel the unique mix of Saudi and French styles and the new energy we created together.” 

Singer Al-Ghamdi described the residency as an artistic turning point. “Working with him made everything feel easier, and he always made sure the work came from passion and authenticity, not from pressure or abdication. 

“That really aligns with who I am as an artist,” she said. “I often struggle with rigidity and lack of creativity when collaborating with some musicians. 

“In the past, I worked with artists who made me feel like art was exhausting and heavy. But Mr. Stracho brought me back to my core. He reminded me that art has no limits, no fixed rules, no single language or style. It’s a space full of freedom and humanity.” 

Al-Ghamdi, whose style is a blend of Oriental, Arabic, English, and predominantly Western influences, said that the residency supported her global artistic ambitions. 

“My goal is for my art to reach global audiences, not just the Gulf or Middle East. As a Saudi woman, I have a vision, feelings, and ideas I want to share proudly. 

“I want to show the world the real Saudi culture — its beauty, strength, wisdom and pride.” 

Preparing for the concert on Friday, Al-Ghamdi said she looked forward to bringing her authentic self to the stage. “I want the audience to feel the message that being true to yourself is powerful. There is no need to complicate things or fear judgment. 

“The more authentic and open-minded we are, the faster we connect. Difference is the essence of beauty, and love is the foundation that brings us together. Clean, honest music is the best way to elevate the soul.” 

Temelkovski expressed similar hopes for the final performance. “It’s the bridge. I want to share not just entertainment but a ritual together, a meeting between my identity and Saudi music and all these wonderful musicians. 

“When music has no lyrics, sometimes it’s easier to be universal. I want to give something unique, something new. I want the experience to be a kind of meditation, but also to dance and express happiness.”