Introduction

           As an attempt to keep up with the art scene in Bahrain, I try as much as possible to attend any exhibition openings, or sometimes, towards the closing, if I am very busy. However, recently, Rashid AlOraifi’s Gallery in Muharraq reopened momentarily. I didn’t even have to press myself to attend it; I had to attend it, whether I am stretched so thin or not. To my surprise, when I went there, many of the people were extremely knowledgeable about the paintings, or each artwork and what it means or what Dilmunian symbol inspired it. Surprisingly, no one knew the story of why AlOraifi was obsessed with Dilmun, except for his relatives. In a discussion with them, here is the story:

           Born in 1942, Rashid Al-Oraifi grew up during pivotal moments in Bahrain’s history, experiences that helped shape his identity and creative path. These moments were not necessarily positive; they might be considered extremely unkind, but they echoed the right amount of influence.

           Excavations in Bahrain Fort began in 1954; during that time, an infamous archaeologist was leading the archaeological expedition. His name was Geoffrey Bibby, and he authored the book “Looking for Dilmun.” While this book is considered quite controversial, it tackled his journey that started in Bahrain, where he was digging for archaeological sites. During his excavation digs of Bahrain Fort, he found stamp seals originating from the Dilmun Civilisation.

‍

          Laid on the ground, these stamps were marvels never seen by locals. I would imagine that people from all over Bahrain were there, witnessing this important historic event in Bahrain. However, what I am sure about is that there was a young person there who was extremely intrigued. This person was Rashid Al-Oraifi, one of the first artists in Bahrain. Tempted by the mystical presence of these artefacts, he attempts to reach out to them with his hands, to touch them, but once he was very close, a slap! Geoffrey Bibby slapped AlOraifi’s hand, stopping him from touching these artefacts, and leaving him in agony to explore these parts of any local’s DNA.

           I would say the rest is history, but I am also intrigued to know more about that piece of history later on. The first time I heard this story was during a lecture given by Abdullah Almutairi, virtually during the AA Visiting School of Bahrain, and the second time was confirmed by AlOraifi’s relatives.

           Rashid AlOraifi himself stated the following in a booklet called “The Dilmunian Style in Contemporary Art”, produced for Bahrain Assilah Arts & Culture Forum:

“The Dilmun Civilisation, which was placed in Bahrain, and dated between 3200 BCE and 540 BCE, left a humongous wealth of its indications, remains, mainly concentrated in the Dilmunian stamp seals, which are stamps engraved on stones that are shaped meticulously, and positioned on them these engravings, which are in the form of stamps used for various purposes. And these stamps were the “book” that preserved so many of Dilmun’s civilisation, culture and arts. Whether it was indirect or intended, it was the gate that many of the scholars entered through the worlds, which many did not know about.”