One should not overlook the fact that the Palestinian artist
has, in the proceeding two decades, became aware of his rich arts heritage. Dating back to the days of Canaanites, the first inhabitants of Palestine. This
heritage also has roots in Byzantine arts, as well as in Arab Islamic arts and
Palestinian folk art. It is true that he has been distant from his heritage but
he is striving to bridge the gap; to interlink with his heritage or with part of
it. This new concern is in fact an Arab concern. Further, it is the concern of
all developing countries. It can be achieved but not without difficulty, given
encroachment of modern communication on the ‘privacy’ of local cultures and the
overpowering impact of the Western culture, universally – and efficiently –
propagated by such means of communication.
The Palestinian artist’s affinity with his folk art will
always endure. Palestinian embroidery, which adorned the Palestinian women’s
dress over the ages, has great artistic value. Its exquisitely rich colours and
captivating design have caught the eye of many artists, and must have been
embedded in his memory, to be later retrieved and reflected in his works.
Finally, although the delayed emergence of the contemporary
Palestinian art movement, as compared with its Arab co-movements, Palestinian
art, barely forty years old, has achieved considerable status and presence. It
stands on equal footing with primary Arab and non- Arab art movements.
Nevertheless, it has been a long way to go, for its creativeness and excellence