ABSTRACT
The houses of the two pearl merchants Ahmed Munawar Rifai and Hussein Bin Yahiya Rifai in the 14th century AH/20th century AD, in the Farasan Islands, southwest of the Kingdom of Saudi Arabia, witnessed a cultural shift and great development in the processing of stucco art decorations. This study discusses the phenomenon of artistic enrichment, its mingling with the local heritage arts, its investment according to common sense, and the rationale behind using some elements of Indian–Buddhist architecture in the Al Najdi Mosque. This study aims to explore the factors that helped in distinguishing the Farasan stucco art style from the contribution of other artistic styles. The Ottoman arts accompanied their actual presence in the region, by developing the units of Farasan stucco art, in spite of the isolation of the Farasan Islands. Through a descriptive, analytical method, this study links historical events to show that the Farasan Islands are considered one of the shipping routes linking the Far East with the Far West. This helped in the mixing of local and imported cultures, as reflected in the appearance of the unique Farasan stucco style.
