As generations and faces change, the unmistakable Arabic features remain, and the past continues to flutter, unbound, in the spaces. In the 1940s, in a parched desert setting on the outskirts of the Empty Quarter, 700 kilometers south of Riyadh, traces of an integrated city were discovered beneath layers of sand. Bringing to light one of the most important chapters in Arab history, dating back to the 4th century BC. Al Faw Site was the capital of the Kindah kingdom. During excavations at the al-Faw site, an archaeologist discovered a remarkable discovery within a building designated for performing sacred rites. A wall painting was found within the confines of a specific chamber, adorned with intricate depictions with numerous connotations and symbolic significance. To convey its message, the "Qaryat al-Faw" artist skillfully used symbolism and a minimalist approach, opting to abbreviate numerous intricate details in the composition and portrayal of its illustrations. The skilled artist combined elements of the oriental and classical styles to create a harmonious design. So, what is this wall painting?

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The painting's message is characterized by its uncommon nature, encompassing numerous connotations, meanings, and interrelated concepts and beliefs. The painting is framed with vertical and horizontal lines in a deep crimson hue, with two sides of the frame still intact. This frame affirms the painting's position, significance, and seclusion. The painting consists of three human figures, specifically one male and two females, depicted in a manner that emphasizes their contrasting qualities and achieves a sense of axial balance. The drawings exhibit a prevalence of red, yellow, and orange hues. The colors mentioned above are fundamental hues that evoke warmth and vitality in the depicted forms, creating an illusion of increased size and drawing attention toward them. The primary objective is to direct attention towards it. The main figure in the painting is a man who commands a large portion of the composition. He has a big face, with wide-set eyes that suggest resolute fortitude and unwavering resolve. He also has thick, spirals deep black color hair, and his head is adorned with a wreath or a crescent-shaped collar. A pomegranate-shaped droop hangs from his left side, and a sprig of grapes-shaped droop hangs from his right. In the background, behind the man's left shoulder, there is a female figure who stands calmly dressed in a flowing white garment reminiscent of the ancient Greek attire known as the "chiton" or "tunic," and another figure for a female face is on his right side. In the upper right corner of this artifact are the residue letters inscribed in brown color. Additionally, there is a large dark black color Musnad script that depicts the word "Zaki." The artifact was called "Zaki's Painting" because it featured a leaf-shaped design on each side, making the word and the design stand out.

The word "Zaki" has raised many questions and confusion because its meaning is unclear. The word "Zaki" has many implications. For example, the adjective form means devout, piety, and pleasant aroma, and it also can be used as a proper noun. Furthermore, this word did not appear in any of the excavated areas of the site. It was not mentioned in any inscriptions or writings discovered throughout the twenty seasons of excavation. What is truly surprising is that this word was written multiple times on the Tuwaiq mountainside overlooking the site from the east, alongside a large sculpture of a religious ritual. The oddity of the location is that many holes were discovered in the rock in the shape of small cups with the word "Zaki" engraved inside them. This evidence suggests a connection between the word and the shape of the cup, perhaps indicating how good the drink was. This is consistent with the nature of the subject depicted in the painting, which depicts lush and abundant plant life. The discovered artifacts were among the most astonishing and perplexing mysteries in al-Faw due to their obvious Greek influence, including Greek mythological symbols, despite the great geographical distance between them and the areas where Greek culture was influential. Through scientific and artistic methodologies, a careful extraction was performed on the painting, delicately separating it from its initial position on the wall within the al-Faw site. The last glance of al-Faw was captured through the mesmerizing gaze emanating from the eyes depicted in the painting. However, these eyes persistently gaze upon a different location, the National Museum in Riyadh.

Reference: Abdulrahman Al-Tayeb Al-Ansari, A Portrait of Pre-Islamic Civilisation in Saudi Arabia, 1441 AH - 2019 CE, Riyadh.