The Rising
We are pleased to present limited edition lithographs (1/70) signed by Suleiman Mansour of The Rising, a remarkable work and another successful sale for alhoush.com at Christie's October 18, 2017 auction. 
 
The highly inspiring work, which is based on the allegory of the phoenix rising from the ashes, is a celebration of the resilience of the human spirit and its incredible will to rise up in the face of challenges. 
 
The Lithos are for US$1400 and were made with the highest quality techniques. They are sure to be a collector's item from many years to come. 
 
Below is the curation of this timeless work of art.
 
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CURATION 
The Rising is one of the truly powerful works painted by the stalwart Palestinian artist, Suleiman Mansour, in 1977—in what has been described as the “golden phase” in Mansour’s artistic production. It saw its first and only public exhibit in 1978 in Pasadena, California. 
 
This powerful painting is a living embodiment of the Palestinian narrative of rising up in revolution, as symbolized by the woman at the centre of the painting, emerging on a map of the historic Holy Land. Yet, it is not just about the Palestinian political narrative. Based on the allegory of the “phoenix rising out of the ashes,” the ultimate aim of the painting is to tell the universal human story of death and resurrection. 
To affirm this narrative of rising from the ashes, the painting has four distinct artistic styles: symbolism, surrealism and realism and ancient relief works. The central figure of the woman is the symbol of the “phoenix,” superimposed by a second piece of canvas, plastered on top of the main one. The map, which contains the woman, is loaded with symbolisms such as the traditional dress, the truncated and masculine hand holding a rifle that asserts strength, the old houses of Jerusalem, and the its ancient walls. An outstanding example of the artistic talent of Suleiman Mansour can be seen in the way the ancient walls of the city surrealistically metamorphose into the traditional Palestinian Kuffiyeh that becomes a sort of a cloak wrapping the woman. 
 
To assert the concept of “ashes,” Mansour burned the edges of the map, to demark it from the outer narrative, which is a relief that attempts to chronicle all the main invasions of the Holy Land from ancient Assyrians, Egyptians to the British in modern times. To propose that “colonial” efforts are in essence bland enterprises, simply concerned with “appropriation” (theft), the artist painted the outer relief of invasions with two-dimensional perspective and intentionally used the glittery colour of gold to symbolize the gaucheness of colonial process. This profound contrast of colours and styles is bound to draw the viewers’ attention to the main figure in the work, the woman or the phoenix, as if to argue: forget all of these invasions, for they are mere details in a long history; the real story is how in spite of these mundane realities of death and destruction, something powerful and interesting is happening in the human experience: the rising from the ashes. 
 
Much ink has been spelt in recent years, across disciplines, on the concept of human resilience. From economics to psychology, and more recently in development, the concept of resilience seems to be in vogue. Derived from the Latin verb “resilire,” which means to “bounce-back,” the ubiquitous idea of resilience has assumed a profound centrality in contemporary culture in recent years. Herein lies the significance of this powerful painting, as a truly pioneering attempt to tell the story of resilience, and the remarkable capacity of human beings to “bounce-back” and rise up from their tragedies.