Space, Kinship and Gender (ص 153)

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Space, Kinship and Gender (ص 153)

المحتوى

Fig. 4-39: Main facades and ertry doors were often white-washed
closed walls. White-wash was also an expression of delight and
cleanliness; "White is happiness, white is light, white is delight"
says Muyassar, one of the Shua'ibi women. "Walla latrushek ya dar
ba'd el shied bel hennah en ‘ado lehbab". ("I promise to paint you, O
==
house, with hennah after I white-wash you, if the beloved comes
back"), goes the fallaheen song that women sang during festive
occasions.
In addition to its symbolic meaning and its effect, the fallaheen
believed that white-wash, which was made out of lime (shid), kept
insects away. The wooden door panel was in some cases painted
bluish-green, a Sign of prosperity and blessings. The white-washed
arch and blue painted panel together gave emphasis to this very
important element of the house (Fig.4.39). The elevated threshold,
with the symbolic meaning accorded to it, defined clearly the
boundary between two worlds; that of the open public and the
closed, private, intimate and private world. Both the post of the
door and the threshold played a doubly Significant role during
marriage celebrations. The bride stuck sour dough (khamireh) and a
green leaf on the post of her in-laws' house before she entered the
house. The dough, made of the "sacred" grain, symbolised a fertile
bride as it fermented and swelled (Granquist, 1931: 101). A
decorated water jar was put over the bride's head before she stepped
over the threshold into the house. "Water is life", said Muyassar. "A
149

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Space, Kinship and Gender

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المنشئ

Suad Amiry

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