Abstract
This article explores the influence of the doctrinal mosaic roots in Saudi on the creative practice of the Saudi female artist. The article investigates the extended influence of Islamic doctrines on contemporary Saudi artists by returning to the different doctrinal roots existing in Saudi society before the current homogenization of doctrines with the Hanbali school of thought since 1744. It discusses Najdi artists with a Hanbali doctrinal background and the way they managed their creativity through compromise, and the classical style of Hijazi artists influenced by the Maliki doctrine and its flexibility of religious thought. Further, the research discusses the high mysticism of Asiri, an artist of the Shafi'i doctrine and her iconic style that maintains the spirit of the Shaffi school, which prevailed in Asir before the propagation of Hanbalism. Additionally, it examines the romantic style of Shia artists influenced by Shia revolutionary ideology. From a pro-faith perspective, it explores the ambivalent relationship between some Muslim scholars' thoughts and the concept of creativity. It examines how this ambivalence can be overcome by a re-reading of the holy texts and extrapolation of their correct historical context.