Summarize this content to 2000 words in 6 paragraphs in Arabic In 1928-29, the Swiss-German expressionist Paul Klee travelled across Egypt, traversing from Alexandria and Cairo down to Luxor and Aswan. Among the works his trip\u00a0inspired is the Monument an der Grenze des Fruchtlandes (Monument at the\u00a0Border of\u00a0the Fertile Land), a dreamlike linear abstraction depicting the irrigated farmlands along the Nile \u2013 a landscape practically unchanged since Biblical times \u2013 as a multitude of watercolour striations.\u00a0Goya Gallagher, founder of new Cairo-based lifestyle brand An\u016bt Cairo, referenced the Monument in the design of Nanusa, her five-cabin dahabiya (a style of\u00a0traditional sailing boat that has been a\u00a0fixture on the Nile\u00a0for centuries), the retreat\u00a0to which she escapes when not at\u00a0home in Cairo or London. Shading the\u00a0main deck is an enormous canopy, fashioned from sections of heavy linen that\u00a0have been hand-dyed in Klee\u2019s shore-to-sand shades, then stitched almost\u00a0invisibly together. It undulates gently in the breeze, an echo of both the artwork and\u00a0the\u00a0living landscape that surrounds the\u00a0boat, day in and out.It\u2019s encounters like these, between artists and the beauty of Egypt, that have not only inspired the design of Gallagher\u2019s boat\u00a0but also An\u016bt Cairo\u2019s new\u00a0bed and table linens, glassware, pottery and accessories. \u201cEgypt is so incredibly layered, both historically and in\u00a0terms of the arc of its craftsmanship,\u201d she says. \u201cFrom the ancients through to\u00a0Coptic textiles, the Mamluks, and the Ottomans.\u201d Each has its\u00a0own distinct aesthetic language, but\u00a0all are part of the weft of\u00a0Egyptian heritage. An\u016bt Cairo\u2019s first collection, A\u00a0Nile Journey, in which Gallagher collaborated with\u00a0creative director Cruz Mar\u00eda Wyndham, pays homage to ancient Egypt.\u201cI\u2019ve always tended to think in terms of different eras, so this seemed like the right place to start,\u201d she says, looking up and over the boat\u2019s pristine white railings to the grassy shores of the far\u00a0riverbank, where a few miles away is the\u00a0Ptolemaic Temple of Horus at Edfu. \u201cNot so\u00a0long ago, I went to\u00a0the Tombs of\u00a0the\u00a0Artisans [at Deir el-Medina]. To me\u00a0they\u2019re the most beautiful because they\u2019re\u00a0just freer \u2013 the artisans weren\u2019t obliged to uphold whatever instructions they would have had in the making of the\u00a0tombs of kings and queens.\u201dWe really\u00a0liked the\u00a0idea\u00a0of\u00a0artists and\u00a0artisans combining their talentsAboard the Nanusa, pharaonic motifs surface everywhere. A side table depicts a night sky with a blazing moon and five-pointed stars in tiny stone mosaic tiles. It\u2019s\u00a0executed in the unmistakable shades of\u00a0the famous Thebes Valley tomb paintings: rich saffron yellow, oxblood red,\u00a0and indigo so dark it\u2019s almost black. In\u00a0the enclosed sitting room off the main deck, the walls are covered in bespoke khayamiya tapestries depicting date palms,\u00a0ritual amphorae and ankhs, interspersed with strips and panels of\u00a0intricately woven Akhmim cotton, a textile tradition so old it was cited by the\u00a0Greek historian and geographer Herodotus in the 5th century BC.The Nanusa itself has belonged to Gallagher for 20 years, prior to which its history is a bit of a mystery: \u201cYou almost never really know the provenance of these\u00a0dahabiyas. Everyone who tries to sell\u00a0you one will insist it once belonged to\u00a0some prince. At one point, this one was\u00a0apparently a restaurant in Cairo.\u201d When she\u00a0acquired it,\u00a0it was in disrepair and she undertook the\u00a0first total restoration with the late antiquarian Amr Khalil, one of\u00a0Egypt\u2019s most revered interior designers. \u201cHis style was quite Old Egyptian. The design was grander than it is now,\u201d Gallagher says. \u201cHe came up\u00a0with the brilliant idea to add the sitting room [off\u00a0the\u00a0main deck]. And then, because riverboats always need maintenance, it\u00a0has\u00a0kind of evolved year to year.\u201cBut this,\u201d she says, gesturing at the\u00a0very un-Old-Egypt mix of pastels and contemporary rattan, Akhmim cushions and\u00a0whimsical khayamiyas, \u201cis\u00a0the biggest\u00a0refit I\u2019ve done.\u201dIt took place in 2024, around the same time that she and\u00a0Cruz Mar\u00eda Wyndham decided to\u00a0launch An\u016bt Cairo. (Both had previously been involved with the\u00a0Egyptian design studio Malaika, Gallagher as a co-founder.) The\u00a0fruits\u00a0of An\u016bt Cairo\u2019s first\u00a0collection are thanks to \u201ca big\u00a0mix of\u00a0collaborators\u201d, says Gallagher. \u201cSome were\u00a0artisans we already knew,\u201d such as Amal Akhnoukh, the\u00a0mosaic artist who created the charming\u00a0side table. \u201cBut we\u2019d\u00a0never done\u00a0a\u00a0table before. Then we found a brilliant metalworker, and the two of them\u00a0collaborated. That\u00a0made us\u00a0realise we really\u00a0liked the\u00a0idea\u00a0of\u00a0artists and\u00a0artisans combining their talents.\u201d Such multidirectional collaboration means \u201cthings\u00a0are always going\u00a0to\u00a0have their uniqueness. Which I\u00a0love. Even when you say, \u2018Please\u00a0do\u00a0this specific thing, with these specific\u00a0colours,\u2019 it\u2019s always ultimately a\u00a0conversation. And\u00a0there will be an unexpected element,\u00a0some little surprise.\u201d\u00a0Other collaborators were more recent\u00a0discoveries, such as Moushira Elamrawy, the dyeing expert who created the Klee-inspired canopy. \u201cI found her on\u00a0Instagram \u2013 she lives in Alexandria. I\u00a0asked if she\u2019d be interested in doing some\u00a0fabrics for us, using all the old natural\u00a0dyes \u2013 pomegranate, hibiscus, cumin and ground nutshells \u2013 as a\u00a0sort of experiment. And she came and actually taught us how to dye. Then I sent her Klee\u2019s\u00a0painting and asked if she could help\u00a0me create something like it.\u201d It\u2019s a beautiful example of why Egyptian artisanship has commanded such respect worldwide and for so long. \u201cBut I think it\u00a0could \u2013 it needs to \u2013 go up a notch,\u201d Gallagher says. \u201cWe should try to elevate craftsmanship to its highest expression. If I\u00a0could be part of making that the case, then that to my mind would constitute a\u00a0real success.\u201dMeanwhile, her immediate plans involve engaging with artists aboard the Nanusa: \u201cI\u2019ve been thinking for\u00a0some time, \u2018I have this boat. I\u00a0could be sharing it,\u00a0using it to make some kind of impact.\u2019\u201d The concept is\u00a0to host an artist, or a few, on board for several days and nights, with the hope that Egypt\u2019s influence will find its way into their\u00a0work, however organically or subtly. Gallagher is \u201ccompletely open\u201d to all, so\u00a0long as they\u2019re creators. \u201cA\u00a0novelist? A\u00a0ceramic artist? We could do\u00a0the five senses,\u00a0with a filmmaker, a musician, a\u00a0spice maker or chef\u2026\u201dInitially the residency will focus on Egyptian artists. Gallagher has earmarked a\u00a0date for the poet and photographer Mohamed Abdel Wahed to kick it off, after which she will\u00a0collaborate with Cairo\u2019s esteemed Gypsum Gallery. She is still considering what sort of work or contribution the artists in question\u00a0will deliver and when:\u00a0\u201cBut\u00a0I\u2019m\u00a0also trusting that\u00a0a trip down\u00a0the\u00a0Nile in this\u00a0boat will do a lot of the\u00a0inspirational work for me.\u201d\u00a0An\u016bt Cairo, 14 Shagaret Al Dor, Zamalek, Cairo,\u00a0anutcairo.com. Products also available at abask.com and goodeeworld.com<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic In 1928-29, the Swiss-German expressionist Paul Klee travelled across Egypt, traversing from Alexandria and Cairo down to Luxor and Aswan. Among the works his trip\u00a0inspired is the Monument an der Grenze des Fruchtlandes (Monument at the\u00a0Border of\u00a0the Fertile Land), a dreamlike linear abstraction depicting<\/p>\n","protected":false},"author":1,"featured_media":186212,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-186211","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/186211","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=186211"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/186211\/revisions"}],"predecessor-version":[{"id":186213,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/186211\/revisions\/186213"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/186212"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=186211"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=186211"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=186211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}