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In studios, on museum walls, and through the hands of artists and artisans, the Sultanate of Oman is quietly orchestrating an artistic renaissance. In a region bursting with contemporary spectacle, Oman’s art scene takes a different route: it looks inward, reaching into the roots of tradition to find its future.
Speaking to Sheffy Thattarath, a well-known Indian artist in Oman who paints life-like images of His Majesty and various intricate pieces that are exhibited across Muscat, he said, “I began exploring Oman’s art scene in 1994, inspired by old books and historical references that offered intimate glimpses into Omani life. What captivated me most was the distinct way Oman expresses its identity—through traditional attire, heartfelt hospitality, and everyday art rooted deeply in heritage and craftsmanship.”
“Unlike some other developing nations, Oman has diligently preserved its heritage, and this is reflected in its art, crafts, and architecture. What truly sets it apart is this living connection to the past, where ancient techniques and motifs continue to thrive in contemporary artistic expression,” says Filipino artist Emerson Sumaoang, who now calls Oman home.
Sharing an interesting historic fact he knows about Oman, Emerson said, “The enduring influence of maritime history on Omani art…From intricate silverwork featuring dhow and even architectural details reminiscent of seafaring life, the ocean has profoundly shaped the artistic identity of Oman for centuries. This deep connection to the sea is a unique thread woven throughout the tapestry of Omani art history.”
And Dr Hafsa Banu, a dental surgeon by profession, President for Oman Department International Action art, UNESCO, Art Mentor Funun Arts, and Chapter President for BNI Majan, who expresses her artistic capabilities through nail art, shared an interesting piece of history on the iconic Khanjar.
“Although it is not known when the Omani Khanjar was first created, rock carvings epitomizing the dagger were found on gravestones located in the central part of the Ru’us al Jibal region. These are believed to have predated the Wahhabi revival, which occurred in the late 1700s,” she said.
This connection between heritage and creation makes the Omani canvas so compelling.
Sheffy mentioned that what fascinates him the most is “how cultural motifs and traditional color palettes quietly echo through modern and abstract works.”
And looking ahead at the way the scene has changed for art, he said, “While these newer expressions gain increasing commercial appeal, the essence of Omani heritage still resonates—whether through realism or avant-garde experimentation.”
Drawing from Deep Wells
Omani art is more than pigment and pottery—it is a reflection of customs, nature, and identity. From the vibrant embroidery in traditional women’s dresses to the stylized geometric designs on ancient doors, art in Oman has always been a tool for storytelling. Every stroke and curve whispers something about the people, environment, and values.
“The breathtaking natural landscapes, from majestic mountains to serene coastlines and vast deserts, provide a wealth of visual inspiration,” Sumaoang explains.
Rawan Almahrouqi, a contemporary artist and founder of Makan Studios shared her take on why Oman is a unique canvas for artists and why it needs to be appreciated more.
“Personally, in my artistic practice, I’m very interested in the Khaleeji women and how underrepresented we are in media, art, and just about everything else.”
But it’s not just the landscape or the beautiful people. Oman’s cultural policies have played a crucial role in elevating the creative sector. Since the founding of the Omani Society for Fine Arts (OSFA) in 1993 by the Diwan of Royal Court under the late His Majesty Sultan Qaboos, Oman has made strides in bringing fine arts into the public conversation. The society provides resources, workshops, exhibitions, and a platform for emerging and established artists alike.
For curators like Rasmia Al Zadjali, who has spent years shaping Oman’s contemporary exhibitions, this support has been instrumental. “Oman’s art history is characterized by a blend of traditional influences and contemporary expressions. The art scene here is like this vibrant cultural mashup that’s just waiting to be discovered. The government has shown a great interest in promoting the arts and culture sector, it has been providing opportunities for creatives to showcase their work and express themselves freely.”
“Well, my genre deals with Nails and strings for 8 years now, and it’s always been inspired by Oman’s scenic beauty, being an artist in Oman is like a blessed feeling. Not many pursued a genre like mine in the Middle East, so it was very much accepted and loved,” explained Dr Hafsa on her take on artistic freedom in Oman and how it has helped shape her skill.
Between Canvas and Commerce
Beyond cultural preservation, art in Oman carries the potential to transform its tourism economy. As the Sultanate shifts toward economic diversification, the creative sector stands out as a beacon of possibility.
“I think that an emphasis on art and creative industries can stimulate economic growth by creating job opportunities, supporting local artists and artisans, and encouraging entrepreneurship in the tourism sector,” says Rasmia Al Zadjali.
“Creating new tourist attractions such as outdoor art installations, opening more museums, and organizing cultural events in the existing ones where they can offer visitors unique experiences and insights into modern Omani culture and identity,” she explained.
Her vision isn’t hypothetical. The government has initiated programs that fund creative endeavors, and institutions like the Sultan Qaboos Cultural Center and events like the Muscat Festival are already popular cultural attractions.
“Many initiatives towards art and modern art have also been initiated, and architecture has shown a shift while still deep rooted in Omani cultures under the auspices of HH Sayyid Bilarab Bin Haitham Al Said,” added Dr Hafsa.
Sumaoang agrees: “By experiencing Omani art – whether through visiting galleries, admiring architecture, or purchasing local crafts – visitors gain a more profound understanding and appreciation of the country. This can lead to increased visitor satisfaction, longer stays, and positive word-of-mouth referrals, all crucial for building a thriving tourism sector.”
“Art is becoming a key driver in Oman’s efforts to grow tourism into a major economic sector,” said Sheffy.
And talking about a cool historical fact, Sheffy said that “Street art began to emerge moderately in the 1990s, starting with decorative work using gypsum and stones to beautify the country. This later evolved into more expressive forms, such as painting on oryx statues and creating public wall art.”
Sheffy also highlighted key areas where Oman is emphasizing the need for art and how it can transform tourism.
“Through national exhibitions like the Muscat Art Exhibition and initiatives such as Creatourism, Oman is promoting its cultural identity while empowering local youth to lead creative projects in tourist spaces. Architectural programs like the Bilarab Bin Haitham Award encourage designs rooted in heritage, while the upcoming Film City in Barka aims to spotlight Omani landscapes and stories on a global stage. Community-based tourism, especially in regions like Dhofar, offers authentic cultural experiences through food, music, and storytelling. Meanwhile, projects like Ebdaa Park and the Yaj Project are set to boost cultural entrepreneurship, alongside the revival of historical sites and the development of immersive cultural centers in cities like Suhar, Bahla, and Nizwa. These efforts collectively position art and culture as central pillars in Oman’s tourism future.”
Looking positively ahead, Rawan also shared her take on how Oman can capitalize on art.
“Art always teaches you so much about a culture or a country, this is why I’m a big believer that investing in art in all its forms is an investment in tourism and the overall benefit of the country. I run Makan Studios, which is an art gallery and workshop space located in the Intercontinental Hotel, Muscat. And I see first-hand the interactions we get from tourists and people visiting the country.”
Crafting Against the Current
Still, preserving traditional art forms in the age of global imports and digital tools presents serious challenges.
In the villages of Oman, the artistry of handcrafted goods—from clay pots to silver bracelets is being outpaced by cheaper, machine-made imports. Pottery from abroad often undercuts local prices, threatening age-old techniques passed down through generations.
Even for ceramic students, local materials like glazes are so costly that they often rely on imported substitutes. It’s a dilemma that places heritage at risk—not due to disinterest, but due to economic practicality.
And yet, the spirit of Oman’s craftspeople endures. Take the Khanjar, still worn proudly by Omani men during special occasions, or the floral engravings on old wooden doors—a fading tradition now more likely to be outsourced than home-carved. These art forms are not static relics; they are living expressions of the past, still active in present-day rituals and celebrations.
“The culture and historical background of Oman is very strong and deeply rooted, and so are the elements and artistry of craftsmanship, from pottery to ornaments to usage of natural material as tints in browns and greens, it ignites any artistic soul and draws them to the scenic beauty of Oman. Oman has always been known to maintain its scenic voice, and I am sure that tourism will make waves in terms of art in Oman,” says Dr Hafsa confidently.
From Heritage to High Art
While traditional art struggles to compete with globalization, contemporary fine arts in Oman are undergoing a quiet metamorphosis.
In the early 1970s, artists like Anwar Sonya, Maryam Abdul Karim Al Zadjali, and Rabha Mahmood pioneered an artistic awakening in the country. Their work marked a shift from isolated creativity to a collective art movement deeply rooted in realism, tradition, and cultural identity.
Today, younger artists are blending traditional subjects with modern techniques. Budoor Ali Riyami and Issa Al Mufarji, among others, are pushing boundaries, using new mediums and themes while staying anchored in Omani culture.
“From intricately woven textiles to finely crafted silverwork, Omani art continues to thread tradition into the fabric of daily life. These elements are not only preserved but reimagined and celebrated, even within contemporary settings,” notes Sheffy.
Painting the Future
The emergence of digital platforms, international collaborations, and art-focused education is ushering in a new era. From community-driven exhibitions to online art showcases, the ways in which Omani artists connect with audiences are evolving.
Yet, despite this progress, artists stress that the foundation must remain rooted in tradition. But preserving cultural heritage is not about freezing it in time, it’s about carrying it forward, letting it adapt and grow. Art is how we do that.
And adapt it must—if Oman is to compete on the global cultural stage alongside heavyweights like the UAE and Saudi Arabia. The former boasts the Louvre Abu Dhabi and groundbreaking digital art festivals; the latter, massive investments in futuristic museums and virtual galleries like BASMOCA.
In comparison, Oman’s strategy is more subtle, but no less profound. By empowering grassroots creatives, nurturing craftsmanship, and spotlighting identity over spectacle, the Sultanate is drawing the future with lines learned from its past.
Beyond the Brushstroke
In the grand tapestry of Middle Eastern art, Oman may seem like a quiet thread. But its impact lies in that quiet—a kind of cultural whisper that invites, rather than demands, attention.
And perhaps that’s the point.
“Art has been giving me positivity and has only enhanced my creativity in the Sultanate. It has given my work voice and freedom of expression and has been appreciated to many folds,” said Dr Hafsa.
Delving into artistic freedom, Sheffy emphasized the uniqueness in Oman’s approach and how it shapes the artist.
“Every country has its own approach to freedom of expression, and Oman is no exception. In my experience as a professional artist, I haven’t felt restricted—perhaps because my work doesn’t seek to provoke through vulgarity or controversy. My focus has always been on cultural, emotional, and aesthetic expression. Even when I’ve taken bold creative approaches, I’ve found that, as long as the work is respectful, there’s room to explore and express myself authentically,” he said.
With each new generation of artists, curators, and dreamers, Oman’s heritage finds a new voice—sometimes painted, sometimes sculpted, sometimes stitched into fabric or glazed into clay. And through these voices, the country doesn’t just preserve its past—it prepares it for the world.
In Oman, art is not only what you see. It’s what you remember.
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