Bombs have destroyed much of the Iron Age temple of Ain Dara in Northern Syria. Reporting indicates the temple was the target of an air strike conducted by Turkey. The temple dated to the 9th century BCE, and was perhaps of a similar design to Solomon’s Temple in Jerusalem. The Hittite temple had survived for 3,000 years, and it has been reported that the temple was deliberately targeted.
Here is a similar view of the temple after the airstrike:
The damage seems extensive. Martin Bailey reported for the Art Newspaper that:
Turkey’s air force bombed Ain Dara as part of its military offensive against the Syrian militia YPG (People’s Protection Units), a mainly Kurdish faction which is fighting for autonomy from the Damascus regime of president Bashar al-Assad. The Ankara government is concerned that Syrian Kurds are supporting Kurdish separatists and terrorists in Turkey.
There are claims that the temple was deliberately targeted, an action that would certainly contravene the 1954 Hague Convention on the Protection of Cultural Property during armed conflict. It may even be classified as an action of intentional destruction. The temple has been photographed and documented, so at least some of this damage may be alleviated with modern reconstructions.
I’ve posted on SSRN a short paper discussing the Menil Foundation’s stewardship of the Lysi Frescoes. Given how much art is in jeopardy in the middle-East at the moment, it may be worth revisiting the Menil Foundation’s courageous decision to purchase, restore, and return these frescoes. It highlights that permanent acquisition is not the only way for museums to acquire new material.
The return of works of art by museums to nations of origin has generated considerable scholarly response, yet there has been little engagement with the potential role museums could have as responsible stewards for works of art that are at risk. One important example can be seen in the actions of the Menil Foundation. The Menil, with the permission of the Church of Cyprus, conserved a series of frescoes and created a purpose-built gallery on the Menil campus in Houston to safely house them. It was a novel solution to the problems caused by the situation in Cyprus. Acquiring and saving these thirteenth century frescoes gives an important template for the rescue and conservation of works of art that are at risk, but also exposes similarly-situated actors to the moral dilemma of purchasing looted art with the consent of the original owner.
The Rescue, Stewardship, and Return of the Lysi Frescoes by the Menil Foundation (September 10, 2015). 22 International Journal of Cultural Property 1, 1-14 (2015). Available at SSRN: http://ssrn.com/abstract=2661091
CBS News has some terrific first-hand reporting of antiquities smuggling from Apamea to Istanbul in a video report. Nothing here comes as much of a surprise sadly, but it confirms what we all suspect has been happening. A Roman mosaic, and various other portable objects, including some Roman glass (some of which the report points out may have been fakes).
“A human life doesn’t have much value without culture to go with it” says Markus Hilgert, director of the Pergamon Museum. He’s interviewed in a CNN profile of Heritage for Peace, a group working to document the destruction taking place there. The group walks a delicate line, trying not to take a stand in the dispute. The group has limited funding and works with a number of volunteers with founder Isber Sabrine:
A 29-year-old archaeologist from a village near the Mediterranean coast in western Syria, Sabrine is using modern technology to trace and document the looting and destruction of his country’s ancient heritage.
Working from Berlin, he runs a network in Syria of around 150 volunteers — archaeologists, architects, students and simply concerned citizens — who often pose as antiquities buyers to see what has been stolen in the course of Syria’s now more than four-year uprising. He communicates with them via Skype when the Internet in Syria is working, which isn’t often.
“They go to the locals and they say look, we are interested. They cannot buy, but at least they make photos and they send us photos,” says Sabrine. “Like this we have a list of looted materials from Syria.”
That list is shared with law enforcement, auction houses and collectors. CNN asked if we could publish some of those photographs — we saw statues, mosaics and coins — but Sabrine declined for fear the photos might expose the volunteers.
After years of chaos, the market for stolen antiquities is flooded, and dealers are holding back some of their most valuable items. “We know that the most important objects don’t go to market now,” says Sabrine. “The big dealers are waiting, maybe two, three or four years, and then when the opportunity is right, they will sell.”
The IAL blog has a terrific preview of an upcoming interview with Kathryn Morgan, a PhD candidate and archaeologist who has dug at the ancient site of Gordion in Central Turkey. Nina Nieuhaus asked Morgan what can be done, from an archaeologist’s perspective to stem looting of sites. Here’s a brief excerpt:
Education and economic incentives are probably the two most effective anti-looting “measures,” if they can be called measures. Education, because if people value the past for itself and think that it’s important, they don’t want to loot; and economic incentives, because if they are reliably prosperous without relying on looting, they don’t have to. Alternatively, you can try to foster the idea that an excavation itself and/or the tourism that it brings is a more sustainable long-term alternative source of income than a quick loot-and-sell operation. As far as I understand it, looting often isn’t that profitable a business for the looter: he’s giving whatever he finds to a middle man, who may be giving it to someone else, and him to someone else, until it finds a legitimate seller and a legitimate buyer who hasn’t dirtied his hands with any of the illegal activity. So, for the little guy, it’s dangerous – because looting is of course illegal – and he’s not making that much money off of it; he’s not going to do it unless he has to. If you can foster a good relationship with locals – providing them with employment opportunities, buying food for the project from within the village, some projects get students to teach English or organize pick-up soccer games with the workmen – those personal relationships are key to the long-term success of your project. But that’s kind of a warm and fuzzy answer that doesn’t deal with all of the complicated motivations that real people have in the real world.
Realistically, what do we do? What can we do? The Gordion project employs a site guard year round who checks on the site. We give a map of the area to the local Jandarma, the police force, of the “most sensitive” areas archaeologically, that they need to keep an eye on. Also, in Turkey, sites that are looted or in danger of looting can be eligible for special “salvage excavation” permits. Near Gordion, several tunnels were dug into a large tumulus, looking for the burial chamber, over the past few winters. Last year, the Turkish authorities decided to excavate the tomb themselves, in a careful, scientific fashion with conservators on call – rather than allowing looters to make another attempt. The Gordion project was invited to contribute to the effort, which we did gladly. So, sometimes pre-emptive excavation is a necessary solution.
And there are other interesting insights, so I look forward to reading the whole exchange. Practical change is slow in coming to the antiquities trade.
Disputes over works of art continue to hamper relationships between major Museums and nations of origin. One example is what appears to be a strained relationship between Turkey and the Met.
The Met is planning a major exhibition on the Seljuk Islamic empire. But the show
looks to be hampered by Turkey’s cultural embargo which demands a return of works of art before any new material will be loaned. As Tim Cornwell reports for the Art Newspaper:
Without loans from Turkey, and with Iranian loans unlikely unless there is a sudden improvement in relations between the US and Iran, the Met will have to rely on major loans from British and European institutions instead.
. . .
But Turkish loans could have ranged from manuscripts from the Topkapi Palace Museum in Istanbul and trophy items, such as an extraordinary steel mirror with gold inlay also housed there, to reliefs from the walls of Konya, the Seljuks’ historic capital in Anatolia.
Turkey has asked for a number of objects back from the Met, the British Museum and other institutions. Some of them removed from Turkey very early in the 20th Century.
According to reporting at Chasing Aphrodite, those objects requested by Turkey from the Met include objects with no history before from the Norbert Schimmel collection acquired them in the 1960s-70s. The ongoing dispute is a pity, as it harms both the ability of curators at the Met to secure Seljuk material for the exhibition, and hampers Turkey’s opportunity to present its heritage to new audiences.
In 1882 Sir C.W. Wilson, Britain’s consul-general in Anatolia did what many British diplomats did in the 19th century when visiting the classical world. He took pieces of it back with him to London. In this case this small infant’s head which was removed from what is know known as the Sidamara Sarcophagus. Wilson hacked off the head, and reburied the Sarcophagus hoping to return for the whole thing later. He was never able to return, and the sarcophagus was ‘rediscovered’ in 1898 (can anyone tell me by whom?). I remember seeing this small head at the V&A some years ago, and it always struck be then, without knowing th efull story, that it was incredibly odd to have just a small little head on display.
The sarcophagus now is on display at the Archaeological Museum in Istanbul. Though the head is in the collection of the V&A Museum in London. Turkey has renewed calls for its return. But the V&A has resisted these calls for return. Why? The value of the small head—aesthetic, cultural, historical, or otherwise of this little head would seem to be limited. Instead as Martin Bailey reports for the Art Newspaper, the V&A is concerned about what appear to be some easy legal hurdles to overcome, and even the precedent that would emerge for other pieces of marble in British collections: Continue reading “Reuniting the Sidamara Sarcophagus”