National Museum of Aleppo As a Model

Total Page:16

File Type:pdf, Size:1020Kb

National Museum of Aleppo As a Model Strategies for reconstructing and restructuring of museums in post-war places (National Museum of Aleppo as a Model) A dissertation submitted at the Faculty of Philosophy and History at the University of Bern for the doctoral degree by: Mohamad Fakhro (Idlib – Syria) 20/02/2020 Prof. Dr. Mirko Novák, Institut für Archäologische Wissenschaften der Universität Bern and Dr. Lutz Martin, Stellvertretender Direktor, Vorderasiatisches Museum, Staatliche | downloaded: 8.10.2021 Museen zu Berlin Fakhro. Mohamad Hutmatten Str.12 D-79639 Grenzach-Wyhlen Bern, 25.11.2019 Original document saved on the web server of the University Library of Bern This work is licensed under a Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland https://doi.org/10.24442/boristheses.1947 licence. To see the licence go to http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ or write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA source: Copyright Notice This document is licensed under the Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland. http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ You are free: to copy, distribute, display, and perform the work Under the following conditions: Attribution. You must give the original author credit. Non-Commercial. You may not use this work for commercial purposes. No derivative works. You may not alter, transform, or build upon this work.. For any reuse or distribution, you must take clear to others the license terms of this work. Any of these conditions can be waived if you get permission from the copyright holder. Nothing in this license impairs or restricts the author’s moral rights according to Swiss law. The detailed license agreement can be found at: http://creativecommons.org/licenses/by-nc-nd/2.5/ch/legalcode.de Table of Contents List of Plans ......................................................................................................................viii List of Figures ...................................................................................................................ix List of Abbreviations .......................................................................................................xiv Acknowledgements ..........................................................................................................xvi Abstract ............................................................................................................................xvii 1. Introduction ...................................................................................................................1 1.1 The museum ...........................................................................................................1 1.2 The importance of the museum ............................................................................1 1.3 History of archaeological museums in Syria .......................................................2 2. Syrian museums during the conflict ............................................................................4 2.1 Museums damage due to the armed conflict .......................................................4 2.1.1 Shells, clashes damage ....................................................................................5 2.1.2 Armed attack (occupation by the fighters) ......................................................5 2.1.3 Looting and theft .............................................................................................6 2.1.4 Terrorism .........................................................................................................8 2.2 Protection measures ..............................................................................................10 2.2.1 Directorate General of Antiquities & Museums .............................................10 2.2.1.1 Documentation and archiving ..........................................................10 2.2.1.2 Transporting artefacts ......................................................................11 2.2.1.3 Protection and enforcement .............................................................12 2.2.1.4 Confiscations ...................................................................................12 2.2.2 Non-governmental organizations ...................................................................12 2.2.3 International efforts ........................................................................................13 2.3 Houses of the archaeological missions .................................................................14 3. National Museum of Aleppo as a model ......................................................................17 3.1 History of National Museum of Aleppo ...............................................................17 3.2 An overview of the contents of the museum before the conflict ........................19 3.2.1 Prehistoric section ...........................................................................................21 3.2.2 Ancient Syrian Antiquities section .................................................................22 3.2.3 Classical section ..............................................................................................25 iii 3.2.4 Arabic-Islamic section .....................................................................................25 3.2.5 Modern Art section, mosaic hall, and garden of the museum .........................26 3.2.6 Warehouses (museum storages) ......................................................................27 3.3 National Museum of Aleppo during the conflict ....................................................28 3.3.1 Background of Aleppo war .............................................................................28 3.3.2 Museums of Aleppo under fire .......................................................................28 3.3.3 National Museum of Aleppo: risk types and threats .......................................30 3.3.4 Destruction and damage at National Museum of Aleppo ...............................30 3.3.5 Protection measures at National Museum of Aleppo ......................................31 3.3.5.1 Documentation .................................................................................31 3.3.5.2 Transfer of removable objects ..........................................................32 3.3.5.3 Immovable objects ...........................................................................32 3.3.5.4 Other measures .................................................................................33 3.3.5.5 Difficulties in protection efforts .......................................................34 3.5.5.6 Were the protection efforts at National Museum of Aleppo sufficient to preserve the artefacts? ..................................................34 4. Future (post-war) Strategies at the National Museum of Aleppo .............................35 4.1 Importance of the strategies ...................................................................................35 4.2 Lessons to be learnt from previous experience of similar situations ..................37 4.2.1 Beirut museum ...............................................................................................37 4.2.2 Iraqi museum of Baghdad ..............................................................................40 4.2.3 National Museum of Afghanistan (Kabul Museum) ......................................43 4.3 Experiences of Modern Museums ..........................................................................48 4.3.1 Bernisches Historisches Museum and Einstein Museum ...............................48 4.3.2 Antikenmuseum Basel and Sammlung Ludwig ………………………….....50 4.3.3 Museum Rietberg in Zurich ……..................................................................55 5. The restructuring scenario of the current building ...................................................62 5.1 Previous errors committed at the National Museum of Aleppo before the conflict ...................................................................................................62 5.2 Human resources in the restructuring phase .......................................................64 5.2.1 Training for the staff ......................................................................................66 iv 5.3 The New Permanent Exhibition ............................................................................68 5.3.1 Museum presentation ..................................................................................68 5.3.2 Museum entrance ........................................................................................69 5.3.3 Statues Reception ........................................................................................70 5.3.4 Prehistoric Section ......................................................................................75 5.3.4.1 Definition of the Prehistory ...........................................................75 5.3.4.2 Suggestions for the new presentation ............................................76 (Details of archaeological sites, artefacts, and achievements) 5.3.4.2.1 The first Axis: The Lower Paleolithic Period .................76 5.3.4.2.2 The second Axis: The Middle Paleolithic Period ............77 5.3.4.2.3 The third Axis: The Epipalaeolithic Period .....................78 5.3.4.2.4 The fourth Axis: The Neolithic Period ............................79 5.3.4.2.5 The fifth Axis: The Chalcolithic
Recommended publications
  • National Museum of Aleppo As a Model)
    Strategies for reconstructing and restructuring of museums in post-war places (National Museum of Aleppo as a Model) A dissertation submitted at the Faculty of Philosophy and History at the University of Bern for the doctoral degree by: Mohamad Fakhro (Idlib – Syria) 20/02/2020 Prof. Dr. Mirko Novák, Institut für Archäologische Wissenschaften der Universität Bern and Dr. Lutz Martin, Stellvertretender Direktor, Vorderasiatisches Museum, Staatliche Museen zu Berlin Fakhro. Mohamad Hutmatten Str.12 D-79639 Grenzach-Wyhlen Bern, 25.11.2019 Original document saved on the web server of the University Library of Bern This work is licensed under a Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland licence. To see the licence go to http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ or write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA Copyright Notice This document is licensed under the Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland. http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ You are free: to copy, distribute, display, and perform the work Under the following conditions: Attribution. You must give the original author credit. Non-Commercial. You may not use this work for commercial purposes. No derivative works. You may not alter, transform, or build upon this work.. For any reuse or distribution, you must take clear to others the license terms of this work. Any of these conditions can be waived if you get permission from the copyright holder. Nothing in this license impairs or restricts the author’s moral rights according to Swiss law.
    [Show full text]
  • The Middle East Modern and Contemporary Auction
    The Middle East Modern and Contemporary Auction Saturday, 11 March 2017 Le Yacht Club Gallery Zaituna Bay Beirut - 1 - The Middle East Modern and Contemporary Auction Viewing Thursday 9 March 11:00-9:00 p.m. Friday 10 March 11:00-8:00 p.m. Saturday 11 March 11:00 onwards Auction Saturday, 11 March 2017 4:00 p.m. Le Yacht Club Gallery, Zaituna Bay, Beirut Phone: +961 (0)1 762 800 View catalogue online at artscoops.com Auctioneer Edward RISING Curators May MAMARBACHI Janet RADY Contact Raya MAMARBACHI Phone: +961 (0)3 127 069 Untitled, 2013 Korosh Ghazimorad, (front cover) Email: [email protected] Bassam Kyrillos, Holiday Inn, 2015 (back cover) Jamil Molaeb, Untitled (inside front cover) May MAMARBACHI Tagreed Darghouth, Untitled, 2013 (inside back cover) Phone: +961 (0)3 429 800 Email: [email protected] Janet RADY Printed & Bound by Express International Phone: +44 (0)7957 284370 www.expressinternational.com Email: [email protected] - 2 - - 3 - 02 ELIAS ZAYYAT Couple in a Seductive Scene, 1969 Ink on paper 32 x 44 cm Signed in English and Arabic; dated in English (lower left) Property from a private collection, Beirut Estimate: US$ 3,000 - 5,000 01 TAGREED DARGHOUTH Untitled, 2013 Acrylic on canvas The pieces (lot 2 and 4) featured in and appeared in an exhibition there 100 x 70 cm the auction date back to the early at that time. This work depicts Signed and dated in English (lower right) 1970s, when Zayat was teaching an olive tree, alongside a square a restoration course in Budapest, and Zayat’s signature bird motif.
    [Show full text]
  • Charles Hossein Zenderoudi, Midi Libre, No 9401, 9 April 1971
    MODERN AND CONTEMPORARY MIDDLE EASTERN ART Wednesday 26 April 2017 MODERN AND CONTEMPORARY MIDDLE EASTERN ART Wednesday 26 April 2017, at 3pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Friday 21 April +44 (0) 20 7447 7447 Nima Sagharchi Monday to Friday 8.30am - 6pm 9am - 4.30pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8342 +44 (0) 20 7447 7447 Sunday 23 April To bid via the internet please [email protected] 11am - 3pm visit bonhams.com As a courtesy to intending Monday 24 April Noor Soussi bidders, Bonhams will provide a 9am - 4.30pm Please note that bids should be +44 (0) 20 7468 8345 written Indication of the physical Tuesday 25 April submitted no later than 4pm [email protected] condition of lots in this sale if 9am - 4.30pm on the day prior to the sale. a request is received up to 24 Wednesday 26 April New bidders must also provide Ralph Taylor hours before the auction starts. 9am - 1pm proof of identity when +44 (0) 20 7447 7403 This written Indication is issued submitting bids. Failure to do [email protected] subject to Clause 3 of the Notice SALE NUMBER this may result in your bid not to Bidders. 24210 being processed. PRESS ENQUIRIES [email protected] ILLUSTRATIONS CATALOGUE Telephone bidding can only Front cover: Lot 22 £30.00 be accepted on lots with a Back cover: Lot 14 low-estimate in excess of Inside front cover: Lot 20 £1000. Inside back cover: Lot 39 Live online bidding is IMPORTANT INFORMATION available for this sale The United States Please email bids@bonhams.
    [Show full text]
  • Université De Pau Et Des Pays De L'adour
    Université de P au et des Pays de l’Adour ECOLE DOCTORALE 481 SCIENCES SOCIALES ET HUMANITES Thèse de doctorat L’ART CONTEMPORAIN D U MOYEN-ORIENT ENTRE TRADITIONS ET NOUVEAUX DEFIS Présenté par Madame Susanne DRAKE Sous la direction de Madame Evelyne TOUSSAINT Membres du jury : Madame Evelyne TOUSSAINT, professeur à Aix-Marseille Université, précédemment professeur à l'U niversité de Pau et des Pays de l’Adour Monsieur Rémi LABRUSSE , Professeur d’ Université de Paris Ouest Nanterre-La Défense Monsieur Dominique DUSSOL , Professeur de l’Université de Pau et des Pays de l’Adour Monsieur Eric BONNET , Professeur de l’Université de Paris VIII Date de soutenance : 10 Juin 2014 1 Résumé fran çais et mots clefs Dans les pays du Moyen Orient, nous sommes face à une réalité complexe, qui est encore peu comprise en Europe. Les médias nous dépeignent souvent une société majoritairement islamique fondamentaliste. Cette image, qui pourrait relever d’une représentation tardive du Moyen Orient par l’Occident est empreinte de problématiques d’ordre économique et soci étal. Une analyse précise permet de mettre au jour des singularités nationales et intranationales. Les développements artistiques profitent de ces sources multiples. Pour inclure les artistes du Moyen Orient dans l’histoire de l’art du monde , et comprendre les œuvres d’art contemporain, nous nous sommes servis de plusieurs approches. O utre l’analyse esthétique et la recherche d’influences formelles, il s’agit de comprendre les positions politiques de l'artiste, sa psychologie, son rôle dans la société, mais aussi la place de la religion dans la vie publique, la valeur attribuée à l’art contemporain et sa réception dans la société.
    [Show full text]
  • The Samawi Collection Curated Selections of Arab Art Volume 1
    The Samawi Collection Curated selections of Arab art Volume 1 ayyam gallery The Samawi Collection Curated selections of Arab art Volume 1 ayyam gallery Texts by Maymanah Farhat ISBN 978-9933-9089-1-1 Published by Ayyam Gallery on the occasion of the exhibition "The Samawi Collection" at ayyam art center|dubai in 2011 Text: Maymanah Farhat (English) & Talal Moualla (Arabic) General design & photography: Nassouh Zaghlouleh © All rights reserved 2011 The Art (History) of Collecting Art patronage in the Middle East has existed for thousands of years-since the Fertile Crescent gave birth to the world’s first civilizations. In ancient times, artisans and architects created artworks and monuments that spoke of the glory of rulers and the flourishing of cultures. This gave way to the formation of aesthetics and the fashioning of complex visual languages that marked every facet of life. Advancements in technology and the improvement of techniques led to the sustained progress of artistic approaches over centuries and throughout the rise and fall of dynasties, empires, colonies and regimes. With the rapid spread of Islam from the Arabian Peninsula throughout the Levant, North Africa, Asia and Europe, art continued to be critical to the defining of spiritual, political and cultural realities. From its modest beginnings in Mecca and Medina, where the earliest plans of mosques were executed during the time of the Prophet Mohammad, to the grandiose structures of the Ottoman Empire, the impact of art patronage was realized in the development of visual culture. This has been carried on through countless elements of the modern Middle East, as the fashioning of Arab society has frequently been felt through the building of its cultural patrimony.
    [Show full text]
  • Modern Arab Masters Cover Jamil Hammoudi (B.1924) Ermenonville (Detail) Modern Arab Masters 27 September - 12 October 2012 Introduction
    MODERN ARAB MASTERS Cover Jamil Hammoudi (b.1924) Ermenonville (detail) MODERN ARAB MASTERS 27 SEPTEMBER - 12 OCTOBER 2012 INTRODUCTION Grosvenor Gallery is proud to present an exhibition of paintings by some of the foremost Arab artists of the late twentieth century. We have collected the work of pioneering artists from Iraq and Syria to attempt to display the inception and development of the modern art movement in these countries, both equally rich in history and heritage. We are especially fortunate to display two rare and important paintings from the first group exhibition of Arab art to tour the West, as part of Carerras Craven ‘A’, Arab Art Exhibition in 1967. These works; Dia Azzawi’s Islamic Compositions, and Hashim Samarji’s Composition of Sights, have not been displayed publically since the late 1960s and were heavily complimented by the organisers of the exhibition, with Samarji’s work winning first prize in the Iraqi section of the show. Artists from Bahrain, Kuwait, Iraq, Jordan, Syria, Lebanon and the United Arab Republic took part in the exhibition, which toured ten capital cities over a period of nine months, finishing in Rome on the 7th August 1967. The Carreras exhibition is a true milestone in the history of 20th century Arab art, marking the first time a large group exhibition of works by Middle Eastern artists had been exposed to European audiences. During the mid 20th century, the governments of Iraq and Syria were instrumental in promoting the visual arts in their respective countries. Young artists were sent to study in Rome, Paris and London to learn about Western techniques, and faculties of art were established at universities in Baghdad and Damascus.
    [Show full text]
  • LINES of SUBJECTIVITY: PORTRAIT and LANDSCAPE PAINTINGS from the Collection of the Barjeel Art Foundation March 9 – May 31, 2017 CONTRIBUTORS CONTENTS
    مالمح المذهب الذاتي: البورتريه و لوحات المناظر الطبيعية من مجموعة مؤسسة بارجيل للفنون 9 آذار - 31 أيار، 2017 مالمح المذهب الذاتي • LINES OF SUBJECTIVITY LINES OF SUBJECTIVITY: PORTRAIT AND LANDSCAPE PAINTINGS From the Collection of the Barjeel Art Foundation March 9 – May 31, 2017 LINES OF SUBJECTIVITY: PORTRAIT AND LANDSCAPE PAINTINGS From the Collection of the Barjeel Art Foundation March 9 – May 31, 2017 CONTRIBUTORS CONTENTS Curators: 4. About Barjeel Art Foundation Landscapes Khalid Khreis 5. About Jordan National Gallery 54. Abdul Qader al-Rassam Suheyla Takesh 6. Exhibition Statement 56. Abdullah al-Qassar English Editor: 8. Lines of Subjectivity: Notes on Portraiture 58. Cléa Badaro Anna Seaman 14. Four Partial Views on Arab Landscape 60. Georges Sabbagh Arabic Editor: 62. Huguette Caland Mariam Janjelo Portraits 64. Kamel Mustafa Arabic/English Translation: 24. Abdel Hadi El-Gazzar 66. Marguerite Nakhla Iskandar Shaaban & Partner Ad Services 26. Ahmad Nashaat Alzuaby 68. Mohammed Naghy Essay: 28. Elias Zayat 70. Ragheb Ayad Lines of Subjectivity: Notes On Portraiture 30. Ervand Demerdjian 72. Saad El-Khadem Nat Muller 32. Faraj Abbo 74. Saliba Douaihy Essay: 34. Ezekiel Baroukh Four Partial Views on Arab Landscape 36. Faiq Hassan 84. (Arabic) Four Partial Views on Murtaza Vali 38. Habib Srour Arab Landscape Artist Texts: 40. Hatim Elmekki 90. (Arabic) Lines of Subjectivity: Fawz Kabra 42. Ibrahim El-Salahi Notes on Portraiture Artwork Photography: 44. Khalil Gibran 92. (Arabic) Exhibition Statement Capital D Studio 46. Louay Kayyali 94. (Arabic) About Barjeel Book Design: 48. Mona Saudi 95. (Arabic) About Jordan museum Clint McLean/We Are Thought Fox 50.
    [Show full text]
  • Los Angeles Art Auction
    artists contributing to syria’s future an auction to support syrian education aspirations 21 february 2015 Special Thanks from Jusoor We would like to thank Rafia Gallery and its artists, as well as the art enthusiasts participating in this evening’s auction. Through your generous contributions we will be able to support countless Syrian children and youth, who are in desperate need of education and opportunities for individual accomplishment. In doing so, we can make an important investment towards safeguarding Syria’s future. Funds raised from this auction will be used towards Jusoor’s educational programmes, including our refugee education programme and our university scholarship programme. We would also like to thank Aramex, Arij Kassab Bachi, Nada Karami (Europia Gallery) and Dana Theodory for their collaboration. Last but not least, we would also like to express our gratitude to Rafia Koudmani, not only for her invaluable support in curating this beautiful art collection, but also for her crucial contributions in supporting our work since Jusoor’s launch. About Jusoor Jusoor is a non-partisan NGO founded by members of the Syrian expatriate community in 2011. Through Career Development: This program is made up of workshops aimed at enhancing the skills and various programs and initiatives in the fields of education, career, and global community engagement, competencies of young Syrians looking to find jobs in today’s competitive market. With workshops ranging Jusoor aims to support Syria’s development and help Syrian youth realize their potential. With over 80,000 from resume writing, job interview practice, and development of career portfolios, program participants members Jusoor strives to engage and connect the global Syrian expatriate community in the process.
    [Show full text]