Restoration Lags for Syria's Famed Roman Ruins at Palmyra

Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)
Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)
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Restoration Lags for Syria's Famed Roman Ruins at Palmyra

Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)
Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)

At the height of ISIS’ rampage across Syria, the world watched in horror as the militants blew up an iconic arch and temple in the country’s famed Roman ruins in Palmyra.
Eight years later, ISIS has lost its hold but restoration work on the site has been held up by security issues, leftover ISIS land mines and lack of funding.
Other archaeological sites throughout Syria face similar problems, both in areas held by the government and by the opposition. They were damaged by the war or, more recently, by the deadly 7.8-magnitude earthquake that struck a wide area of neighboring Türkiye and also Syria in February.
Youssef Kanjou, a former director of Syria's Aleppo National Museum, said the situation of heritage sites in his country is a “disaster.”
Without a coordinated preservation and restoration effort, said Kanjou, now a researcher at Tübingen University in Germany, "We will lose what was not destroyed by the war or the earthquake."
Before the war, Palmyra — one of Syria’s six UNESCO world heritage sites — was the country’s archaeological crown jewel, a tourist attraction that drew tens of thousands of visitors each year. The ancient city was the capital of an Arab client state of the Roman Empire that briefly rebelled and carved out its own kingdom in the third century, led by Queen Zenobia.
The militants later destroyed Palmyra's historic temples of Bel and Baalshamin and the Arch of Triumph, viewing them as monuments to idolatry, and beheaded an elderly antiquities scholar who had dedicated his life to overseeing the ruins.
Today, the road through the desert from Homs to Palmyra is dotted with Syrian army checkpoints. In the town adjacent to the ancient site, some shops have reopened, but signs of war remain in the form of charred vehicles and burned-out or boarded-up stores and houses.
The Palmyra Museum is closed, and the much-loved lion statue that used to stand in front of it has been moved to Damascus for restoration and safekeeping.
In 2019, international experts convened by UNESCO, the United Nations' cultural agency, said detailed studies would need to be done before starting major restorations.
Youmna Tabet, program specialist at the Arab states unit of UNESCO's World Heritage Center, said restoration work often involves difficult choices, particularly if there isn't enough original material for rebuilding.
“Is it worth it to rebuild it with very little authenticity or should we rather focus on having 3D documentation of how it was?” she said.
Missions to the site were held up at first by security issues, including land mines that had to be cleared. ISIS cells still occasionally carry out attacks in the area.
Money is also a problem.
"There is a big lack of funding so far, for all the sites in Syria,” The Associated Press quoted Tabet as saying, noting that international donors have been wary of breaching sanctions on Syria, which have been imposed by the United States, the European Union and others.
US sanctions exempt activities related to preservation and protection of cultural heritage sites, but sanctions-related obstacles remain, such as a ban on exporting US-made items to Syria.
Russia, an ally of Syrian President Bashar Assad's government, has begun restoring Palmyra's triumphal arch, the largest-scale project underway to date at the site.
“We have some funding from some friends in some places, but it is not sufficient in relation to the disaster that occurred,” said Mohammad Nazir Awad, director general of Syria's department of Antiquities and Museums.
It doesn't have to be this way, said Maamoun Abdulkarim, who headed the antiquities department at the time of the ISIS incursion. Abdulkarim pointed to the international push to recover damaged heritage sites in the city of Mosul in neighboring Iraq, also controlled by the militants for some time, as an example of a successful restoration.
“We need to make some separation between political affairs and cultural heritage affairs,” said Abdulkarim, now a professor at the University of Sharjah. He warned that damaged structures are in danger of deteriorating further or collapsing as the rehabilitation work is delayed.
The deadly Feb. 6 earthquake caused further destruction at some sites already damaged by the war. This includes the old city of Aleppo, which is under the control of the government, and the Byzantine-era church of Saint Simeon in the Aleppo countryside, in an area controlled by Turkish-backed opposition forces.
About one-fifth of the church was damaged in the earthquake, including the basilica arch, said Hassan al-Ismail, a researcher with Syrians for Heritage a non-governmental organization. He said the earthquake compounded earlier damage caused by bombings and vandalism.
The group tried to stabilize the structure with wooden and metal supports and to preserve the stones that fell from it for later use in restoration.
Ayman al-Nabo, head of antiquities in the opposition-held city of Idlib, appealed for international assistance in stabilizing and restoring sites damaged by the earthquake.
Antiquities should be seen as “neutral to the political reality,” he said. “This is global human heritage, which belongs to the whole world, not just the Syrians."



Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
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Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."


Saudi Arabia Holds Cultural Event in Moscow to Mark Centenary of Ties with Russia

The event marked 100 years of Saudi-Russian bilateral relations. SPA
The event marked 100 years of Saudi-Russian bilateral relations. SPA
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Saudi Arabia Holds Cultural Event in Moscow to Mark Centenary of Ties with Russia

The event marked 100 years of Saudi-Russian bilateral relations. SPA
The event marked 100 years of Saudi-Russian bilateral relations. SPA

The Saudi Ministry of Education, in cooperation with the Kingdom’s embassy in Russia, organized an academic and cultural event titled “A Century of Friendship and Cultural and Scientific Exchange between the Kingdom of Saudi Arabia and the Russian Federation” at the headquarters of the Peoples' Friendship University of Russia in Moscow.

The event marked 100 years of bilateral relations since 1926 and aimed to strengthen cultural and educational exchange, which has grown over the past decades.

The opening ceremony was attended by Saudi Ambassador to Russia Sami Al-Sadhan, Deputy Minister for International Cooperation Dr. Latifa Al-Faryan, and Rector of the Peoples' Friendship University of Russia Dr. Oleg Yastrebov, along with several academic and diplomatic officials from both sides, and broad participation from Saudi scholarship students and international students.

During the ceremony, Al-Faryan said that the ministry is continuing its plans to expand high-quality international partnerships, strengthen cooperation in higher education, scientific research, and innovation, and support academic exchange programs.

The scientific and cultural event in Moscow featured a series of academic sessions with leading scholars from Saudi and Russian universities, alongside the honoring of several individuals and institutions that contributed to advancing joint scientific and cultural cooperation.

Holding the event in Moscow reflects the Saudi Ministry of Education’s direction to consolidate academic partnerships between Saudi Arabia and Russia and to strengthen educational cooperation as a pillar of bilateral relations, supporting sustained knowledge exchange and the development of educational and research opportunities between the two countries.


Diving Robot Explores Mystery of France's Deepest Shipwreck

Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration,  during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration, during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
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Diving Robot Explores Mystery of France's Deepest Shipwreck

Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration,  during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration, during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)

Deep below the surface of the Mediterranean off the French coast, the pincer of a remotely guided underwater robot delicately closes around a centuries-old jug lying near a 16th-century shipwreck.

"You have to be extremely precise so as not to damage the site, so as not to stir up sediment," says navy officer Sebastien, who cannot give his second name for security reasons.

A two-hour journey from the French Riviera, Sebastien is overseeing the first of several archaeological missions on the deepest shipwreck in French territorial waters.

A routine army survey of the seabed uncovered the 16th-century merchant ship by chance last year in waters off the coast of Ramatuelle, close to Saint-Tropez.

Archaeologists believe the ship was sailing from northern Italy loaded with ceramics and metal bars before it sank.

Now the French navy and the culture ministry's underwater archaeology department are back to inspect the surviving artifacts lost more than 2,500 meters (1.5 miles) below sea level.

- Cannon, piles of jugs -

The navy is keeping secret the location of the wreckage site, which they have dubbed "Camarat 4" -- even if most people would unlikely have the means to reach a site so deep.

The sun has barely risen when the mission's navy tugboat arrives on site, carrying an underwater robot and two large containers acting as makeshift offices for marine archaeologists.

Its crew lower the robot -- which is equipped with cameras as well as pincers -- into the water.

A navy officer guides the robot down, linked to the ship through a long cable, as experts monitor its slow descent on screens.

An hour later, the device -- which is designed to plunge as deep as 4,000 meters -- is gliding over piles of round pitchers on the sea floor.

Slowly, through its cameras, it reveals the wreck to the team sitting on deck, AFP reported.

It captures footage of a cannon, as well as hundreds of pitchers and plates, decorated with floral motifs, crosses and fish.

The robot shoots eight pictures per second for three hours, grabbing more than 86,000 images that will then be used to create a 3D model of the site.

Archaeologist Franca Cibecchini is delighted the water is so clear.

"The visibility is excellent. You almost can't tell it's so deep," she says.

"It is most likely a merchant ship carrying glazed pottery from Liguria," a region in the northwest of Italy, Cibecchini adds.

She says it could have been loaded on to the ship in the ports of Genoa or nearby Savona.

- 'Valuable information' -

Marine Sadania, the lead archaeologist on the underwater dig, says findings will be key to understanding trade routes at the time the ship sank.

"We don't have very detailed texts about merchant ships in the 16th century, so this is a valuable source of information on maritime history," she says.

The experts hold their breath as the robot lowers a pitcher into a case as gently as possible, so as not to break it.

A third of all ceramics extracted from sea digs end up breaking, Sadania says.

In total, the team hauls up several jugs and plates.

Back on land, in a laboratory in the southern port city of Marseille, Sadania runs water over one of the jugs.

Dark blue lines run across its rounded side, creating rectangles, some of which are colored in with turquoise blue or decorated with saffron-yellow symbols.

"It's one of the deepest objects ever recovered from a wreck in France," she says.