Archaeological Town from Bronze Age Discovered at Saudi Arabia’s Khaybar Oasis

The discovery is proof of the Kingdom's commitment to safeguarding its cultural and historical heritage, as well as its desire to exchange knowledge and experience with the international community. (SPA)
The discovery is proof of the Kingdom's commitment to safeguarding its cultural and historical heritage, as well as its desire to exchange knowledge and experience with the international community. (SPA)
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Archaeological Town from Bronze Age Discovered at Saudi Arabia’s Khaybar Oasis

The discovery is proof of the Kingdom's commitment to safeguarding its cultural and historical heritage, as well as its desire to exchange knowledge and experience with the international community. (SPA)
The discovery is proof of the Kingdom's commitment to safeguarding its cultural and historical heritage, as well as its desire to exchange knowledge and experience with the international community. (SPA)

The Royal Commission for AlUla (RCU) announced that archaeologists discovered a Bronze Age town in the Khaybar Oasis, in northwestern Saudi Arabia.

The discovery was published in the scientific journal PLOS ONE and announced on Saturday at a press conference held by the RCU in Riyadh. The conference highlighted the significance of the discovery to the Kingdom's standing in the field of antiquities, as well as on its cultural richness.

The discovery is proof of the Kingdom's commitment to safeguarding its cultural and historical heritage, as well as its desire to exchange knowledge and experience with the international community, and promote awareness about the common human heritage, consistent with the goals of the Kingdom's Vision 2030.

It also underscores the need to strengthen international partnerships, to present such a rich heritage to future generations globally.

The transition from a mobile pastoral life to a settled urban life in the region during the second half of the third millennium BC is illustrated by the discovery, which was made in the framework of the Khaybar Longue Durée Archaeological Project, led by Dr. Guillaume Charloux, researcher at the French National Center for Scientific Research, and Dr. Munirah AlMushawh, archaeological survey manager at RCU.

This change in paradigm challenges the previous notion that pastoral and nomadic society was the dominant socio-economic model in northwestern Arabia during the early and middle Bronze Age.

The research points out that regions such as Khaybar were significant urban centers that permanently maintained the stability of their communities, particularly with the introduction of agriculture. They also served as centers of trade and commerce for nomadic communities. The emergence of this urban design significantly influences the socio-economic paradigm of the region.

In the Bronze Age, the northwestern Arabian Peninsula was home to a significant number of nomadic pastoral communities, but the region also had a number of walled oases that were connected to one another and were located around fortified cities like Tayma.

The discovered town, called Al-Natah, provides evidence of a clear division, within forts and cities, of residential and funerary areas. The site encompassed an area of 2.6 hectares, was inhabited by 500 individuals between 2400 and 2000 BC until 1500 and 1300 BC. The Khaybar Oasis was surrounded by a 15-km-long stone wall to ensure its protection.

The study was conducted by the Royal Commission for AlUla in collaboration with the French Agency for the Development of AlUla (AFALULA) and the French National Centre for Scientific Research (CNRS).

The commission's Department of Archaeology, Collections and Conservation manages one of the largest archaeological research programs globally as part of its mission to elevate AlUla's status as a premier cultural heritage destination.

The Khaybar Oasis, located on the edge of the Harrat Khaybar volcanic field, formed at the meeting point of three valleys in a highly arid area. The remains of the town were discovered on the northern edge of the oasis, buried beneath layers of basalt rock for thousands of years.

The research team identified the archaeological site in October 2020, but distinguishing the structures and layout of the town proved challenging. In February 2024, the team employed field surveys, in-depth research, and high-resolution imaging to uncover more details of what lay beneath. Future excavations are expected to provide an even clearer understanding of the site.

The study offers an initial view of life in Al-Natah, where residents lived in traditional multi-story dwellings, typically using the ground floor for storage and the upper floors for living quarters. Narrow pathways ran between the dwellings, leading to the town center. Residents buried their dead in graves and tiered towers, signifying high social status by including valuable items like pottery or metal tools such as axes and daggers.

Town life was marked by skilled craftsmanship, with residents making pottery, trading it, working with metal, and adorning their clothing with beads. Their diet, based mainly on mutton, lamb, and grains, reflected a cooperative lifestyle, with the community reinforcing walls using dry stones and clay.

Besides Charloux and AlMushawh, historian Saifi Alshilali, a native of Khaybar, contributed to the discovery. The new findings add to a series of studies begun in 2018, which explore the history of ancient AlUla and Khaybar, including massive stone structures known as mustatils, stone traps, extensive funerary roads linking settlements and pastures, and stone circles used as dwellings.

Collectively, these studies reveal that Bronze Age societies in northwestern Arabian Peninsula were more sophisticated and interconnected with the wider region than previously believed.

RCU is currently supervising 10 archaeological projects, to which 100 archaeologists and specialists working in AlUla and Khaybar contribute.

This new discovery bolsters AlUla and Saudi Arabia's role as a global hub for archaeological research and cultural dialogue. It is announced immediately after AlUla World Archaeology Symposium 2024, which brought together archaeologists and cultural heritage experts from all over the world.

Themed "Moving Forward: Past, Present and Future in the Archaeology and Heritage of Mobile Communities", the symposium underscored AlUla's growing role in the global archaeological community.



Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
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Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.


Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
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Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.


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."