Experts Push to Restore Syria’s War-torn Heritage Sites

Children play, with one raising the V sign, at the ancient city of Palmyra, Syria, Saturday, Jan. 25, 2025. (AP Photo/Khalil Hamra)
Children play, with one raising the V sign, at the ancient city of Palmyra, Syria, Saturday, Jan. 25, 2025. (AP Photo/Khalil Hamra)
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Experts Push to Restore Syria’s War-torn Heritage Sites

Children play, with one raising the V sign, at the ancient city of Palmyra, Syria, Saturday, Jan. 25, 2025. (AP Photo/Khalil Hamra)
Children play, with one raising the V sign, at the ancient city of Palmyra, Syria, Saturday, Jan. 25, 2025. (AP Photo/Khalil Hamra)

Experts are returning to Syria’s war-ravaged heritage sites, hoping to lay the groundwork for restoring them and reviving tourism, which they say could provide a much-needed boost to the country’s decimated economy after nearly 14 years of war.
Once-thriving landmarks like the ancient city of Palmyra and the medieval Crusader castle of Crac des Chevaliers remain scarred by years of conflict, but local tourists are returning to the sites, and conservationists hope their historical and cultural significance will eventually draw international visitors back, The Associated Press reported.
Palmyra was once a key hub to the ancient Silk Road network linking the Roman and Parthian empires to Asia. Located in the Syrian desert, it is renowned for its 2,000-year-old Roman-era ruins. It is now marked by shattered columns and damaged temples.
Before the Syrian uprising that began in 2011 and soon escalated into a brutal civil war, Palmyra was Syria’s main tourist destination, attracting around 150,000 visitors monthly, Ayman Nabu, a researcher and expert in ruins told The Associated Press. Dubbed the “Bride of the Desert,” he said “Palmyra revitalized the steppe and used to be a global tourist magnet.”
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.
In more recent times, the area had darker associations. It was home to Tadmur prison, where thousands of opponents of the Assad family’s rule in Syria were reportedly tortured. ISIS demolished the prison after capturing the town.
ISIS 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.
Between 2015 and 2017, control of Palmyra shifted between ISIS and the Syrian army before Assad’s forces, backed by Russia and Iran-aligned militias, recaptured it. They established military bases in the neighboring town, which was left heavily damaged and largely abandoned. Fakhr al-Din al-Ma’ani Castle, a 16th-century fortress overlooking the city, was repurposed by Russian troops as a military barracks.
Nabu, the researcher, visited Palmyra five days after the fall of the former government.
“We saw extensive excavation within the tombs,” he said, noting significant destruction by both ISIS and Assad government forces. “The (Palmyra) museum was in a deplorable state, with missing documents and artifacts — we have no idea what happened to them.”
At the theater, the Tetrapylon, and other ruins along the main colonnaded street, Nabu said they documented many illegal drillings revealing sculptures, as well as theft and smuggling of funerary or tomb-related sculptures in 2015 when ISIS had control of the site. While seven of the stolen sculptures were retrieved and put in a museum in Idlib, 22 others were smuggled out, Nabu added. Many pieces likely ended up in underground markets or private collections.
Inside the city’s underground tombs, Islamic verses are scrawled on the walls, while plaster covers wall paintings, some depicting mythological themes that highlight Palmyra’s deep cultural ties to the Greco-Roman world.
“Syria has a treasure of ruins,” Nabu said, emphasizing the need for preservation efforts. He said Syria’s interim administration, led by Hayat Tahrir al-Sham, has decided to wait until after the transition phase to develop a strategic plan to restore heritage sites.
Matthieu Lamarre of the UN’s scientific, educational and cultural organization UNESCO, said the agency had since 2015, “remotely supported the protection of Syrian cultural heritage" through satellite analyses, reports and documentation and recommendations to local experts, but it did not conduct any work on site.
He added that UNESCO has explored possibilities for technical assistance if security conditions improve. In 2019, international experts convened by UNESCO said detailed studies would need to be done before starting major restorations.
Other historical sites bear the scars of war.
Perched on a hill near the town of Al-Husn, with sweeping views, Crac des Chevaliers, a medieval castle originally built by the Romans and later expanded by the Crusaders, was heavily bombarded during the Syrian civil war.
On a recent day, armed fighters in military uniform roamed the castle grounds alongside local tourists, taking selfies among the ruins.
Hazem Hanna, an architect and head of the antiquities department of Crac des Chevaliers, pointed to the collapsed columns and an entrance staircase obliterated by airstrikes. Damage from government airstrikes in 2014 destroyed much of the central courtyard and the arabesque-adorned columns, Hanna said.
“Relying on the cultural background of Syria’s historical sites and their archaeological and historical significance to enthusiasts worldwide, I hope and expect that when the opportunity arises for tourists to visit Syria, we will witness a significant tourism revival," he said.
Some sections of Crac des Chevaliers were renovated after airstrikes and the deadly 7.8 magnitude earthquake in 2023 that struck a wide area of neighboring Türkiye and also Syria, Hanna said. However, much of the castle remains in ruins.
Both Nabu and Hanna believe restoration will take time. “We need trained technical teams to evaluate the current condition of the ruin sites,” Nabu said.
More than 700 abandoned Byzantine settlements called Dead Cities, stretch across rocky hills and plains, their weathered limestone ruins featuring remnants of stone houses, basilicas, tombs and colonnaded streets. Despite partial collapse, arched doorways, intricate carvings and towering church facades endure, surrounded by olive trees that root deep into history.
Dating back to the first century, these villages once thrived on trade and agriculture. Today, some sites now shelter displaced Syrians, with stone houses repurposed as homes and barns, their walls blackened by fire and smoke. Crumbling structures suffer from poor maintenance and careless repurposing.
Looters have ravaged the ancient sites, Nabu said, leaving gaping holes in search of artifacts. Local visitors carve names and messages into centuries-old walls. Sheep enclosures dot the ruins, plastic debris blending with ancient stone.
Moustafa Al-Kaddour, a local resident, returned after eight years. Touring the ruins with family members he brought from Quneitra, he reflected on childhood memories.
“This is where we went to school,” he said, pointing in the distance. “In the middle of class, we used to leave and come here to see the ruins.”
“My feelings are indescribable,” al-Kaddour, who also saw his father for the first time in years, told the AP. “My brain still cannot comprehend that after eight years, by God’s will, we made it back home.”
He said the Assad forces had established a military position in the village, subjecting the ruins to heavy shelling and gunfire. The area was then controlled by opposition fighters, who made the area off-limits to most Syrians and international tourists, unlike Palmyra, which still saw some visitors during the war.
The Dead Cities were added to UNESCO’s World Heritage List in 2011 as an open-air museum, said Nabu. Idlib province alone hosts “over 1,000 heritage sites spanning different time periods — about a third of Syria’s total ruins,” he added.
Beyond the bombings and air raids, looting and unauthorized digging have caused significant damage, Nabu said, adding that new construction near the ruins lacks planning and threatens preservation.
“Tens of thousands” of looted artifacts remain undocumented, he said. For those documented, authorities are compiling case files for international circulation in coordination with the Directorate of Antiquities and Museums to locate them and hopefully retrieve them.



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.