Antiquities Smuggling Surges After Fall of Syria’s Assad

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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Antiquities Smuggling Surges After Fall of Syria’s Assad

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)

The collapse of a once-feared security apparatus, coupled with widespread poverty, has triggered a gold rush in Syria where experts say social media has emerged as a key hub for the sale of stolen antiquities.

Located in the heart of the fertile crescent where settled civilization first emerged, Syria is awash with mosaics, statues and artifacts that fetch top dollar from collectors in the west and the site of looting since 2012, The Guardian reported on Sunday.

According to the Antiquities Trafficking and Heritage Anthropology Research Project (ATHAR), which investigates antiquities black markets online, nearly a third of the 1,500 Syrian cases it has documented since 2012 have occurred since December alone.

It said that much of the looting is being carried out by individuals desperate for cash, hoping to find ancient coins or antiquities they can sell quickly.

In Damascus, shops selling metal detectors have proliferated while ads on social media show users discovering hidden treasure with models such as the XTREM Hunter, which retails for just over $2,000.

They come by night. Armed with pickaxes, shovels and jackhammers, looters disturb the dead. Under the cover of darkness, men exhume graves buried more than 2,000 years ago in Syria’s ancient city of Palmyra, searching for treasure.

“These different layers are important, when people mix them together, it will be impossible for archaeologists to understand what they’re looking at,” said Mohammed al-Fares, a resident of Palmyra and an activist with the NGO Heritage for Peace, as he stood in the remains of an ancient crypt exhumed by looters.

By day, the destruction caused by grave robbers is apparent. Three-meter-deep holes mar the landscape of Palmyra, where ancient burial crypts lure people with the promise of funerary gold and ancient artifacts that fetch thousands of dollars.

Al-Fares picked up a shattered piece of pottery that tomb raiders had left behind and placed it next to the rusted tailfin of a mortar bomb.

Palmyra, which dates back to the third century BC, suffered heavy damage during the period of ISIS control, when militants blew up parts of the ancient site in 2015, deeming its ruins apostate idols.

Palmyra is not the only ancient site under threat. Experts and officials say the looting and trafficking of Syria’s antiquities has surged to unprecedented levels since the opposition overthrew former Syrian president Bashar al-Assad in December, putting the country’s heritage further at risk.

“When the [Assad] regime fell, we saw a huge spike on the ground. It was a complete breakdown of any constraints that might have existed in the regime periods that controlled looting,” said Amr al-Azm, a professor of Middle East history and anthropology at Shawnee State University in Ohio and co-director of the ATHAR project.

For her part, Katie Paul, a co-director of the ATHAR project and the director of Tech Transparency Project, said: “The last three to four months has been the biggest flood of antiquities trafficking I have ever seen, from any country, ever.”

“This is the fastest we’ve ever seen artifacts being sold. Before for example, a mosaic being sold out of Raqqa took a year. Now, mosaics are being sold in two weeks,” said Paul.

Paul, along with Azm, tracks the route of trafficked Middle Eastern antiquities online and has created a database of more than 26,000 screenshots, videos and pictures documenting trafficked antiquities dating back to 2012.

The report said that Syria’s new government has urged looters to stop, offering finder’s fees to those who turn in antiquities rather than sell them, and threatening offenders with up to 15 years in prison.

But preoccupied with rebuilding a shattered country and struggling to assert control, Damascus has few resources to protect its archaeological heritage.

In 2020, Facebook banned the sale of historical antiquities on its platform and said it would remove any related content. However, according to Paul, the policy is rarely enforced despite continued sales on the platform being well documented.

“Trafficking of cultural property during conflict is a crime, here you have Facebook acting as a vehicle for the crime. Facebook knows this is an issue,” said Paul.

She added that she was tracking dozens of antiquities trading groups on Facebook that have more than 100,000 members, the largest of which has approximately 900,000 members.

A representative from Meta, the parent company of Facebook, declined to respond to the Guardian’s request for a comment.

The Facebook groups are used as a gateway for traffickers, connecting low-level looters in Syria to criminal networks that smuggle the artifacts out of the country into neighboring Jordan and Türkiye.

From there, the pieces are shipped around the world to create fake bills of sale and provenance so they can be laundered into the grey market of antiquities.

After 10 to 15 years they make their way into legal auction houses, where collectors and museums, primarily located in the US and Europe, snap them up.



UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
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UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo

Britain is considering introducing entry fees for tourists visiting some of England's most renowned museums, a proposal that has drawn criticism from restitution groups and countries while disputed artefacts remain on display.

Free admission to Britain's national museums and galleries was introduced in 2001 by former Labour Prime Minister Tony Blair in a bid to make culture more accessible to all.

Last month, the UK government said it would work with the museum sector to explore the potential benefits of charging international visitors at ⁠national museums, including how ⁠this could support the arts sector. It would provide an update of the consultation before the end of the year, it said.

However, the proposal is facing backlash amid growing calls worldwide for artefacts to be sent back to their communities or countries of origin, Reuters reported.

Although some efforts have been made to confront the long-standing issue, artifacts as well as human ⁠remains taken during the colonial era are still held in various museums across Europe. Some long-standing claims for artifacts involving the British Museum include Greece's Parthenon Sculptures, known as Elgin marbles, and Nigeria's Benin Bronzes.

The British Museum has previously said that the strength of its collection lies in enabling millions of visitors to understand the world's cultures and how they are interconnected.

Ghana, which has some of its regalia and other artifacts in British institutions, said charging foreign visitors to view such objects raises issues of "fairness," particularly where restitution discussions remain ongoing, ⁠foreign minister ⁠Samuel Okudzeto Ablakwa told Reuters.

The proposal, if implemented, would be "unethica," said Eric Phillips, vice chair of the Caribbean Community's reparations commission, a bloc of 15 member states including Jamaica and Barbados.

"Why should we have to pay to see our heritage?" Phillips said.

Arley Gill, chairman of Grenada's national reparations committee, said the priority should be to return the artifacts to their "rightful owners."

Open Restitution Africa (ORA) said Africans and others already face barriers to accessing artifacts taken from their countries and held in Western museums, including visa requirements and travel costs.

"Introducing entry fees further compounds these inequalities," ORA said.

Meanwhile, the US-based non-profit Restitution Study Group said a fee exemption for such visitors would be a "meaningful gesture."

The government declined to comment on the criticism.


Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
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Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA

The Royal Commission for Riyadh City, through its “Riyadh Art” program, has unveiled 75 new artworks as part of a growing permanent collection installed across key locations in the capital.

The initiative forms part of broader efforts to expand the presence of public art in urban spaces, with additional installations planned in the coming period.

The program aims to enrich daily life in Riyadh by integrating art into the urban fabric, contributing to a dynamic cultural environment that reflects the capital's regional and international stature.

As one of the world’s largest public art initiatives, the Riyadh Art program now features 75 installations, with plans to expand the collection by adding 115 more works. The current collection includes contributions from 35 Saudi artists and 100 international artists representing 45 countries.

Among the internationally renowned artists featured are Anish Kapoor, Giuseppe Penone, and Jeff Koons, alongside prominent Saudi artists such as Zaman Jassim, Mohammed Alsaleem, and Manal AlDowayan.

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs, enabling residents and visitors to engage with them as part of their everyday environment and reinforcing the role of art in public life.

The collection comprises both commissioned and acquired works. Commissioned pieces are specifically designed to respond to their surroundings, integrating with the urban context and patterns of movement within each location.

Recent commissions were selected through an international competition that attracted 161 artists, with 72 shortlisted participants submitting 70 proposals. These contributions have helped shape a diverse and evolving collection spanning the city’s main axes and public spaces.


New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
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New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)

In a quiet space secluded from the throngs of daily visitors to Madrid's Prado art museum, a team of experts perpetuate an ancient tradition of restoring centuries-old European cultural treasures.

Creations by some of art's most illustrious names -- Goya, Velazquez, Rubens, Caravaggio, Bosch and El Greco -- are conserved in the vast, bright space at one of the world's most-visited museums.

The Prado has always put an emphasis on the conservation and restoration of art since it opened to the public in 1819.

Cutting-edge technology and modern tools to analyze and treat paintings and sculptures allow Almudena, Marta, Maria, Alvaro, Alicia, Elena, Sonia and Eva to maintain the tradition.

The team is capable of caring for the museum's most prized collections as well as works from other institutions.

In February, the Prado launched the restoration of "Pablo de Valladolid", an emblematic portrait that Spanish master Velazquez produced in the 17th century.

But the work will first undergo a deep technical analysis by new equipment, the museum said in a statement.

Scanning technology will allow the experts to identify and locate the materials used by the artist, while multispectral infrared reflectography will reveal details invisible to the naked eye.

Everything contributes to a deeper understanding of the artist's technique, the work's state of conservation and preparing its restoration.