Cradle of Civilization at Risk of Erosion in Iraq Due to Climate Change

Workers clean salt deposits from a wall decorated with animal reliefs at Babylon, a UNESCO World Heritage site, in Babylon, Iraq, October 22, 2025. REUTERS/Ahmed Saad
Workers clean salt deposits from a wall decorated with animal reliefs at Babylon, a UNESCO World Heritage site, in Babylon, Iraq, October 22, 2025. REUTERS/Ahmed Saad
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Cradle of Civilization at Risk of Erosion in Iraq Due to Climate Change

Workers clean salt deposits from a wall decorated with animal reliefs at Babylon, a UNESCO World Heritage site, in Babylon, Iraq, October 22, 2025. REUTERS/Ahmed Saad
Workers clean salt deposits from a wall decorated with animal reliefs at Babylon, a UNESCO World Heritage site, in Babylon, Iraq, October 22, 2025. REUTERS/Ahmed Saad

Iraqi officials are sounding the alarm to save monuments of the cradle of civilization, with thousands of years of history at risk of disappearing as Iraq's ancient southern cities face erosion because of climate change.

Harsh, dry weather is increasing salinity in the soil and damaging the historical monuments in the ruins of cities such as Ur, the birthplace of the Biblical patriarch Abraham, and Babylon, once-magnificent capital of empires.

Sand dunes are causing the deterioration of the northern side of the majestic Ziggurat of Ur, a massive stepped pyramid temple that was dedicated more than 4,000 years ago to the moon god, Nanna.

"The combination of wind and sand dunes leads to the erosion of the northern sections of the structure," said Abdullah Nasrallah, an archaeologist at the antiquities department in Dhi Qar province - where the city of Ur is located.

SALT EATS AWAY AT ANCIENT MUD BRICKS

The shrine, a UNESCO World Heritage Site, remains one of the best-preserved examples of ancient Mesopotamian architecture that offers an insight into religious practices and sacred rituals of the Sumerian empire, where one of the world's first civilizations flourished.

"While the third layer (of the Ziggurat) had already deteriorated due to weathering and climate change, erosion has now begun to affect the second layer," Nasrallah said.

Nearby, salt deposits have been eating away the mud bricks of the Royal Cemetery of Ur, discovered by British archaeologist Sir Leonard Woolley in the 1920s and now at risk of collapsing.

"These salt deposits appeared due to global warming and climate change - which led to the destruction of important parts of the cemetery," said Dr. Kazem Hassoun, an inspector at the antiquities department in Dhi Qar.

"Eventually, the deposits will cause the complete collapse of the mud bricks that make up this cemetery," Hassoun said.

Iraq is battling rising temperatures and heavy droughts that have increased the salinity levels in its south, where the mighty Tigris and Euphrates rivers converge as they approach the Gulf.

Further up the Euphrates, the archaeological sites of ancient Babylon are in danger as well. They urgently require attention and restoration, but the lack of funding remains a challenge, Dr. Montaser al-Hasnawi, the director general of Iraq's Ministry of Culture and Tourism, told Reuters.

The country has already endured decades of warfare that threatened its historical structures - from war with Iran in the 1980s, to the Gulf War of the early 1990s, the 2003 U.S.-led invasion followed by insurgent violence and the rise and fall of the Islamic State group.

Its latest challenge is climate change altering the country's whole ecosystem, not only putting its agricultural future at risk, but also endangering its historical footprint.

In Babylon, high salinity levels are endangering the clay-based materials of ancient structures, on which elaborate Sumerian drawings are still visible.

The materials were sourced directly from the land which had lower salinity at the time. That could have made them less vulnerable to climate change, but improper restoration practices in previous decades made the old structures more susceptible, Hasnawi said. Rising salinity makes the need to redo the flawed restoration more pressing.

"The salinity problem is increasing in both surface and groundwater. This will lead to the destruction of many cities that are beneath the earth," Hasnawi said.



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."