Lebanon Archaeological Finds Showcase Rich Heritage Despite War Woes

An archaeologist displays an artifact found from an archaeological site in the northern coastal Lebanese town of Batroun on August 14, 2026. (AFP)
An archaeologist displays an artifact found from an archaeological site in the northern coastal Lebanese town of Batroun on August 14, 2026. (AFP)
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Lebanon Archaeological Finds Showcase Rich Heritage Despite War Woes

An archaeologist displays an artifact found from an archaeological site in the northern coastal Lebanese town of Batroun on August 14, 2026. (AFP)
An archaeologist displays an artifact found from an archaeological site in the northern coastal Lebanese town of Batroun on August 14, 2026. (AFP)

From a Roman temple to ancient olive presses, Lebanon keeps turning up archaeological treasures even as the latest Israel-Hezbollah war has caused excavations to grind to a halt at precious heritage sites in the country's south.

Important discoveries in recent years include the remains of columns and bases from a Roman temple in Maasser al-Shouf in the mountains southeast of Beirut, nestled next to a millennia-old cedar forest.

"A whole system was built around this temple," which dates to between the first century BC and the second century AD, said Myriam Ziade, regional antiquities official with the culture ministry.

She said the site was turned into a Crusader fortress between the 12th and 13th centuries.

The local municipality reported finding huge stone blocks on the hill in 2017, and excavations began five years later with a team from an Italian university, with the dig revealing the ruins of the large temple, she told AFP.

Archaeologists are to soon resume work at the site, located "on a network of roads leading from the Mediterranean coast to the Bekaa valley" in the country's east, she said.

The eastern city of Baalbek has one of Lebanon's best-known landmarks: a stunningly well-preserved Roman temple complex set against the mountainous border with Syria.

- Protecting heritage -

Lebanon is brimming with archaeological finds showcasing its rich history over thousands of years, from the Phoenician, Persian, Roman and Byzantine periods, the Crusades, and Arab and Islamic sultanates and empires.

After Iran-backed Hezbollah drew Lebanon into the Middle East war in March, triggering heavy Israeli airstrikes and a ground invasion in the south, the United Nations cultural agency UNESCO last month added several Lebanese sites to its World Heritage in Danger list.

Members from the team of archaeologists work at an archaeological site in the northern coastal Lebanese town of Batroun on August 14, 2026. (AFP)

They include the southern coastal city of Tyre, home to a Roman triumphal arch and a second-century hippodrome.

The list also includes five castles in south Lebanon's Jabal Amel area, among them the Crusader-era Beaufort fortress, which Israeli forces have been occupying since May.

Sarkis Khoury, head of antiquities at Lebanon's culture ministry, told AFP the war had forced archaeologists to switch tack.

We are "now focused on protecting endangered heritage in southern Lebanon and in the Bekaa, particularly in the Baalbek region", he said.

"Excavations in dangerous areas have come to a halt, and archaeological missions are going through a period of minimal activity throughout Lebanon, especially in the southern regions."

He said foreign archaeological teams had stopped going to Lebanon.

- Ancient port city -

Still, some work continues.

In Batroun, a northern coastal city home to the ruins of a small Roman amphitheater, an archaeologist was surrounded by tools and papers, documenting the latest finds as waves lapped rocks nearby.

Samar Karam, in charge of archaeological sites in north Lebanon, said a Roman-era olive press was found on private property along with pottery weights and items for textile production.

On another nearby property overlooking an ancient sea wall, excavations revealed two stone quarries "one Roman and the other Phoenician", she said.

The ruins of rooms from Phoenician, Persian and Roman periods have been uncovered, their pink or grey flooring helping to distinguish them.

Archaeologists have found pieces of Greek pottery, as well as rooms and large jars for storing goods from the harbor, discoveries that Karam said showed the ancient city's "lively commercial activity".

Tombs in the city date to a variety of historical periods, she added.

A view of the Phoenician wall is pictured in the northern coastal Lebanese town of Batroun on August 14, 2026. (AFP)

- Hippodrome search -

In Beirut, whose history spans over 5,000 years, Laure Salloum oversees archaeological excavations in the chaotic modern city.

She said current digs were "really construction projects" where workers had stumbled across historical treasures.

A recent discovery uncovered the remains of a Roman-era olive press, while work was ongoing in central Beirut in search of "the remaining part" of a Roman hippodrome, Salloum said.

The hippodrome was initially unearthed years ago when excavations began for a commercial and residential complex.

Other accidental discoveries in the city have included a 2,000-year-old Roman bathhouse.

Such finds often cause development plans to grind to a halt.

"We're constantly making new discoveries," Khoury said.

"Lebanon is at the crossroads of a region that has been full of crises for thousands of years."



Sakaka Cultural House, Cinema Association Screen Five Short Films

Photo by SPA
Photo by SPA
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Sakaka Cultural House, Cinema Association Screen Five Short Films

Photo by SPA
Photo by SPA

The Sakaka Cultural House, in cooperation with the Cinema Association, hosted a cultural event featuring the screening of five independent short films to promote cinema culture and showcase local productions, SPA reported.

Marking the first collaboration between the two entities, the event aimed to enrich the region's cinematic landscape, provide an interactive platform connecting audiences with filmmakers, and foster critical discussion around the themes presented in the films.


Thieves Buy Tickets Before Plundering Necklace from Vienna Museum

Austrian media said the Van Cleef and Arpels necklace, with 673 precious stones, was worth several million dollars. (Getty Images)
Austrian media said the Van Cleef and Arpels necklace, with 673 precious stones, was worth several million dollars. (Getty Images)
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Thieves Buy Tickets Before Plundering Necklace from Vienna Museum

Austrian media said the Van Cleef and Arpels necklace, with 673 precious stones, was worth several million dollars. (Getty Images)
Austrian media said the Van Cleef and Arpels necklace, with 673 precious stones, was worth several million dollars. (Getty Images)

Two men bought tickets to enter Vienna's Museum of Applied Arts (MAK) before smashing a display case, grabbing a 200-carat platinum and diamond necklace and walking away, police said Friday.

Austrian media said the Van Cleef and Arpels necklace, with 673 precious stones, was worth several million dollars. It is the latest in a series of high-profile heists to hit European museums.

Police said the two men did not wear masks, paid to enter the museum and were clearly seen on surveillance cameras.

They "smashed a glass display case" with a hammer before "fleeing with the jewelry in an unknown direction," said a police statement.

The MAK museum confirmed the theft but said it would not comment while the investigation went ahead.

The necklace had been part of an exhibition devoted to the French designers Van Cleef and Arpels. Some 500 pieces had been on display since June. The exhibition was to end on September 27 but has been closed following the theft.

It was designed for the former Egyptian royal family, and was worn by Queen Nazli in 1939 for the marriage of her daughter Faiza to the future Shah of Iran, Mohammad Reza Pahlavi.

On its website, Van Cleef and Arpels called the stolen piece a "triumph of white jewelry". The French company did not immediately comment on the theft.

European museums have been hit by a series of spectacular thefts since thieves in October broke into the Louvre museum in Paris in broad daylight, escaping in less than eight minutes with jewelry worth $102 million.

Thieves on Thursday raided the Treasure of Villena -- one of the greatest Bronze Age gold collections -- at a museum in the Spanish city of Villena, taking most of the 50-plus mainly gold bracelets, bowls, bottles and other items on display.

Four works "of extraordinary value" by Renaissance artist Antonello da Messina were stolen from a museum in Sicily, Italy's culture ministry said Sunday.

Two days earlier, Italian police said they had recovered paintings by Renoir, Cezanne and Matisse worth over $10.4 million which were stolen from the Magnani-Rocca Foundation museum near Parma.


Yayoi Kusama, Who Splashed Polka Dots Across the Art World, Dies at 97 in Tokyo

 Japanese avant-garde artist Yayoi Kusama, wearing a bright red wig and a Louis Vuitton polka dot scarf, speaks during an interview at her studio in Tokyo, on Aug. 1, 2012. (AP)
Japanese avant-garde artist Yayoi Kusama, wearing a bright red wig and a Louis Vuitton polka dot scarf, speaks during an interview at her studio in Tokyo, on Aug. 1, 2012. (AP)
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Yayoi Kusama, Who Splashed Polka Dots Across the Art World, Dies at 97 in Tokyo

 Japanese avant-garde artist Yayoi Kusama, wearing a bright red wig and a Louis Vuitton polka dot scarf, speaks during an interview at her studio in Tokyo, on Aug. 1, 2012. (AP)
Japanese avant-garde artist Yayoi Kusama, wearing a bright red wig and a Louis Vuitton polka dot scarf, speaks during an interview at her studio in Tokyo, on Aug. 1, 2012. (AP)

Japanese artist Yayoi Kusama, who splashed her signature polka dots on paintings, sculptures and museum installations around the world, has died, her studio said Thursday. She was 97.

Kusama died Aug. 14 at a hospital in Tokyo, Yayoi Kusama Studio said, without specifying the cause of death.

“She continued to paint until her final days, never setting aside her brush, and continued exploration of forever love and eternal soul,” the studio's statement said. “We will carry forward Kusama’s wishes and, through art, continue to bring hope and strength for the future to people around the world.”

Kusama, one of Japan’s most respected contemporary artists, was widely exhibited around the world, including the Museum of Modern Art, the Whitney Museum of American Art in New York and the Museum Ludwig in Germany.

Repetitive motifs were her trademark, in various shapes, resembling netting, swirls or worms, but most often dots, dancing proudly on her canvases, or as sparkling balls or dots of light in her installations, in all their vibrant psychedelic glory.

“Polka dots are fabulous,” Kusama said in a 2012 interview with The Associated Press, appearing in her signature orange bob wig and polka dot attire.

“I want to create a thousand paintings, maybe two thousand paintings, as many as I can draw,” she said in her childlike but matter-of-fact tone. “I will keep painting until I die.”

Kusama insisted she drew the way she saw the world: covered with spots, part of the hallucinations she said she had from childhood. She was in and out of psychiatric institution for decades, although her sickness did not hold her back as she was one of the first Japanese women to go to New York to pursue her art, in 1957.

Although soft-spoken and shy in her mannerisms, Kusama was always unabashedly bold in the assertion of her dotty vision, not only in sticking to the style for decades but also in making it accessible to the masses.

In her later years, as the times caught up with her art, she enjoyed fame. She signed on with fashion brands like Louis Vuitton as well as other licensed products like teacups, T-shirts and key chains with her illustrations, including replicas of her likeness that were used in show windows and other marketing.

In 2008, Christie’s auctioned her work for $5.8 million. In 2016, she won the most prestigious award Japan gives its artists, the Order of Culture.

Upon receiving the award, she told reporters she was more determined than ever to pursue her art, stressing that the sincerity and devotion she had demonstrated in her personal life were crucial parts of her artistic legacy.

“I feel there is little left in my life, but I am now still fighting to the death for my art,” she said. “I am giving all I have so that many people will continue to be interested in my art, even after I am dead.”

Kusama was called pop, avant-garde, feminist, just to name some of the categories thrown at her, most of which Kusama brushed off as not quite representative of her art.

She was born in a middle-class family but felt misunderstood, as her parents wanted her to simply get married. They wanted to buy her kimono, not paints and brushes. She knew she had to get away. She chose America.

When she arrived in New York, the fad was “action painting,” characterized by dribbles, swooshes and smears, not dots. She suffered years of poverty and obscurity. But she kept painting dots.

She put circles of paper on people’s bodies, and once a horse, in “happening” anti-war performances in the late 1960s, which got some people arrested for obscenity but helped get media attention for her art. While in New York, she befriended artists like Andy Warhol, Georgia O’Keeffe and Joseph Cornell, who praised her innovative style.

Over the years, Kusama made quirky but stunningly celebratory works like “Macaroni Girl,” a female figure plastered with macaroni, which expresses the fear of food and “The Visionary Flowers,” giant sculptures of twisting tulips.

Kusama, who has also made films and published several novels, said she wasn’t sure where she got her ideas. She just picked up her brush and started drawing. The process was so mysterious sometimes she surprised herself, she told AP.

“I think, ‘Oh, I drew that? I was thinking that,’” she said.

But she appeared happy to have her art be the focus of media attention and praise, reading one of her poems to a reporter or tackling her artworks with gusto for photos.

But she was also a charmingly disarming mix of vulnerability and defiance, at one moment declaring herself “an artistic revolutionary,” and then the next, mumbling: “I am so afraid, all the time, of everything.”

The news of her death was met with an outpouring of sadness from around the world, including museums that had exhibited her works.

Fans and artists alike praised her courageous persistence in vowing to continue creating art that, she said, will be recognized thousands of years after her death.

Messages recognizing her death were sent from people throughout Japan including Tokyo Gov. Yuriko Koike and Yoshitomo Nara, a younger Japanese artist who has exhibited widely abroad.

“RIP Kusama-sensei,” Nara wrote on his X account, respectfully calling her a teacher in Japanese.