Sunday, July 29, 2018
الصهيونيّة المسيحيّة
Friday, July 6, 2018
ʾUmayyād Mosaics in International Museums
Thus far we've followed the story of discovering, uncovering, and restoring the mosaics of the Great Mosque of Damascus. We've also seen how several segments—nine in total—of those mosaics were meticulously copied by dedicated Damascene artists under French supervision in 1928–1929 for the double purpose of documentation and international display. The color photo is of a 348 cm x 296 cm copy of a segment of the immense Barada Panel (34 m x 7.3 m) adorning the west portico. It is a property of the Louvre Museum in Paris.
The credit for uncovering and copying parts of the mosaics is largely shared between Eustache de Lorey and Marguerite van Berchem. Accurate replicas of the originals (size, color, and shade), the copies were proudly paraded across Europe and the New World. De Lorey died in 1953, five years after exhibiting the copies in the USA. They were to visit Edinburgh in 1958 before they disappeared in some storage area in the Louvre. Apart from van Berchem, who briefly studied the mosaics in the 1960s, they'd been all but forgotten until their "rediscovery" between 1999 and 2009. Second from the right in the attached black-and-white photo is the same mosaic copy in the colored image, on display at the Musée des Arts décoratifs in Paris between May and July 1931.
The importance of the ʾUmayyād mosaics cannot be overstated as far as the history of art is concerned; they may very well be considered the "missing link" in its continuity from the Hellenistic and Byzantine ages all the way to the Islamic.
____________
Wednesday, July 4, 2018
The Amateurish Restoration of the ʾUmayyād Mosaics
The sensational story of rediscovering the ʾUmayyād Mosaics has been told elsewhere. Thanks to the Louvre Museum and Ms. Loreline Simonis, we've also caught a glimpse of the polemics related to their restoration in the 1960s. To better comprehend the reasons underlying the vehement protestations of Ms. Marguerite Van Berchem vis-à-vis those restorations, it would be best to compare the famous Baradā Panel in the west portico "before" and "after."
Reproducing the immense 34 x 7.3 meter panel in its entirety is impractical for our purposes, so let's instead focus on the following details, photographed in black and white in the late 1920s. The missing portion at the left upper corner is readily identifiable. Let's next examine the color photo from 2010 reflecting the 1965 restoration. The missing left upper corner mosaics had been replaced with new ones marked by the red line. How faithful and successful those repairs turned out to be is debatable. Fortunately, we do have a frame of reference consisting not only of the 300 photographs taken just after exposing the mosaics but also faithful handmade copies of selected parts of those mosaics, respecting size, color, shades, etc.
To illustrate the difference between the original and the restored mosaics, let's now look at one of the copies taken in the aftermath of uncovering the panel. The photo in the middle is of a 330 x 297 cm segment displaying roughly the same scene visible in the photographs before and after the 1965 restoration. The original colors were certainly less gaudy than the drastically altered ones currently at our disposal.
What's at stake here goes beyond mere aesthetics. The ʾUmayyād Mosque is by far the most important monument of Damascus, one that summarizes the history of the city in its entirety. Those who happen to believe that the restoration is more appealing to the eye than the original might as well decorate newer buildings according to their taste and leave al-Walīd's masterpiece to better-qualified technicians.
____________
Tuesday, July 3, 2018
ترميم فسيفساء الأموي
Sunday, July 1, 2018
مدرسة الفنون العربيّة الحديثة
Loreline Simonis. Les relevés des mosaïques de la grande mosquée de Damas. Paris, Louvre éditions /Somogy 2012.
Renaud Avez. L’Institut français de Damas au Palais Azem (1922-1946) à travers les archives. Damas 1993.



