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.
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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.
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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.
Saturday, June 30, 2018
قوميّات سوريا الطائفيّة
Wednesday, June 27, 2018
The Dome of the Treasury
Just about the only vestige of ʿAbbasid rule in Damascus, Qubbat al-H̱aznā is thought to have been constructed in the second half of the 8th century CE under Governor al-Faḍl bin Ṣāliḥ bin ʿAlī during what was for Syria in general and Damascus in particular a desolate age. This is hardly surprising given a relentless campaign of extermination against everything ʾUmayyād that spared practically nothing except the Great Mosque.
The edicule known as the Treasury Dome is, therefore, most likely ʿAbbasīd, though several of its elements are clearly Classical, namely the eight granite half-columns topped by Corinthian crowns. A leaden cupola surmounted the structure supported by these columns.
The mosaics of the Great Mosque were covered with a layer of lime under the Ottomans (1), somewhere between 1664 and 1855. The motive for hiding the mosaics is unclear, but this act saved those priceless treasures for the pleasure and gratitude of future generations.
The 1893 great fire was the last in a long series of calamities the Great Mosque had endured since its erection. The ʾUmayyād's most celebrated landmark was subsequently raised from its ashes, and several of its walls, including the Treasury Dome, were restored and repainted—in the style of the 18th-century opulent Damascene houses—with horizontal bands of alternating colors of blue-black, white, and red-orange (2).
Eustache de Lorey, the first director of Damascus' French Institute, is credited with uncovering the mosaics in the late 1920s (3).
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1. As seen in the first photo taken prior to 1885 by Félix Bonfils (Fonds Max Van Berchem).
2. The date of the second photo is October 12, 1921 (Mission Frédéric Gadmer et Lucien Le Saint au Proche-Orient. Collection Albert Kahn).
3. The final photo was taken in 2010.
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Loreline Simonis. Les relevés des mosaïques de la grande mosquée de Damas. Paris, Louvre éditions /Somogy 2012.




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