Monday, November 27, 2017
طوشة الباطنيّة
دمشق من أتسز إلى نور الدين
Tell ʾum Ḥōrān
Seen at the center of the first helmet is a Roman warrior surrounded on both sides with an eagle, a symbol of the solar god. Posteriorly on the lateral view are two identical groups representing horses pulling a chariot on their way to heaven. The mask itself is that of a bearded face.
The second helmet has a gorgon occupying its summit. Below is an eagle dominating a sacrificial scene with its stretched wings. The occipital cover features a battle between the Romans and the Parthians. Finally, the artist—a certain Mactorius Barbarus—was kind enough to leave his name inscribed on the right temple.
Sunday, November 26, 2017
تاريخ دمشق ١٠٧٥ - ١١٥٤
وُلِدَ Le Tourneau عام ١٩٠٧ ومات فجأةً إثر تداخلٍ جراحي "روتيني" عام ١٩٧١. اختصّ لوتورنو في الدراسات العربيّة والإسلاميّة مع اهتمام خاصّ بالمغرب وشمال إفريقيا. تزوّج من Jeanne Largarde (١٩٠٩ - ٢٠١١) عام ١٩٣٠، التي عاشت أربعين عاماً بَعْدَهٌ وماتت عن عمر ١٠١ من الأعوام. الصورة الملحقة لجان وروجيه عام ١٩٣٠.
A Mosaic from Philippopolis
Šahbā's golden age is closely associated with the Roman Empire and Emperor Philip the Arab, hence its Classical name: Philippopolis. Gracing the National Museum of Damascus is a giant (337 cm x 276 cm) Šahbā mosaic from the 3rd century C.E. This piece features brightly colored themes and allegories from Greco-Roman mythology. Mortals and divinities are designated by their names. Let's analyze this heavenly beauty in detail:
Occupying the bottom center is a woman personifying Gaia, the Mother Earth Goddess, surrounded by four kids. Identified above her shoulders are Georgia (meaning agriculture) and Triptolemus (inventor of agriculture), familiar figures in Greek fables.
Seen in the bottom right is a bearded man sitting artist-like before a painting. He is none other than Prometheus, about to create the first man out of clay. Right above him is Hermes, the messenger god, who, among other tasks, commutes between the world of the divine and that of the mortals. He is surrounded by three women: the topless one is, of course, Aphrodite, goddess of beauty; another one would be Psyche, symbolizing the soul.
In the bottom left is Aion, god of time, carrying a ring in his right hand. Above and behind him are four winged ladies personifying the Four Seasons.
At the topmost on both sides are four heads emerging from the clouds and representing the Four Winds as follows:
- Boreas: the north wind brings forth the cold winter air.
- Zephyrus: the west wind and harbinger of spring and early summer breezes.
- Notos: south wind announcing storms of late summer and fall.
- Eurus: the southeast wind is not associated with any of the Greek seasons.
Photography: Nicholas Randall.
J. Charbonneaux. Aiōn et Philippe l'Arabe. Mélanges de l'école française de Rome. Année 1960 (72) pp. 253-272.
Highlights of the National Museum of Damascus. Media Minds LLC, [Lebanon], 2006.
فسيفساء شهبا
الصورة عن عابد عيسى.
Saturday, November 25, 2017
An Emesan Treasure
A sensational discovery of a royal necropolis was made back in 1940 near Ḥimṣ (Classical Emesa). It yielded several artifacts from the reign of Augustus Caesar or his immediate successors. Featured among the objects are ornaments of a sarcophagus, including gold leaves with several patterns related to Greco-Roman mythology, golden rings, a bracelet, and a neckpiece. Those treasures and some more have graced the National Museum of Damascus ever since.
At the center of this assortment is a 24.5 cm helmet with a mask dating, according to the French archaeologist Henri Seyrig (1895-1973), from the first century C.E. and crafted by a Syrian jeweler.
The item in question has two components: the upper one, or helmet, is made of a single piece of iron decorated with silver. The lower part consists of an iron mask entirely laminated with silver. Likely this set had been the pride of a private collection of a wealthy owner.
Saturday, November 18, 2017
The Synagogue of Dura Europos
A fresco from the famous Dura Europos Synagogue representing a niche designating the direction of Jerusalem and surmounted by an entablature featuring, from left to right, the following themes from the Torah:
Dura Europos is a Hellenistic city erected in 303 B.C. and destroyed by the Sassanids in 256 C.E. Its ruins are located south of the Euphrates River and northwest of abū Kamāl near the modern village of aṣ-Ṣāliḥīyyā. A collaborative effort of Yale University and the Académie des inscriptions et belles-lettres led to the excavation of the above synagogue in the first half of the twentieth century. The edifice was probably constructed in the year 250 C.E., shortly before the fall of the city. It was restored and reassembled at the National Museum of Damascus in 1936. The archaeological site fell to the humanoid hordes known as the Islamic State in 2014 to be looted and ravaged in yet another orgy of modern madness.
Wednesday, November 15, 2017
دمشق القرن السادس عشر
Tuesday, November 14, 2017
عبد الباسط العلموي، هنري سوڤير، ووصف دمشق
Monday, November 13, 2017
متحف الفنون والتقاليد الشعبيّة
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| جبرائيل سعادة |
Sunday, November 12, 2017
Sarapis of Syria
Sarapis is a Macedonian-Egyptian synthesis, the cult of which was introduced in 3rd century B.C. Alexandria by Ptolemy I in an attempt to unify the Hellenic newcomers with the natives. Etymologically, Sarapis is likely an amalgamation of Osiris with the Calf God Apis. It may be identified with the Greek Hades, Lord of the Underworld.
This statue represents a majestic Sarapis sitting on his throne with Cerberus at his feet to his right. The sculpture dates from the second or third century C.E. and was acquired by the National Museum of Damascus in 1933 from a site called H̱irbat Ramdān. The exact location is unclear, as there exist several modern villages bearing this name, but it most likely is of Southern Syrian provenance.
Dimensions: 77 cm x 42 cm x 30 cm.
Substance: grained white marble.
(*) A monstrous multi-headed dog guarding the gates of the Underworld for the purpose of preventing the dead from escaping.
Thomas M. Weber. Sculptures from Roman Syria in the Syrian National Museum of Damascus. Vol I, from Cities and Villages in Central and Southern Syria. Wernersche Verlagsgesellschaft. Worms. 2006.
Saturday, November 11, 2017
Mithraism and Other Fertility Cults in the Ancient Near East
Agrarian societies have adopted the solar calendar in one form or another from time immemorial for obvious reasons. Peasants and landlords have to know exactly when to sow the seeds, irrigate the land, fertilize the soil, and harvest the crop. Keen observers could not fail to notice the death of life-giving earth in winter and its resurrection in spring. With time, princes and priests would construct an edifice—material as well as spiritual—around natural phenomena in the form of numerous religions, the common denominator of which revolved around those cyclical events.
Examples abound, particularly in the Near East, which birthed the first agrarian societies in Mesopotamia and Egypt. The cults of Egyptian Osiris, Canaanite Adonis, and Christianity itself are but a few of those. Mithraism originated in ancient Iran, whence it spread to the Hellenistic world. It had been practiced throughout the Roman Empire from the first to the 4th century C.E.
Seen in this plate are two basaltic sculptures of Mithras slaying a bull, a central ritual in this cult where the spilled blood renovates the fertility of the soil it irrigates. Both were found at or near Sīʿ, a village in as-Suwaydāʾ Governorate in Southern Syria, and both date from the third century of the Common Era.
The sculpture on the left measures 72 cm x 58 cm x 10 cm. It was discovered in 1919 by an archaeological expedition from Princeton University and had been stored for a while at the Teacher's College at al-Mazzā Boulevard before its acquisition by the National Museum of Damascus, where it currently resides.
Studied by Salīm ʿAbdel-Ḥaqq in the early 1950s, the one on the right features the same scene. It measures 112 cm x 106 cm x 4.5 cm and is also a possession of the museum.
Regrettably, many such ancient sculptures have been transferred from their original sites and recycled in modern dwellings, which has resulted in the deformation and loss of those priceless treasures. This phenomenon has been observed throughout Syria, including Damascus and the large cities.
Thomas M. Weber. Sculptures from Roman Syria in the Syrian National Museum of Damascus. Vol I, from Cities and Villages in Central and Southern Syria. Wernersche Verlagsgesellschaft. Worms. 2006.











