When Unesco described the Great Mosque of Aleppo as “one of the most beautiful mosques in the Muslim world”, few would have begged to differ. The landmark12th-century building was an icon of Islamic architecture. As well as a place of worship, it served as a document of history, a national treasure and a testament to the breathtaking beauty that architecture can inspire.
Until two weeks ago, that is, when it was ravaged by fire. Now, the famous stonewash courtyard is charred by flames. The domed interiors, hung with gold chandeliers, lie in rubble. Enamelled mosaic tiles are scattered on the floor alongside broken windows and empty ammunition cases.
The fate of the Ummayad mosque is becoming a sadly familiar story for the cultural heritage of Syria. Earlier this month, the centuries-old Aleppo souk was destroyed, adding to an ever-increasing list of archaeological devastation.
There are six UNESCO world heritage sites in Syria – sites so important to human history that they have an international mandate to protect them; not one of them has so far escaped the conflict unscathed.
The destruction to historic sites is one of the less-reported on results of the civil war in Syria, and understandably so – next to the devastating human cost, it seems almost callous to worry about the fate of inanimate objects. Yet as Irina Bokova, director general of UNESCO noted, “the historic and highly symbolic value of this heritage … [needs to be preserved] for the whole of humanity.”
It is difficult to overstate Syria’s archaeological significance – the landscape is nothing short of a palimpsest of world history. Throughout the country, the remains and ruins of building chart the rise and fall of centuries over the millennia. From Neolithic fragments to Bronze age friezes, Roman temples, Mesopotamian trade routes, early Christian churches and some of the most magnificent Islamic art ever created, Syria can rightly be regarded as a living museum. But now, these pages of history are now in serious danger of being wiped for ever.
Syria is a signatory to the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict, meaning that there is an international incentive to intervene to protect its cultural heritage. Whilst many NGOs and archeological organisations are campaigning for this, the scale of the conflict has largely restricted their actions so far to mere lobbying. UNESCO has released several statements calling for appeals, with the hope of being able to send someone in to assess the damage if the situation permits. Smaller groups are doing their best to publicise their damage as well, and the Syrian-based Directorate-General of Antiquities and Museums (DGAM) are actively working on monitoring the situation. Yet, when dealing with a crisis of this magnitude – when the safety and protection of civilians cannot even be secured – people are increasingly asking what hope there can be for architecture?
As Julien Anfruns, the Director General of ICOM (the International Council of Museums) notes, “When we deal with these emergencies, our first action is to evaluate [the damage] …when we are in places in which it is very difficult to intervene because of combats, satellite monitoring is really instrumental.”
Indeed, satellite monitoring of certain cultural sites has been deployed in some areas of Syria already, but the high financial cost and relatively low priority of this means that it offers a far from conclusive picture of the damage.
In response to this, alternate, practical ways to chart the destruction are developing. Syrians, concerned about their heritage, are increasingly using ground-level footage taken on mobile phones and video-cameras to survey the most important sites. One of the most extensive is the Facebook page “Le patrimoine archéologique syrien en danger”. Founded by several Syrian and European archaeologists, the group is endeavoring to compile as accurate a picture as possible of damage to historic sites through posted photographs and eye-witness reports. It is proving to be an invaluable resource.
Lawrence Rothfield, former director of the Cultural Policy Center at the University of Chicago, believes that new technologies offer some of the most effective ways to tackle the crisis. “What we need at the moment is real-time or close-to-real-time evidence, which cell phone technology can provide at a much lower cost [than satellites]”.
“If the warring parties know that they can be indicted for war crimes based on imagery showing they were the first to move onto a protected site or that they are enabling and profiting from the looting of sites, they may think twice”.
Damage from shelling and gunfire is only one of the hazards affecting Syria’s cultural heritage. The almost incalculable international value of such scholarly objects means that looting is a huge danger. As Emma Cunliffe, a doctoral student in archaeology at Durham University, who has compiled one of the most definitive reports on the damage in Syria so far, observes: “Looting is going to be a huge problem. There are a lot of videos online of looting at the world heritage, and that’s very worrying because they’re the prominent ones, and I’ve heard circulating reports of damage at smaller sites as well”. Previous experience with looting, notably in post-conflict Iraq suggests that future prospects are bleak. “In Iraq, these looter gangs were getting up to 200 people, and the problem is you can put resources in place at one site – even if you did have the resources to scare off two hundred guys – they would just go to the next one. And you can’t have two hundred people at every site”.
Like the Ummayad mosque, many of the most important Syrian sites are built in militarily strategic locations (the crusaders had reasons for their geographic specifications), and these are most likely to be appropriated by one or both of the warring parties in the current conflict. Even with international awareness increasing, one things is guaranteed: as long as the conflict continues, damage to cultural sites will continue. Rothfield says: “The future of Syria’s past looks very grim.”