The artistic treasures of Syria: Land of Civilizations is the subject of a unique traveling exhibition, organized by the Musee de la Civilisation of Quebec, Canada, which will be on view at the Fernbank Museum of Natural History, Atlanta from February 15 - May 20, 2002. Previously, it was shown at the Riverfront Arts Center in Wilmington, Delaware and it is covered extensively in a comprehensive exhibition catalogue, which is probably essential reading for collectors and scholars of ancient and Islamic art.
Close to 400 works of art and historical artifacts, spanning nearly 26 centuries trace the special contribution of Syrian art and culture to the evolution of western and near eastern civilization. Eleven museums throughout Syria have loaned to this exhibition; many objects have never left Syria before and will probably never leave again. Under the most advantageous circumstances these museums would be hard to visit, but given the current political climate it is unlikely that many visitors living outside the region will have an opportunity to see the fascinating objects from these museum collections in situ.
The geographical region around and including modern day Syria is frequently called the "Cradle or Crossroads of Civilization" or as in the title of this exhibition, the "Land of Civilizations." The meaning behind these various terms refers to the fact that within this region the first farming communities were established which in turn gave birth to the first cities on Earth, the earliest dating back 6,000 years.
The first known alphabet was created in the Syrian city of Ugarit about 4,500 years ago. The native Sumerians invented the first wheel and the first plough and formulated a mathematical system based on the number 60 which is the basis for calculating time in the modern world.
As civilizations developed within the region, works of art and artifacts were produced for newly constructed private homes, palaces and temples. Extraordinary objects were crafted in stone, mosaic, glass, ceramic, delicate cloth and intricately worked gemstones, often using materials from other regions, such as obsidian from Anatolia or lapis from Afghanistan.
Borders in ancient times were subject to constant change; the geographic region of Syria was invaded and conquered by many tribes and nations including the Assyrians, the Hittites, the Sea People from the Balkans, the Neo-Babylonians, the Persians, the Greeks and the Romans. In post classical times Syria was part of the Byzantine Empire and later, under Islamic domination, became part of the Ottoman Empire, which was dissolved after World War I. Despite the domination of many different cultures, each with an independent artistic style and tradition, the objects produced in the region of Syria always retained a unique “Syrian” style. For example, a bronze figure of a standing Aphrodite with a gold necklace, ca. 200 AD from the National Museum of Damascus, while drawing on Greek and Roman iconography, nonetheless has close analogies in its elongated form with a figurine of the god Baal, ca. 1300 AD. The same can be said of a magnificent brooch from Dura Europus, dating ca. 200 AD; while the gold ornamentation of the perimeter, which is encrusted with rubies and ceramic stones, seems generically "classical" with concentric geometric patterns, the incised figure on the gemstone in the center bears close resemblance to a statuette of the god Baal, ca. 1800 BC, and even to the gold body of an eagle on a breastplate dating 2200 BC, objects produced in Syria long before it was invaded by ancient Greece.
The "classical" sculpture produced in Syria under Roman domination is unique as well. While the funerary bas reliefs produced for the necropolis at Palmyra, ca. 150 AD clearly reflect the prototypes of ancient Rome, one also can see resemblance to statues produced in the Mari kingdom of Syria, ca. 2200 BC, in their rigid stylization.
Such cross pollination of artistic styles in works of art created at various times in Syria is what makes these objects so special. For collectors, the exhibition and its catalogue should be eye opening and indispensable. It is frequently difficult to identify correctly many of the objects produced in Syria because exhibitions of this caliber are hardly ever seen outside the middle-east, if they are seen there at all.
The international market for ancient art is difficult today; there are frequent claims of looted patrimony and misattributions. Fluid boundaries shifting throughout time make identification of the ethnic origin of ancient works of art extremely difficult. Any clarification is helpful; the Syrian exhibition is more than helpful, it is a breathtaking experience, which is not likely to occur again within our lifetime.
