The new Basrah Museum: dedicated to the archaeological and historical inheritance of Basrah and Iraq

Antiquity ◽  
2019 ◽  
Vol 93 (369) ◽  
pp. 811-813
Author(s):  
Adil Hashim Ali

Located in the Fertile Crescent and at the head of the Persian/Arabian Gulf, the city of Basra is steeped in history. Close to the heart of ancient Mesopotamia, the territory of modern Iraq was occupied variously by Achaemenids and Seleucids, Parthians, Romans and Sassanids, before the arrival of Islam in the early middle ages. In more recent history, the city's strategic position near the Gulf coast has made Basra a site of contestation and conflict. This exposure to so many different cultures and civilisations has contributed to the rich identity of Basra, a wealth of history that demands a cultural museum able to present all of the historical periods together in one place. The original Basra Museum was looted and destroyed in 1991, during the first Gulf War. The destruction and loss of so much of Iraq's history and material culture prompted official collaboration to build a new museum that would represent the city of Basrah and showcase its significance in the history of Iraq. The culmination of an eight-year collaborative project between the Iraq Ministry of Culture, the State Board of Antiquities and the Friends of Basrah Museum, the new museum was opened initially in September 2016. Already established as a cultural landmark in the city, with up to 200 visitors a day and rising, the museum was officially opened on 20 March 2019. The author was fortunate to be present for this event and able to explore the new galleries (Figure 1).

X ◽  
2020 ◽  
Author(s):  
Silvia Gron ◽  
Eleni Gkrimpa

The cities in the fortifications: the Ionian islands in Greece. Knowledge and enhancement of a heritage Residing in the Mediterranean Sea, Ionian islands signify the passage from the west to the east. A constantly sought-after region due to the trade routes, was for a long time garrisoned and under the authority of the Venetian Republic (fourteenth-eighteenth centuries) that hindered with its fleet the Turkish invasions. The bigger islands that constitute the cluster of the Eptanisa: Corfu, Lefkada or Santa Maura, Ithaka, Kefalonia, Kythira, Zakinthos and more, that had strategic positions with respect to the usual routes, had since the middle ages fortifications like walls, towers and castles, that over the time were expanded and restructured by the Venetians in order to defend those islands from the enemy attacks. The rich iconographic historic material, considering the Ionian Islands, allows to document the characteristics of those wide spread defensive structures and to identify each strong part of this big and unique fortification cluster. It has to be noted that every one of those structures gives us clues about the urban history of the city it resides since they were part of the urban landscape revealing this way the urban layout. The compelling story of the architectural consistency of those fortresses, as it is described in the historic documents, cannot be always verified. Many of those structures are nowadays completely destroyed and only a few remains are left. There are many ways to organize a project for saving those structures and in particular one that will be related with the cultural tourism.


2009 ◽  
Author(s):  
Ferdinand Gregorovius ◽  
Annie Hamilton

2009 ◽  
Author(s):  
Ferdinand Gregorovius ◽  
Annie Hamilton

2021 ◽  
Vol 2021 (02) ◽  
pp. 85-95
Author(s):  
V. Chechyk ◽  

The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the faculty of painting at the Kharkiv Art College in 1922, it was headed by A. Khvostenko-Khvostov. Among the first graduates were such bright alumni as A. Volnenko, P. Suponin, V. Ryftin, A. Bosulaev, B. Chernyshov, and others. Fundamental provisions of the educational program, which A. Khvostenko borrowed from the teaching practice of A. Exter (Kyiv Studio, 1918–1920), reflected the formation idea of future theater artist’s synthetic thinking. It is known that the education program of the Theater and Scenery Workshop of KAC, equally with the Studio of A. Exter, in addition to the subjects common to all students of painting and drawing faculty as special subjects (theatrical scenery, technique and technology of the stage, etc.) included also the history of theater (I. Turkeltaub), material culture, costume, music and literature (A. Beletsky). O. Khvostenko paid special attention to theoretical and practical issues of composition. He introduced the course of fundamentals of directing (V. Vasilko) as a compulsory subject. Much of what the students mastered at the Workshop was tested on the professional stages of Kharkiv theaters. Associated with the Kharkiv Art School for a quarter of a century (1921–1946), O. Khvostenko-Khvostov has not still been included in the pantheon of its outstanding teachers.


Author(s):  
Francesca Brooks

The early Middle Ages provided twentieth-century poets with the material to reimagine and rework local, religious, and national identities in their writing. Poet of the Medieval Modern focuses on a key figure within this tradition, the Anglo-Welsh poet and artist David Jones (1895–1974), and represents the first extended study of the influence of early medieval culture and history from England on Jones and his novel-length late modernist poem The Anathemata (1952). The Anathemata, the second major poetic project after In Parenthesis (1937), fuses Jones’s visual and verbal arts to write a Catholic history of Britain as told through the history of man-as-artist. Drawing on unpublished archival material including manuscripts, sketches, correspondence, and, most significantly, the marginalia from David Jones’s Library, Poet of the Medieval Modern reads with Jones in order to trouble the distinction we make between poetry and scholarship. Placing this underappreciated figure firmly at the centre of new developments in modernist and medieval studies, Poet of the Medieval Modern brings the two fields into dialogue and argues that Jones uses the textual and material culture of the early Middle Ages—including Old English prose and poetry, Anglo-Latin hagiography, early medieval stone sculpture, manuscripts, and historiography—to re-envision British Catholic identity in the twentieth-century long poem. In The Anathemata Jones returned to the English record to seek out those moments where the histories of the Welsh had been elided or erased. At a time when the Middle Ages are increasingly weaponized in far-right and nationalist political discourse, the book offers a timely discussion of how the early medieval past has been resourced to both shore up and challenge English hegemonies across modern British culture.


Author(s):  
James A. Palmer

The humanist perception of fourteenth-century Rome as a slumbering ruin awaiting the Renaissance and the return of papal power has cast a long shadow on the historiography of the city. Challenging the view, this book argues that Roman political culture underwent dramatic changes in the late Middle Ages, with profound and lasting implications for the city's subsequent development. The book examines the transformation of Rome's governing elites as a result of changes in the city's economic, political, and spiritual landscape. It explores this shift through the history of Roman political society, its identity as an urban commune, and its once-and-future role as the spiritual capital of Latin Christendom. Tracing the contours of everyday Roman politics, the book reframes the reestablishment of papal sovereignty in Rome as the product of synergy between papal ambitions and local political culture. More broadly, it emphasizes Rome's distinct role in evolution of medieval Italy's city-communes.


1966 ◽  
Vol 34 ◽  
pp. 82-130 ◽  
Author(s):  
D. A. Bullough

Prefatory Note.—My interest in Pavia goes back at least to 1951 when I was elected Rome Scholar in Medieval Studies. I began seriously to collect material for the history of the city in the early Middle Ages in the winter and spring of 1953 when I enjoyed the warm hospitality of the Collegio Ghislieri, thanks to the efforts made on my behalf by the late Hugh Last, to whose memory this article is dedicated. The published proceedings of the Reichenau and Spoleto congresses on ‘The early medieval town’ in the 1950s clearly underlined the need for detailed studies of particular towns; but the lack of adequate archaeological evidence discouraged me from attempting such a study of early medieval Pavia. In 1964, however, Dr. A. Peroni, Director of the Museo Civico invited me to read a supplementary paper on this topic to the Convegno di Studio sul Centro Storico di Pavia held in the Università degli Studi at Pavia on July 4th and 5th of that year. The present article is an amplified and corrected version of that paper: I have made no substantial alterations to my account of the ‘urbanistica’ of early medieval Pavia—written for an audience of architects and art-historians as well as of historians—but have dealt more fully with the social history of the city in this period. Professor Richard Krautheimer read a draft of the revised version and made some pointed and helpful comments. I am greatly indebted to Dr. Peroni, not merely for the invitation to present the original paper but also for supplying illustrations and answering queries at a time when he and his staff were engaged in helping to repair the ravages of the Florence floods.


Kavkaz-forum ◽  
2021 ◽  
pp. 101-119
Author(s):  
Г.Н . Вольная (Керцева)

Материальная культура позднего средневековья Дигорского ущелья Северной Осетии недостаточно хорошо изучена по сравнению с другими периодами. В статье впервые представлен комплекс археологических памятников, расположенных на Поляне Мацута Дигорского ущелья: памятники, их расположение, история изучения. Цель исследования – рассмотреть Поляну Мацута как погребальный и культовый комплекс, где находятся позднесредневековые полуподземные склепы, каменные ящики, менгиры, цырты, «нартовский» ныхас, поселения кобанского и аланского периодов. Это памятники являются почитаемыми у местного населения, упоминаются в нартовском эпосе. В статье использовались полевые методы исследования, метод анализа и аналогий. В статье представлен авторский материал спасательных раскопок 2020 г. «Грунтового могильника Мацута I, средневековье» XVI-XVIII вв. в зоне реализации проекта «Строительство фельдшерско-акушерского пункта в с. Мацута». Могильник представляет собой погребения в каменных ящиках. Всего было раскопано 75 ящиков, в которых покойные лежали вытянуто на спине головой на запад с широтными отклонениями. Некоторые ранние погребения сопровождаются обрядом кремации. Погребальный обряд находит аналогии в горной Балкарии. Для погребального обряда характерно отсутствие керамической посуды в погребениях. Над ранними погребениями могильника была устроена тризна с кремацией и большим количеством фрагментированной керамики, скорее всего местного производства. Погребальный инвентарь достаточно беден и характерен для горнокавказской культуры позднего средневековья. Во взрослых погребениях найдены одежда, обувь, пояса, головные уборы, пояса; в женских – украшения; в мужских – ножи, оселки. В детских погребениях (в большинстве случаев) слева от головы обнаружены только куриные яйца, либо погребальный инвентарь совсем отсутствует. Отмечается высокая детская смертность. Детские погребения составляют почти 50% от всего числа раскопанных погребений. The material culture of the late middle ages of the Digor gorge in North Ossetia is not well studied in comparison with other periods. The article presents for the first time a complex of archaeological monuments located in The Matsuta Glade of the Digor gorge: monuments, their location, and history of study. The purpose of the study is to consider the Matsuta Glade as a funerary and cult complex, where there are late medieval semi-underground crypts, stone boxes, menhirs, tsyrts, "nartovsky" Nykhas, settlements of the Koban and Alan periods. These monuments are revered by the local population, mentioned in the Nart epic. The article uses field research methods, the method of analysis and analogies. The article presents the author's material of rescue excavations in 2020 of the "Ground burial ground of Matsuta I, middle ages" of the XVI-XVIII centuries in the area of the project "Construction of a paramedic and midwifery station in the village of Matsuta". The burial ground is a burial in stone boxes. In total, 75 boxes were excavated, in which the deceased lay stretched out on their backs with their heads facing West with latitude deviations. Some early burials are accompanied by a cremation ceremony. The funeral rite finds analogies in the mountainous Balkaria. The funeral rite is characterized by the absence of ceramic dishes in the burials. A funeral feast with cremation and a large amount of fragmented pottery, most likely of local production, was built over the early burials of the burial ground. The grave goods are rather poor and typical for mountain Caucasian culture of the late middle ages. In adult burials found clothes, shoes, belts, headwear, belts; women's jewelry; the men's knives, whetstones. In most children's burials, only chicken eggs are found to the left of the head, or there is no burial equipment at all. Children's funerals account for almost 50% of the total number of excavated graves.


2020 ◽  
Author(s):  
Theresa A. Vaughan

Latini’s masterpiece of Baroque cooking and household management was the first book to publish recipes using tomatoes and chilli peppers. This first complete English translation presents the text with contextual introduction and notes to aid the reader’s understanding. The Modern Steward was published in Naples in 1692-94, when the city was a major cultural centre. It includes a wealth of recipes, plus discussions of the kitchen and serving staff, setting the table, menus, protocol, entertainment, and wines. There are also sections on health, accounts of specific banquets, and even a description of an eruption of Vesuvius. It is the last great book of the Italian Renaissance and Baroque cooking tradition. Latini was also interested in local ingredients and customs, and open to new French trends. The book will interest historians of early modern Italy, food, material culture, and the social and cultural life of the European elites, as well as connoisseurs of fine dining, and cooks.


2021 ◽  
Vol 4 (10) ◽  
pp. 97-103
Author(s):  
Khayitmurod Khurramov ◽  

It is known that the Oxus civilization in the Bronze Age, with its unique material culture, interacted with a number of cultural countries: the Indian Valley, Iran, Mesopotamia, Elam and other regions. As a result of these relationships, interactions and interactions are formed. Archaeologists turn to archaeological and written sources to shed light on the historiography of this period. This research is devoted to the history of cultural relations between the Oxus civilization and the countries of the Arabian Gulf in the Bronze Age. The article highlights cultural ties based on an analysis of stamp seals and unique artifacts.Key words: Dilmun, Magan, marine shell, Arabian Gulf, Bahrain, Mesopotamia, Harappa, Gonur, Afghanistan


Sign in / Sign up

Export Citation Format

Share Document