#ancient syria

[ancientstuff]

For me, this is one of the most important, exciting archaeological finds this year. Incredible.

[estera-shirin]

Pillar figurine—Lachish, Judah (now Israel/Palestine), 8th to 7th century BCE

According to the Met: "This type of pillar figurine is typical of those produced in great numbers in the kingdom of Judah at this time. Tell el-Duweir is ancient Lachish, the major fortified center in Judah that was destroyed by the Assyrian army under Sennacherib (701 B.C.). The city's fate is chronicled in the Bible and represented in wall reliefs from the Assyrian palace at Nineveh. This buxom goddess figurine with pillar base is nude and supports her breasts in her hands. The head is simply rendered with a short, tightly curled caplike hairdo articulated in ridges, and the facial features are mold-made and clearly articulated. This imagery and that on clay plaques with nude female figures probably represents fertility or mother goddesses. The figurines are found in domestic contexts and point to popular cults that coexisted with monotheistic Judaism. Outside influences are evident in the religion of ancient Israel and Judah at this time, and Syrian cults focusing on the worship of Asherah may have been an influence. Asherah was the wife of El, head of the Canaanite pantheon, and probably the mother of the gods in Canaanite and later Jewish tradition. Some literary evidence in ancient Israel even speaks of Asherah as the consort of Hashem [the Met includes the tetragrammaton here] himself."

Here are some other female figurines in the Met's collection that use similar poses and come from surrounding areas.

This statue from northwestern Iran in the early first millennium BCE.

^ This Mesopotamian or Syrian figure from much earlier, around 5600-5000 BCE.

^ This Neo-Elamite part of a vessel from Southwestern Iran around the same time as the Judean Pillar Statues (8th-7th century BCE).

Another vessel in the shape of a woman from Northwestern Iran, also around the time of the Judean Pillar Statues (9th-7th century BCE).

[bronzegods]

Pantheon #1 - Rider of the Clouds (The Baal Cycle)

Three parts of the world contend as the sky, the sea, and the desert converge.

Commissioned from Amatsu (heitoramatsuart)

[curatorpeyton]

So cool!!

[recsspecs]

Remembering,

Khaled al-Asaad 'Mr Palmyra'

Cause of death : Decapitation

In May 2015, modern Palmyra and the adjacent ancient city came under the control of the Islamic State. Al-Asaad helped evacuate the city museum prior to the Islamic State's takeover, but was himself captured by the terrorist organisation. The Islamic State then tortured al-Asaad in an attempt to discover the location of the ancient artifacts that he helped hide. He was murdered in Palmyra on 18 August 2015 at the age of eighty-three.

The New York Times reported:

After detaining him for weeks, the jihadists dragged him on Tuesday to a public square where a masked swordsman cut off his head in front of a crowd, Mr. Asaad's relatives said. His blood-soaked body was then suspended with red twine by its wrists from a traffic light, his head resting on the ground between his feet, his glasses still on, according to a photo distributed on social media by Islamic State supporters.

In February 2021, Syrian state sources reported the discovery of al-Asaad's body in the countryside 10 km east of Palmyra.[22]

Along with al-Asaad, Qassem Abdullah Yehya, the deputy director of the DGAM Laboratories, also protected the Palmyra site, and was murdered by the Islamic State while on duty on 12 August 2015. He was thirty-seven years old

"he had a degree in history from Damascus University, he had no formal training in archaeology - all his knowledge in this field was self-taught."

"When you look at Palmyra today as an archaeological site, really that's the legacy of Khaled al-Asaad," Mr Azm says.

Here, you can read about the antiquties of Palmyra

This is the source I found so far, with details and colored pictures about his work and legacy

Al-Assad was one of the few people on Earth who was fluent in the language of ancient Palmyrian. By the end of his career, he had translated over 3000 lines of text. In addition, he taught himself English to be able to communicate with visitors and scholars interested in the area.

[theancientwayoflife]

~ Bracelet.

Date: A.D. 175-225

Place of origin: Syria, Yakhmour (Necropolis)

Period: Imperial Roman

Medium: Gold; garnet (colored cabochons distributed over the entire surface of the bracelet), emerald root, sapphire, amethyst, chalcedony, glass.

[thebeautifulbook]

THE DAWN OF CIVILIZATION by G. Maspero and edited by A.H. Sayce. Numerous spot illustrations.

The history of Egypt, Chaldea, Syria, Babylonia, and Assyria.

source

[illustratus]

The Illness of Antiochus, or Antiochus and Stratonice (detail)

by Jean-Auguste-Dominique Ingres

[baebeylik]

Early depiction of Jesus curing a paralytic.

Dura Europos Church. Roman Syria. 3rd Century.

Mark 2:11

[archaeologs]

Palmyra. Temple of Baal. Main entrance showing engaged fluted columns.

Learn more / Daha fazlası https://www.archaeologs.com/w/palmyra/

[brunettedelulu]

The Timeless Divas of the Arab World: Icons of Culture and Power.

The Arab world has produced an array of legendary divas whose influence transcends borders and generations. From the enchanting voices of classical music to the bold icons of modernity, these women have shaped Arab culture while challenging societal norms. Their contributions to music, cinema, and even political movements have left an indelible mark not just in the Middle East, but globally. Let’s explore the rich tapestry of the most influential Arab divas whose legacies endure today.

Umm Kulthum: The Voice of Egypt

Often referred to as “Kawkab al-Sharq” (Star of the East), Umm Kulthum’s impact on Arabic music is unparalleled. Born in Egypt at the turn of the 20th century, her powerful voice and unique ability to convey deep emotions made her a beloved figure throughout the Arab world. Her music, grounded in traditional Arabic scales yet modern in its approach, was a source of unity in a politically fragmented region. With songs like Al-Atlal and Enta Omri, Umm Kulthum became not just a cultural figure but a symbol of Arab identity and pride.

Her monthly radio performances in the mid-20th century would bring cities to a standstill. It wasn’t just her mastery of Arabic maqam or her exceptional vocal control that captivated audiences; it was her ability to tell the story of an entire nation through music. She remains an iconic figure, revered across generations as the quintessential Arab diva.

Fairuz: The Eternal Voice of Lebanon

Fairuz, known as the “Jewel of Lebanon,” emerged during a period of immense political upheaval in the Arab world. Her music became synonymous with the resilience and beauty of Lebanon, particularly during the Lebanese Civil War. Her collaboration with the Rahbani Brothers produced timeless classics that blended Western influences with Arabic tradition, a reflection of the cultural crossroads that Beirut represents.

Fairuz’s voice, often described as ethereal, manages to evoke both nostalgia and hope. Her songs like Bint El Shalabiya and Le Beirut are as much personal odes as they are collective anthems for displaced populations and war-torn regions. Today, Fairuz’s music serves as a bridge between the past and present, her voice still celebrated across the Arab diaspora.

Asmahan: The Tragic Diva

Asmahan, born to a Syrian Druze family in 1912, had a short but highly influential career. Her life was the stuff of legend—drama, intrigue, and an untimely death at the age of 31. With a voice that could effortlessly glide between classical Arabic music and Western operatic styles, Asmahan’s songs reflected the complex identity of a woman navigating multiple cultural worlds. She captivated audiences with songs like Ya Habibi Ta’ala and her starring roles in Egyptian cinema.

Her mysterious death in a car accident has only added to her allure, sparking countless theories and immortalizing her as one of the most enigmatic figures in Arab entertainment history. Her legacy lies in her versatility, her ability to cross genres, and her willingness to push against the confines of traditional gender roles in a conservative society.

Modern Divas: Sherine and Majida El Roumi

The modern Arab world continues to produce iconic divas who both respect tradition and embrace contemporary trends. Sherine Abdel-Wahab, with her dynamic voice and bold personality, has risen to become a pop sensation across the Arab world. Her music blends traditional Egyptian rhythms with modern pop, making her a standout in today’s competitive industry.

On the other end of the spectrum is Majida El Roumi, whose operatic voice and commitment to classical Arabic music have earned her a loyal fanbase. Majida’s songs are marked by their poetic depth and social consciousness, making her not just an entertainer but a cultural commentator.

Divas as Cultural Icons

The influence of Arab divas goes beyond their musical talents. They are symbols of cultural resilience, often representing the hopes and struggles of their respective countries. Whether through their music, public personas, or political engagements, these women have consistently broken barriers, offering an empowering narrative for future generations.

In a region where social and political upheavals are commonplace, the Arab diva stands as a beacon of continuity, a reminder of the region’s rich cultural heritage. Their voices, whether mournful or joyous, continue to resonate with millions, proving that the power of music knows no bounds.

[ancientstuff]

Excellent use of old hardware.

[estera-shirin]

Altar—Syria, likely Palmyra, 232 CE

According to the Met: "Inscription: 1 (For) Blessed Be His Name Forever, 2 the Good and Merciful, made 3 in thanksgiving Hagigu, son of 4 Yahiba, son of Yarhay, 5 (son of) Daka, for his life 6 and the life of his father 7 and his brothers. In the month of 8 Qinyan, the year 543. (232 CE)

It was a common Palmyrene religious practice to dedicate stone altars to the worship of a specific god or gods. This example, like most Palmyrene altars, takes the shape of a pedestal with moldings at top and bottom. The top is carved in the shape of a bowl, evoking an incense burner, but it is not clear whether this bowl was actually meant to be used as it shows no signs of burning. Altars of this type are sometimes decorated with images carved in relief showing a deity or deities, worshippers, or attributes, such as a pair of raised hands with palms turned outward in a gesture of adoration. However, many are without figural dedication, as is this example. Its inscription indicates it was dedicated as a votive gift to the Palmyrene deity known as the "Nameless God," identified here only by positive epithets. The month and year when the altar was dedicated is recorded. The months of the Palmyrene calendar were based on the earlier Babylonian calendar, while the years were reckoned according to the Seleucid era, which began in 312 B.C."

[twofielder]

Coin of the Day #236 (12/26/2025)

One of the nicest Augustus portraits I’ve had…

Roman Province - Syria

AE28 - 12.68g

Augustus 27 BC - 14 AD

Uncertain Mint

Obverse CAESAR

Head of Augustus right

Reverse AVGVSTVS

In laurel wreath

RPC I 4100

[postcard-from-the-past]

Ancient ruins of Palmyra, Syria

French vintage postcard

[artifacts-and-arthropods]

The Lion of Mari, from Syria (Mesopotamia) c.1782-1759 BCE: this is one of two lion statues that once guarded the entrance to a temple in ancient Mari; the lions were partially crushed when Hammurabi laid waste to the city in 1759 BCE

That's a pretty fitting expression, given the circumstances

Together, the two lion statues that were found at the ruined temple are known as the "Lions of Mari." They were unearthed from the ruins at Tell Hariri, where the ancient city-state of Mari once stood; this site is located near the border between modern-day Syria and Iraq.

The lions were likely designed as protomes, given their lack of hindquarters. They were originally stationed on either side of the entrance to the temple, so they are often described as the "temple guardians."

This is the same statue that appears in the first three photos, just seen from a different angle

It's believed that the temple at this site was originally built in honor of a West Semitic deity known as Dagan. Dagan was the chief deity of the Mariote pantheon; he was a particularly prominent figure in the middle and upper regions of the Euphrates, with cult centers in Mari, Terqa, Tuttul, and Ebla, but he was known throughout many parts of the ancient Near East.

The lion is primarily made of copper, with limestone and shale inlay for the eyes, and it measures 53cm tall, 77.5cm long, and 43cm wide, weighing roughly 55kg (about 21in x 30.5in x 17in, with a weight of 121lbs)

The Lions of Mari were partially crushed when their temple was destroyed (along with the rest of Mari) by Hammurabi's forces in 1759 BCE, leaving the statues badly warped...which is why they look really upset.

It's hard to find high-quality photos of the second lion, but he does have a particularly distinctive appearance:

This second lion was most recently housed at the National Museum of Aleppo, in Syria, though its current location/status (in the aftermath of the Syrian Civil War) remains unclear.

These photographs were taken during the original excavations at the ruined temple; they depict the first lion statue as it was still being unearthed (top) and the second statue shortly after it was removed (bottom)

Sources & More Info:

The Louvre: Lion of Mari

Archeologie.culture.fr: Lion Protome

Archeologie.culture.fr: Detailed Information about Ancient Mari

Virtual Museum Syria: Lion Sculpture