I first went to Palmyra, in Syria, 10 years ago. I was intrigued to see the remains of this once great trading city, abandoned centuries ago, and which proved such a source of artistic inspiration after it was discovered by western travellers in the late-17th century. I was not disappointed – the perfection of the city’s colonnades dancing through the wild desert landscape, the extent and quality of its nearly 2,000-year-old classical architecture, its solemn atmosphere and intense visual beauty made Palmyra unforgettable.
I returned there in February this year to see the damage that Islamic State (IS) had inflicted on this intensely important cultural site. I made the journey with veteran photographer Don McCullin. We had been commissioned by BBC4 to discover the true state of affairs – difficult to do from afar when so much is obscured by misinformation and disinformation – and to document what we found. We also wanted to talk to Syrians about the attacks on their history, including attacks on museums and numerous other archaeological sites, to get a sense of what can and should be done. Is there a desire to repair and reconstruct damaged ancient structures? Is it even possible, given the conflicts that still rage in Syria? And what would be the artistic consequences of the radical reassembling of fragile and once beautiful ancient structures that have been blasted apart with explosives?
Reconstruction is the dominant desire among Syrians. I talked to soldiers and shopkeepers, as well as curators and academics in Syria’s directorate general of antiquities and museums. The nation’s history – its museums and ancient sites such as Palmyra – are sources of great national pride and identity. Indeed, it is because they are so important that the cultural terrorists of IS, intent on dismantling Syria, sought to assassinate its history.
Between early 2015 and early 2017, during much of which time IS was in control of Palmyra, the damage inflicted was intense. Not only were key buildings attacked but so was Palmyra Museum, with numerous ancient structures damaged and sites looted.
But there are some positive stories to tell.
Before IS arrived for the first time in early 2015, a significant proportion of the contents of the museum in Palmyra were evacuated to Damascus. Qasem al-Mohammad, now the chief-curator of the National Museum in Damascus, assured me that 850 artefacts from the Palmyra Museum are now in secret and secure storage in the city. I also saw, in the Damascus museum, many damaged objects from Palmyra Museum that had been retrieved in April 2016 when IS was ejected for the first time. Why these objects had not been evacuated the previous year, instead abandoned to IS brutalism, was unclear. Presumably, in the panic and haste, not everything could be removed in time, including high-quality artefacts that were very heavy or fixed to museum walls.
The state of the main structures in Palmyra varies greatly. The Temple of Bel, for example, dating from AD30, has been gravely damaged with many of its stones obliterated by IS explosives. The Monumental Arch and the Temple of Baal Shamin, also both largely levelled by explosives, have fared better. The six most impressive towers have been destroyed by IS.
But much of Palmyra survives untouched. Virtually all of Colonnade Street is intact, as is Palmyra west of the Tetrapylon (with the exception of the tomb towers), the Agora, Banqueting Room, Tariff Court, Senate, Damascus Gate and Diocletian’s Bath.
Palmyra can be made to live again, to once more delight and inspire. But the reconstruction of damaged buildings must start soon. Every day, evidence and stones erode, and successful rebuilding becomes more difficult. There is an urgency. If action is not taken very soon, then much that is possible now will become impossible. If the world cares about Palmyra, now is the time to fight for what remains.
Dan Cruickshank is a historian and television presenter
The Road to Palmyra was broadcast on BBC4 last month and is available on BBC iPlayer until 6 June
I returned there in February this year to see the damage that Islamic State (IS) had inflicted on this intensely important cultural site. I made the journey with veteran photographer Don McCullin. We had been commissioned by BBC4 to discover the true state of affairs – difficult to do from afar when so much is obscured by misinformation and disinformation – and to document what we found. We also wanted to talk to Syrians about the attacks on their history, including attacks on museums and numerous other archaeological sites, to get a sense of what can and should be done. Is there a desire to repair and reconstruct damaged ancient structures? Is it even possible, given the conflicts that still rage in Syria? And what would be the artistic consequences of the radical reassembling of fragile and once beautiful ancient structures that have been blasted apart with explosives?
Reconstruction is the dominant desire among Syrians. I talked to soldiers and shopkeepers, as well as curators and academics in Syria’s directorate general of antiquities and museums. The nation’s history – its museums and ancient sites such as Palmyra – are sources of great national pride and identity. Indeed, it is because they are so important that the cultural terrorists of IS, intent on dismantling Syria, sought to assassinate its history.
Between early 2015 and early 2017, during much of which time IS was in control of Palmyra, the damage inflicted was intense. Not only were key buildings attacked but so was Palmyra Museum, with numerous ancient structures damaged and sites looted.
But there are some positive stories to tell.
Before IS arrived for the first time in early 2015, a significant proportion of the contents of the museum in Palmyra were evacuated to Damascus. Qasem al-Mohammad, now the chief-curator of the National Museum in Damascus, assured me that 850 artefacts from the Palmyra Museum are now in secret and secure storage in the city. I also saw, in the Damascus museum, many damaged objects from Palmyra Museum that had been retrieved in April 2016 when IS was ejected for the first time. Why these objects had not been evacuated the previous year, instead abandoned to IS brutalism, was unclear. Presumably, in the panic and haste, not everything could be removed in time, including high-quality artefacts that were very heavy or fixed to museum walls.
The state of the main structures in Palmyra varies greatly. The Temple of Bel, for example, dating from AD30, has been gravely damaged with many of its stones obliterated by IS explosives. The Monumental Arch and the Temple of Baal Shamin, also both largely levelled by explosives, have fared better. The six most impressive towers have been destroyed by IS.
But much of Palmyra survives untouched. Virtually all of Colonnade Street is intact, as is Palmyra west of the Tetrapylon (with the exception of the tomb towers), the Agora, Banqueting Room, Tariff Court, Senate, Damascus Gate and Diocletian’s Bath.
Palmyra can be made to live again, to once more delight and inspire. But the reconstruction of damaged buildings must start soon. Every day, evidence and stones erode, and successful rebuilding becomes more difficult. There is an urgency. If action is not taken very soon, then much that is possible now will become impossible. If the world cares about Palmyra, now is the time to fight for what remains.
Dan Cruickshank is a historian and television presenter
The Road to Palmyra was broadcast on BBC4 last month and is available on BBC iPlayer until 6 June
