Traditional glassblowing is an artisanal craft practiced in Syria with historic centers including Damascus and towns in the Aleppo countryside.

The craft has roots going back more than two thousand years and is traced to the Phoenicians.

Archaeological and museum research shows that glass‑blowing technology developed in the Levant and enabled mass production of glass objects in antiquity.

In Damascus the tradition evolved to include decorative painting on lanterns and other glass objects using oxides and various colors.

In the Aleppo countryside, the town of Urem Al‑Kubra has been historically famous for skilled glassblowing craftsmen and some artisans restored workshops after liberation from terrorism.

Artisans describe working with recycled glass melted at high temperature and shaping, blowing, rotating, processing, colouring and decorating items such as hookah bottles, vases, plates and decorative objects.

The Syrian conflict significantly affected the traditional craft and disrupted production and continuity of practicing workshops.

UNESCO inscribed Syrian traditional glassblowing on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

The UNESCO urgent‑safeguarding listing was prompted by the craft's disruption and the risk to its continuity following the war.

The provided documents do not specify the total number of craftsmen currently practicing traditional glassblowing in Syria.

In summary: Syrian traditional glassblowing is an ancient craft centered in Damascus and Aleppo that has been disrupted by conflict and was listed by UNESCO in December 2023 as urgently needing safeguarding.

Traditional glassblowing is an artisanal craft practiced in Syria with historic centers including Damascus and towns in the Aleppo countryside.

Title:

Content: Art of glassblowing returns again in Aleppo countryside liberated from terrorism

The town of Urem Al-Kubra in Aleppo province in northern Syria has historically been famous for its skilled glassblowing craftsmen. The war considerably affected this traditional craft inherited from our ancestors, but after the liberation of the city from terrorism, some artisans have brought it back to life. The artisan, Yassin Arab learned the glassblowing craft from his father when he was a child, and after the town was liberated from terrorism, he returned to his small facility, where he worked to restore it and start working again. Arab does not hide his enormous passion for the craft of glassblowing and his belief in the need to preserve this ancient Syrian heritage. Regarding the working mechanism, the artisan explained to SANA that he uses recycled glass, melts it again in the oven at high temperature, and then chooses a specific shape for its manufacture, whether hookah bottles, vases, plates, small jugs, fish houses for decoration, decorated cups and antiques of different sizes. After that, t he piece is blown, rotated and processed by the artisan until it takes its final shape using white and brown colors, and once the manufacturing of the product is finished, it is decorated and colored to give it the required aesthetics. For his part, Hussein Najjar noted that he learned the craft of blowing glass manually since he was young and has been working in this field for 40 years. He added that he is able to make any shape or glass container, using his imagination, and considered that the art of glassblowing is one of the types of plastic arts. Traditional glassblowing is a profession that dates back more than two thousand years (since the time of the Phoenicians) and was included in December 2023 by UNESCO on the list of intangible cultural heritage of humanity that needs urgent preservation. Source: Syrian Arab News Agency

Title:

Content: Samples of the Damascene Literary Heritage Attend an Exhibition and Seminar in the Culture of Infection
Damascus-Sana
In the exhibition “Heritage Crafts are Inherited by the Fragrance of History ” hosted by the Adawi Cultural Center, the artworks varied between glass decoration, Damascene brocade and various handicrafts.
The exhibition was followed by an introductory seminar on these arts for the Sheikhs of Carr and craftsmen specialized in these professions under the supervision of the handicraft trainer Rowaa Yousef.
Youssef Lassana explained that the exhibition was dedicated to traditional professions in general and handicrafts, especially such as brocade, painting on glass, Islamic motifs and handicrafts to maintain their continuity and importance.
Mohammed Bassam Rayhan Sheikh Al-Karar in painting on glass and decoration spoke in his intervention about the history of this craft, its forms, fields of work and materials used in it, pointing out that the glass, which was the first to be invented by the Phoenicians, evolved in Damascus throughout history and was painted on the mishkat and lanterns using oxides and various materials, thermal colors, acrlik and others.
The Damascene brocade craftsman Mohammed Rankous explained in his intervention that this cloth is made of natural silk and golden reed yarns and attributed to Damascus because it took its character, heritage and environment, such as the painting of Omar Khayyam, the Levantine Rose, grape clusters, the lover and the beloved, and the octagonal geometric drawings, pointing out that this craft entered the cultures of different civilizations.
Nasruddin Mohammed is a graduate of applied arts and a drawing teacher who participated in paintings for his students from children and boys. In his intervention, he explained the history of the Damascene plant decoration, its methods, types and schools such as Andalusian, Persian and Damascene, and its differences in decoration, diggings, mirrors and miniatures, indicating that its history dates back to the Andalusian civilization, which was its main creativity in palaces and buildings.
Mohammed Sabha is a bridal craftsman who participated in a group of decorative glass works for brides and explained that he has completed a model of a waterfall flowing from an electric mountain that is operated by hand from cardboard, wood and cork inspired by his ideas.
Rana Ayoub participated in a group of works of three-dimensional models and miniatures of the Levant environment. She explained that she chose this environment because she grew up and lived in it and adored it. It is necessary to inform future generations of their heritage and history, pointing out that she works with cork, wood, natural materials, gypsum, ceramic paste and others.
Bilal Ahmed

The craft has roots going back more than two thousand years and is traced to the Phoenicians.

Archaeological and museum research shows that glass‑blowing technology developed in the Levant and enabled mass production of glass objects in antiquity.

Title:

Content: British Museum displays newly restored ancient glass vessels damaged in Beirut explosion

Discoveries made during the reconstruction process shed light on glass production in Lebanon 2,000 years ago

Beta V.1.0 - Powered by automated translation

Eight ancient glass vessels, damaged in the 2020 Beirut port explosion, have just gone on display at the British Museum in London as part of the exhibition Shattered Glass of Beirut.

The vessels, dating back to the Roman, Islamic and Byzantine periods, include bowls, a flask, beaker, jug and cup that were meticulously pieced back together as part of an ongoing collaborative restoration project between the British Museum and the Archaeological Museum of the American University of Beirut, which began last year.

On August 2020, a stockpile of ammonium nitrate exploded at the port of Beirut in Lebanon, killing at least 218 people, injuring 7,000, displacing 300,000 and causing $15 billion worth of damage.

The explosion shattered the AUB museum’s windows, doors and a case containing 74 glass vessels, shattering all but two pieces.

As part of an emergency recovery campaign, 18 vessels have been pieced back together. Conservators at the British Museum and the AUB museum hope that at least half of the remaining 46 objects can also be restored soon.

Over three months, experts from the Archaeological Museum and the British Museum laboriously sorted through fragments of the broken vessels and sensitively reassembled them.

Conservators at both institutions made the decision to reconstruct the vessels to be structurally sound but leave the visible damage caused by the explosion. Lighting will be used in the display to highlight the flaws and cracks in the glass, which have now become part of the history of the ancient objects.

“Reconstructing these fragmented glass vessels one tiny bit at a time, helped to reunite, to recognise their heritage value and to build a sense of community,” said Nadine Panayot, curator of AUB's Archaeological Museum.

“To see these shattered and delicate vessels reassembled not only sparked a healing process, but also inspired me to hope for a better future.”

Playing footage of the reconstruction process alongside recorded interviews with the conservators, Shattered Glass of Beirut will demonstrate the emotional impact of the explosion, and the emergency response to it.

“The footage of the Beirut explosion came as a huge shock, and I replayed the images repeatedly in disbelief,” said Zeina Klink-Hoppe, curator at the British Museum.

“Working with colleagues at the British Museum and at the Archaeological Museum in Beirut to piece together some of the artefacts that were shattered in the explosion has been an emotional journey, but also a meaningful small step in the preservation of Beirut’s heritage and pride and in the recovery of its citizens as they gradually rebuild their lives.”

During the reconstruction process, individual fragments underwent scientific analysis at the British Museum and University College London’s Institute of Archaeology. Non-destructive scanning techniques revealed new information about the provenance of glass production and the nature of the glass materials, along with interesting manufacturing details.

The vessels were made at sites along the eastern Mediterranean coast — six were produced using early glass-blowing technology, revealing experimentation in the function and form of the pieces. Two others date to the early Islamic and late Byzantine periods, and were possibly imported to Lebanon from present-day Syria or Egypt.

Some of the vessels revealed signs of recycling in their production, with craftspeople possibly using older glass to make new objects.

While experts have found it fascinating to identify the similarities between today's glass recycling techniques and those from 2,000 years ago, the discoveries have also shed light on the habits and practices of glass producers and consumers of Lebanon in the first century BC.

The development of glass-blowing technology in the Levant enabled the mass production of glass objects, revolutionising production of the material in the region.

The Shattered Glass of Beirut exhibition will be on show at The Asahi Shimbun Displays, British Museum, until October 23.

British Museum Egyptian hieroglyphs exhibition - in pictures

Updated: August 29, 2022, 3:05 PM
MORE FROM THE NATIONAL

In Damascus the tradition evolved to include decorative painting on lanterns and other glass objects using oxides and various colors.

In the Aleppo countryside, the town of Urem Al‑Kubra has been historically famous for skilled glassblowing craftsmen and some artisans restored workshops after liberation from terrorism.

Artisans describe working with recycled glass melted at high temperature and shaping, blowing, rotating, processing, colouring and decorating items such as hookah bottles, vases, plates and decorative objects.

The Syrian conflict significantly affected the traditional craft and disrupted production and continuity of practicing workshops.

UNESCO inscribed Syrian traditional glassblowing on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

The UNESCO urgent‑safeguarding listing was prompted by the craft's disruption and the risk to its continuity following the war.

The provided documents do not specify the total number of craftsmen currently practicing traditional glassblowing in Syria.

In summary: Syrian traditional glassblowing is an ancient craft centered in Damascus and Aleppo that has been disrupted by conflict and was listed by UNESCO in December 2023 as urgently needing safeguarding.


Traditional glassblowing in Syria is an ancient artisanal craft that the documents state dates back more than two thousand years to the time of the Phoenicians.

Scholarly and museum reports note that the development of glass‑blowing technology in the Levant enabled mass production of glass objects in the region.

Archaeological finds and museum conservation work indicate that glass vessels from Roman, Byzantine and early Islamic periods show use of early glass‑blowing techniques and that some objects were produced in or imported from areas corresponding to present‑day Syria.

Within Syria, the documents identify urban and regional centres with long glass traditions, mentioning Damascus and specifically the town of Urem Al‑Kubra in Aleppo province as historically noted for skilled glassblowing craftsmen.

Damascene craft activity documented in the materials includes painting and decoration on glass for objects such as mashkāt (lamps) and lanterns, using oxides and various colorants.

A contemporary account from the Aleppo countryside describes artisans using recycled glass melted in a furnace and then blowing, rotating and processing pieces into specific shapes like hookah bottles, vases, plates, small jugs, decorative 'fish houses', decorated cups and other antiques.

The documents record that knowledge transmission often occurs within families; one artisan described learning the craft from his father and another reported about forty years of practice.

The Syrian conflict significantly disrupted traditional glassblowing practice, and some artisans have since restored small facilities and resumed work after areas were liberated.

The provided documents do not give an exact number of craftsmen currently practising traditional manual glassblowing in Syria.

According to the materials, UNESCO inscribed traditional glassblowing in Syria on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

The documents present the craft's very long history and recent wartime disruption alongside the UNESCO inscription, but they do not record UNESCO's formal written rationale for the listing in the provided excerpts.

Local cultural exhibitions and seminars in Damascus have highlighted traditional Damascene crafts, including glass painting and related heritage work, as part of efforts to preserve and promote these traditions.

In summary, the documents describe Syrian traditional glassblowing as an ancient Phoenician‑rooted craft practiced in cities like Damascus and towns such as Urem Al‑Kubra, show that the craft has been disrupted by war and later revived by some artisans, note specific materials and hand‑blowing techniques, report a December 2023 UNESCO inscription as urgently needing safeguarding, and do not provide an exact current count of practising craftsmen.

Traditional glassblowing in Syria is an ancient artisanal craft that the documents state dates back more than two thousand years to the time of the Phoenicians.

Title:

Content: Art of glassblowing returns again in Aleppo countryside liberated from terrorism

The town of Urem Al-Kubra in Aleppo province in northern Syria has historically been famous for its skilled glassblowing craftsmen. The war considerably affected this traditional craft inherited from our ancestors, but after the liberation of the city from terrorism, some artisans have brought it back to life. The artisan, Yassin Arab learned the glassblowing craft from his father when he was a child, and after the town was liberated from terrorism, he returned to his small facility, where he worked to restore it and start working again. Arab does not hide his enormous passion for the craft of glassblowing and his belief in the need to preserve this ancient Syrian heritage. Regarding the working mechanism, the artisan explained to SANA that he uses recycled glass, melts it again in the oven at high temperature, and then chooses a specific shape for its manufacture, whether hookah bottles, vases, plates, small jugs, fish houses for decoration, decorated cups and antiques of different sizes. After that, t he piece is blown, rotated and processed by the artisan until it takes its final shape using white and brown colors, and once the manufacturing of the product is finished, it is decorated and colored to give it the required aesthetics. For his part, Hussein Najjar noted that he learned the craft of blowing glass manually since he was young and has been working in this field for 40 years. He added that he is able to make any shape or glass container, using his imagination, and considered that the art of glassblowing is one of the types of plastic arts. Traditional glassblowing is a profession that dates back more than two thousand years (since the time of the Phoenicians) and was included in December 2023 by UNESCO on the list of intangible cultural heritage of humanity that needs urgent preservation. Source: Syrian Arab News Agency

Title:

Content: Samples of the Damascene Literary Heritage Attend an Exhibition and Seminar in the Culture of Infection
Damascus-Sana
In the exhibition “Heritage Crafts are Inherited by the Fragrance of History ” hosted by the Adawi Cultural Center, the artworks varied between glass decoration, Damascene brocade and various handicrafts.
The exhibition was followed by an introductory seminar on these arts for the Sheikhs of Carr and craftsmen specialized in these professions under the supervision of the handicraft trainer Rowaa Yousef.
Youssef Lassana explained that the exhibition was dedicated to traditional professions in general and handicrafts, especially such as brocade, painting on glass, Islamic motifs and handicrafts to maintain their continuity and importance.
Mohammed Bassam Rayhan Sheikh Al-Karar in painting on glass and decoration spoke in his intervention about the history of this craft, its forms, fields of work and materials used in it, pointing out that the glass, which was the first to be invented by the Phoenicians, evolved in Damascus throughout history and was painted on the mishkat and lanterns using oxides and various materials, thermal colors, acrlik and others.
The Damascene brocade craftsman Mohammed Rankous explained in his intervention that this cloth is made of natural silk and golden reed yarns and attributed to Damascus because it took its character, heritage and environment, such as the painting of Omar Khayyam, the Levantine Rose, grape clusters, the lover and the beloved, and the octagonal geometric drawings, pointing out that this craft entered the cultures of different civilizations.
Nasruddin Mohammed is a graduate of applied arts and a drawing teacher who participated in paintings for his students from children and boys. In his intervention, he explained the history of the Damascene plant decoration, its methods, types and schools such as Andalusian, Persian and Damascene, and its differences in decoration, diggings, mirrors and miniatures, indicating that its history dates back to the Andalusian civilization, which was its main creativity in palaces and buildings.
Mohammed Sabha is a bridal craftsman who participated in a group of decorative glass works for brides and explained that he has completed a model of a waterfall flowing from an electric mountain that is operated by hand from cardboard, wood and cork inspired by his ideas.
Rana Ayoub participated in a group of works of three-dimensional models and miniatures of the Levant environment. She explained that she chose this environment because she grew up and lived in it and adored it. It is necessary to inform future generations of their heritage and history, pointing out that she works with cork, wood, natural materials, gypsum, ceramic paste and others.
Bilal Ahmed

Scholarly and museum reports note that the development of glass‑blowing technology in the Levant enabled mass production of glass objects in the region.

Title:

Content: British Museum displays newly restored ancient glass vessels damaged in Beirut explosion

Discoveries made during the reconstruction process shed light on glass production in Lebanon 2,000 years ago

Beta V.1.0 - Powered by automated translation

Eight ancient glass vessels, damaged in the 2020 Beirut port explosion, have just gone on display at the British Museum in London as part of the exhibition Shattered Glass of Beirut.

The vessels, dating back to the Roman, Islamic and Byzantine periods, include bowls, a flask, beaker, jug and cup that were meticulously pieced back together as part of an ongoing collaborative restoration project between the British Museum and the Archaeological Museum of the American University of Beirut, which began last year.

On August 2020, a stockpile of ammonium nitrate exploded at the port of Beirut in Lebanon, killing at least 218 people, injuring 7,000, displacing 300,000 and causing $15 billion worth of damage.

The explosion shattered the AUB museum’s windows, doors and a case containing 74 glass vessels, shattering all but two pieces.

As part of an emergency recovery campaign, 18 vessels have been pieced back together. Conservators at the British Museum and the AUB museum hope that at least half of the remaining 46 objects can also be restored soon.

Over three months, experts from the Archaeological Museum and the British Museum laboriously sorted through fragments of the broken vessels and sensitively reassembled them.

Conservators at both institutions made the decision to reconstruct the vessels to be structurally sound but leave the visible damage caused by the explosion. Lighting will be used in the display to highlight the flaws and cracks in the glass, which have now become part of the history of the ancient objects.

“Reconstructing these fragmented glass vessels one tiny bit at a time, helped to reunite, to recognise their heritage value and to build a sense of community,” said Nadine Panayot, curator of AUB's Archaeological Museum.

“To see these shattered and delicate vessels reassembled not only sparked a healing process, but also inspired me to hope for a better future.”

Playing footage of the reconstruction process alongside recorded interviews with the conservators, Shattered Glass of Beirut will demonstrate the emotional impact of the explosion, and the emergency response to it.

“The footage of the Beirut explosion came as a huge shock, and I replayed the images repeatedly in disbelief,” said Zeina Klink-Hoppe, curator at the British Museum.

“Working with colleagues at the British Museum and at the Archaeological Museum in Beirut to piece together some of the artefacts that were shattered in the explosion has been an emotional journey, but also a meaningful small step in the preservation of Beirut’s heritage and pride and in the recovery of its citizens as they gradually rebuild their lives.”

During the reconstruction process, individual fragments underwent scientific analysis at the British Museum and University College London’s Institute of Archaeology. Non-destructive scanning techniques revealed new information about the provenance of glass production and the nature of the glass materials, along with interesting manufacturing details.

The vessels were made at sites along the eastern Mediterranean coast — six were produced using early glass-blowing technology, revealing experimentation in the function and form of the pieces. Two others date to the early Islamic and late Byzantine periods, and were possibly imported to Lebanon from present-day Syria or Egypt.

Some of the vessels revealed signs of recycling in their production, with craftspeople possibly using older glass to make new objects.

While experts have found it fascinating to identify the similarities between today's glass recycling techniques and those from 2,000 years ago, the discoveries have also shed light on the habits and practices of glass producers and consumers of Lebanon in the first century BC.

The development of glass-blowing technology in the Levant enabled the mass production of glass objects, revolutionising production of the material in the region.

The Shattered Glass of Beirut exhibition will be on show at The Asahi Shimbun Displays, British Museum, until October 23.

British Museum Egyptian hieroglyphs exhibition - in pictures

Updated: August 29, 2022, 3:05 PM
MORE FROM THE NATIONAL

Archaeological finds and museum conservation work indicate that glass vessels from Roman, Byzantine and early Islamic periods show use of early glass‑blowing techniques and that some objects were produced in or imported from areas corresponding to present‑day Syria.

Within Syria, the documents identify urban and regional centres with long glass traditions, mentioning Damascus and specifically the town of Urem Al‑Kubra in Aleppo province as historically noted for skilled glassblowing craftsmen.

Damascene craft activity documented in the materials includes painting and decoration on glass for objects such as mashkāt (lamps) and lanterns, using oxides and various colorants.

A contemporary account from the Aleppo countryside describes artisans using recycled glass melted in a furnace and then blowing, rotating and processing pieces into specific shapes like hookah bottles, vases, plates, small jugs, decorative 'fish houses', decorated cups and other antiques.

The documents record that knowledge transmission often occurs within families; one artisan described learning the craft from his father and another reported about forty years of practice.

The Syrian conflict significantly disrupted traditional glassblowing practice, and some artisans have since restored small facilities and resumed work after areas were liberated.

The provided documents do not give an exact number of craftsmen currently practising traditional manual glassblowing in Syria.

According to the materials, UNESCO inscribed traditional glassblowing in Syria on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

The documents present the craft's very long history and recent wartime disruption alongside the UNESCO inscription, but they do not record UNESCO's formal written rationale for the listing in the provided excerpts.

Local cultural exhibitions and seminars in Damascus have highlighted traditional Damascene crafts, including glass painting and related heritage work, as part of efforts to preserve and promote these traditions.

In summary, the documents describe Syrian traditional glassblowing as an ancient Phoenician‑rooted craft practiced in cities like Damascus and towns such as Urem Al‑Kubra, show that the craft has been disrupted by war and later revived by some artisans, note specific materials and hand‑blowing techniques, report a December 2023 UNESCO inscription as urgently needing safeguarding, and do not provide an exact current count of practising craftsmen.


Traditional glassblowing is an artisanal craft practiced in Syrian cities including Aleppo and Damascus.

The profession traces its origins in the region to more than two thousand years ago, since the time of the Phoenicians.

Development of glass-blowing technology in the Levant enabled mass production of glass objects historically.

In Damascus, artisans practice painting and decoration on glass, applying oxides, thermal colors and acrylics to lanterns and similar objects.

Artisans use recycled glass and manual blowing techniques to make hookah bottles, vases, plates, decorative cups and antiques.

The war severely affected the craft, and some artisans have restored small workshops and resumed work after liberation in some areas.

UNESCO inscribed traditional glassblowing in Syria on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

UNESCO's designation indicates the craft is considered at risk and in need of preservation measures.

The provided sources do not give a specific figure for how many craftsmen currently practice traditional glassblowing in Syria.

In short: Syrian traditional glassblowing is an ancient, regionally important craft centered in cities such as Damascus and Aleppo that has been damaged by conflict and was listed by UNESCO in December 2023 as needing urgent safeguarding.

Traditional glassblowing is an artisanal craft practiced in Syrian cities including Aleppo and Damascus.

Title:

Content: Art of glassblowing returns again in Aleppo countryside liberated from terrorism

The town of Urem Al-Kubra in Aleppo province in northern Syria has historically been famous for its skilled glassblowing craftsmen. The war considerably affected this traditional craft inherited from our ancestors, but after the liberation of the city from terrorism, some artisans have brought it back to life. The artisan, Yassin Arab learned the glassblowing craft from his father when he was a child, and after the town was liberated from terrorism, he returned to his small facility, where he worked to restore it and start working again. Arab does not hide his enormous passion for the craft of glassblowing and his belief in the need to preserve this ancient Syrian heritage. Regarding the working mechanism, the artisan explained to SANA that he uses recycled glass, melts it again in the oven at high temperature, and then chooses a specific shape for its manufacture, whether hookah bottles, vases, plates, small jugs, fish houses for decoration, decorated cups and antiques of different sizes. After that, t he piece is blown, rotated and processed by the artisan until it takes its final shape using white and brown colors, and once the manufacturing of the product is finished, it is decorated and colored to give it the required aesthetics. For his part, Hussein Najjar noted that he learned the craft of blowing glass manually since he was young and has been working in this field for 40 years. He added that he is able to make any shape or glass container, using his imagination, and considered that the art of glassblowing is one of the types of plastic arts. Traditional glassblowing is a profession that dates back more than two thousand years (since the time of the Phoenicians) and was included in December 2023 by UNESCO on the list of intangible cultural heritage of humanity that needs urgent preservation. Source: Syrian Arab News Agency

Title:

Content: Samples of the Damascene Literary Heritage Attend an Exhibition and Seminar in the Culture of Infection
Damascus-Sana
In the exhibition “Heritage Crafts are Inherited by the Fragrance of History ” hosted by the Adawi Cultural Center, the artworks varied between glass decoration, Damascene brocade and various handicrafts.
The exhibition was followed by an introductory seminar on these arts for the Sheikhs of Carr and craftsmen specialized in these professions under the supervision of the handicraft trainer Rowaa Yousef.
Youssef Lassana explained that the exhibition was dedicated to traditional professions in general and handicrafts, especially such as brocade, painting on glass, Islamic motifs and handicrafts to maintain their continuity and importance.
Mohammed Bassam Rayhan Sheikh Al-Karar in painting on glass and decoration spoke in his intervention about the history of this craft, its forms, fields of work and materials used in it, pointing out that the glass, which was the first to be invented by the Phoenicians, evolved in Damascus throughout history and was painted on the mishkat and lanterns using oxides and various materials, thermal colors, acrlik and others.
The Damascene brocade craftsman Mohammed Rankous explained in his intervention that this cloth is made of natural silk and golden reed yarns and attributed to Damascus because it took its character, heritage and environment, such as the painting of Omar Khayyam, the Levantine Rose, grape clusters, the lover and the beloved, and the octagonal geometric drawings, pointing out that this craft entered the cultures of different civilizations.
Nasruddin Mohammed is a graduate of applied arts and a drawing teacher who participated in paintings for his students from children and boys. In his intervention, he explained the history of the Damascene plant decoration, its methods, types and schools such as Andalusian, Persian and Damascene, and its differences in decoration, diggings, mirrors and miniatures, indicating that its history dates back to the Andalusian civilization, which was its main creativity in palaces and buildings.
Mohammed Sabha is a bridal craftsman who participated in a group of decorative glass works for brides and explained that he has completed a model of a waterfall flowing from an electric mountain that is operated by hand from cardboard, wood and cork inspired by his ideas.
Rana Ayoub participated in a group of works of three-dimensional models and miniatures of the Levant environment. She explained that she chose this environment because she grew up and lived in it and adored it. It is necessary to inform future generations of their heritage and history, pointing out that she works with cork, wood, natural materials, gypsum, ceramic paste and others.
Bilal Ahmed

The profession traces its origins in the region to more than two thousand years ago, since the time of the Phoenicians.

Development of glass-blowing technology in the Levant enabled mass production of glass objects historically.

Title:

Content: British Museum displays newly restored ancient glass vessels damaged in Beirut explosion

Discoveries made during the reconstruction process shed light on glass production in Lebanon 2,000 years ago

Beta V.1.0 - Powered by automated translation

Eight ancient glass vessels, damaged in the 2020 Beirut port explosion, have just gone on display at the British Museum in London as part of the exhibition Shattered Glass of Beirut.

The vessels, dating back to the Roman, Islamic and Byzantine periods, include bowls, a flask, beaker, jug and cup that were meticulously pieced back together as part of an ongoing collaborative restoration project between the British Museum and the Archaeological Museum of the American University of Beirut, which began last year.

On August 2020, a stockpile of ammonium nitrate exploded at the port of Beirut in Lebanon, killing at least 218 people, injuring 7,000, displacing 300,000 and causing $15 billion worth of damage.

The explosion shattered the AUB museum’s windows, doors and a case containing 74 glass vessels, shattering all but two pieces.

As part of an emergency recovery campaign, 18 vessels have been pieced back together. Conservators at the British Museum and the AUB museum hope that at least half of the remaining 46 objects can also be restored soon.

Over three months, experts from the Archaeological Museum and the British Museum laboriously sorted through fragments of the broken vessels and sensitively reassembled them.

Conservators at both institutions made the decision to reconstruct the vessels to be structurally sound but leave the visible damage caused by the explosion. Lighting will be used in the display to highlight the flaws and cracks in the glass, which have now become part of the history of the ancient objects.

“Reconstructing these fragmented glass vessels one tiny bit at a time, helped to reunite, to recognise their heritage value and to build a sense of community,” said Nadine Panayot, curator of AUB's Archaeological Museum.

“To see these shattered and delicate vessels reassembled not only sparked a healing process, but also inspired me to hope for a better future.”

Playing footage of the reconstruction process alongside recorded interviews with the conservators, Shattered Glass of Beirut will demonstrate the emotional impact of the explosion, and the emergency response to it.

“The footage of the Beirut explosion came as a huge shock, and I replayed the images repeatedly in disbelief,” said Zeina Klink-Hoppe, curator at the British Museum.

“Working with colleagues at the British Museum and at the Archaeological Museum in Beirut to piece together some of the artefacts that were shattered in the explosion has been an emotional journey, but also a meaningful small step in the preservation of Beirut’s heritage and pride and in the recovery of its citizens as they gradually rebuild their lives.”

During the reconstruction process, individual fragments underwent scientific analysis at the British Museum and University College London’s Institute of Archaeology. Non-destructive scanning techniques revealed new information about the provenance of glass production and the nature of the glass materials, along with interesting manufacturing details.

The vessels were made at sites along the eastern Mediterranean coast — six were produced using early glass-blowing technology, revealing experimentation in the function and form of the pieces. Two others date to the early Islamic and late Byzantine periods, and were possibly imported to Lebanon from present-day Syria or Egypt.

Some of the vessels revealed signs of recycling in their production, with craftspeople possibly using older glass to make new objects.

While experts have found it fascinating to identify the similarities between today's glass recycling techniques and those from 2,000 years ago, the discoveries have also shed light on the habits and practices of glass producers and consumers of Lebanon in the first century BC.

The development of glass-blowing technology in the Levant enabled the mass production of glass objects, revolutionising production of the material in the region.

The Shattered Glass of Beirut exhibition will be on show at The Asahi Shimbun Displays, British Museum, until October 23.

British Museum Egyptian hieroglyphs exhibition - in pictures

Updated: August 29, 2022, 3:05 PM
MORE FROM THE NATIONAL

In Damascus, artisans practice painting and decoration on glass, applying oxides, thermal colors and acrylics to lanterns and similar objects.

Artisans use recycled glass and manual blowing techniques to make hookah bottles, vases, plates, decorative cups and antiques.

The war severely affected the craft, and some artisans have restored small workshops and resumed work after liberation in some areas.

UNESCO inscribed traditional glassblowing in Syria on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

UNESCO's designation indicates the craft is considered at risk and in need of preservation measures.

The provided sources do not give a specific figure for how many craftsmen currently practice traditional glassblowing in Syria.

In short: Syrian traditional glassblowing is an ancient, regionally important craft centered in cities such as Damascus and Aleppo that has been damaged by conflict and was listed by UNESCO in December 2023 as needing urgent safeguarding.


Traditional glassblowing in Syria dates back more than two thousand years, to the time of the Phoenicians.

The craft evolved in Syrian urban centres such as Damascus, where glass decoration and painting on lamps and lanterns have long been practiced.

The town of Urem Al-Kubra in Aleppo province has been historically famous for skilled glassblowing craftsmen.

The Syrian conflict considerably affected the traditional glassblowing craft and its workshops.

After liberation in some areas, some artisans worked to restore small facilities and resume glassblowing production.

Local artisans learn the craft in family settings and use recycled glass melted at high temperature to remake objects.

Practitioners produce items such as hookah bottles, vases, plates, small jugs, decorative fish houses, cups and other antiques.

Glass pieces are formed by blowing, rotating and manual processing, and are then decorated and colored, often using white and brown tones.

Some named practitioners report long careers; for example, one artisan described working in the field for forty years.

Museum research on eastern Mediterranean glass confirms that the development of glass-blowing technology in the Levant enabled mass production and transformed regional glass production.

UNESCO inscribed traditional Syrian glassblowing on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

The documents link the craft's urgent safeguarding to its very long history and to damage and disruption caused by recent conflict, which together threaten continuity.

The provided context does not give a specific count of how many craftsmen currently practise traditional glassblowing in Syria.

For introducing your guest, emphasize the craft's two-thousand-year history, the local practices of recycling and hand-blowing, the cultural role in Damascus and Aleppo, and the recent UNESCO listing that signals the craft is endangered.

Traditional Syrian glassblowing is an ancient craft centered in places such as Damascus and Urem Al-Kubra, practised with recycled glass and hand-blowing techniques, and was inscribed by UNESCO in December 2023 as an Intangible Cultural Heritage in Need of Urgent Safeguarding because its long history and wartime damage put its continuity at risk.

Traditional glassblowing in Syria dates back more than two thousand years, to the time of the Phoenicians.

Title:

Content: Art of glassblowing returns again in Aleppo countryside liberated from terrorism

The town of Urem Al-Kubra in Aleppo province in northern Syria has historically been famous for its skilled glassblowing craftsmen. The war considerably affected this traditional craft inherited from our ancestors, but after the liberation of the city from terrorism, some artisans have brought it back to life. The artisan, Yassin Arab learned the glassblowing craft from his father when he was a child, and after the town was liberated from terrorism, he returned to his small facility, where he worked to restore it and start working again. Arab does not hide his enormous passion for the craft of glassblowing and his belief in the need to preserve this ancient Syrian heritage. Regarding the working mechanism, the artisan explained to SANA that he uses recycled glass, melts it again in the oven at high temperature, and then chooses a specific shape for its manufacture, whether hookah bottles, vases, plates, small jugs, fish houses for decoration, decorated cups and antiques of different sizes. After that, t he piece is blown, rotated and processed by the artisan until it takes its final shape using white and brown colors, and once the manufacturing of the product is finished, it is decorated and colored to give it the required aesthetics. For his part, Hussein Najjar noted that he learned the craft of blowing glass manually since he was young and has been working in this field for 40 years. He added that he is able to make any shape or glass container, using his imagination, and considered that the art of glassblowing is one of the types of plastic arts. Traditional glassblowing is a profession that dates back more than two thousand years (since the time of the Phoenicians) and was included in December 2023 by UNESCO on the list of intangible cultural heritage of humanity that needs urgent preservation. Source: Syrian Arab News Agency

Title:

Content: Samples of the Damascene Literary Heritage Attend an Exhibition and Seminar in the Culture of Infection
Damascus-Sana
In the exhibition “Heritage Crafts are Inherited by the Fragrance of History ” hosted by the Adawi Cultural Center, the artworks varied between glass decoration, Damascene brocade and various handicrafts.
The exhibition was followed by an introductory seminar on these arts for the Sheikhs of Carr and craftsmen specialized in these professions under the supervision of the handicraft trainer Rowaa Yousef.
Youssef Lassana explained that the exhibition was dedicated to traditional professions in general and handicrafts, especially such as brocade, painting on glass, Islamic motifs and handicrafts to maintain their continuity and importance.
Mohammed Bassam Rayhan Sheikh Al-Karar in painting on glass and decoration spoke in his intervention about the history of this craft, its forms, fields of work and materials used in it, pointing out that the glass, which was the first to be invented by the Phoenicians, evolved in Damascus throughout history and was painted on the mishkat and lanterns using oxides and various materials, thermal colors, acrlik and others.
The Damascene brocade craftsman Mohammed Rankous explained in his intervention that this cloth is made of natural silk and golden reed yarns and attributed to Damascus because it took its character, heritage and environment, such as the painting of Omar Khayyam, the Levantine Rose, grape clusters, the lover and the beloved, and the octagonal geometric drawings, pointing out that this craft entered the cultures of different civilizations.
Nasruddin Mohammed is a graduate of applied arts and a drawing teacher who participated in paintings for his students from children and boys. In his intervention, he explained the history of the Damascene plant decoration, its methods, types and schools such as Andalusian, Persian and Damascene, and its differences in decoration, diggings, mirrors and miniatures, indicating that its history dates back to the Andalusian civilization, which was its main creativity in palaces and buildings.
Mohammed Sabha is a bridal craftsman who participated in a group of decorative glass works for brides and explained that he has completed a model of a waterfall flowing from an electric mountain that is operated by hand from cardboard, wood and cork inspired by his ideas.
Rana Ayoub participated in a group of works of three-dimensional models and miniatures of the Levant environment. She explained that she chose this environment because she grew up and lived in it and adored it. It is necessary to inform future generations of their heritage and history, pointing out that she works with cork, wood, natural materials, gypsum, ceramic paste and others.
Bilal Ahmed

The craft evolved in Syrian urban centres such as Damascus, where glass decoration and painting on lamps and lanterns have long been practiced.

The town of Urem Al-Kubra in Aleppo province has been historically famous for skilled glassblowing craftsmen.

The Syrian conflict considerably affected the traditional glassblowing craft and its workshops.

After liberation in some areas, some artisans worked to restore small facilities and resume glassblowing production.

Local artisans learn the craft in family settings and use recycled glass melted at high temperature to remake objects.

Practitioners produce items such as hookah bottles, vases, plates, small jugs, decorative fish houses, cups and other antiques.

Glass pieces are formed by blowing, rotating and manual processing, and are then decorated and colored, often using white and brown tones.

Some named practitioners report long careers; for example, one artisan described working in the field for forty years.

Museum research on eastern Mediterranean glass confirms that the development of glass-blowing technology in the Levant enabled mass production and transformed regional glass production.

Title:

Content: British Museum displays newly restored ancient glass vessels damaged in Beirut explosion

Discoveries made during the reconstruction process shed light on glass production in Lebanon 2,000 years ago

Beta V.1.0 - Powered by automated translation

Eight ancient glass vessels, damaged in the 2020 Beirut port explosion, have just gone on display at the British Museum in London as part of the exhibition Shattered Glass of Beirut.

The vessels, dating back to the Roman, Islamic and Byzantine periods, include bowls, a flask, beaker, jug and cup that were meticulously pieced back together as part of an ongoing collaborative restoration project between the British Museum and the Archaeological Museum of the American University of Beirut, which began last year.

On August 2020, a stockpile of ammonium nitrate exploded at the port of Beirut in Lebanon, killing at least 218 people, injuring 7,000, displacing 300,000 and causing $15 billion worth of damage.

The explosion shattered the AUB museum’s windows, doors and a case containing 74 glass vessels, shattering all but two pieces.

As part of an emergency recovery campaign, 18 vessels have been pieced back together. Conservators at the British Museum and the AUB museum hope that at least half of the remaining 46 objects can also be restored soon.

Over three months, experts from the Archaeological Museum and the British Museum laboriously sorted through fragments of the broken vessels and sensitively reassembled them.

Conservators at both institutions made the decision to reconstruct the vessels to be structurally sound but leave the visible damage caused by the explosion. Lighting will be used in the display to highlight the flaws and cracks in the glass, which have now become part of the history of the ancient objects.

“Reconstructing these fragmented glass vessels one tiny bit at a time, helped to reunite, to recognise their heritage value and to build a sense of community,” said Nadine Panayot, curator of AUB's Archaeological Museum.

“To see these shattered and delicate vessels reassembled not only sparked a healing process, but also inspired me to hope for a better future.”

Playing footage of the reconstruction process alongside recorded interviews with the conservators, Shattered Glass of Beirut will demonstrate the emotional impact of the explosion, and the emergency response to it.

“The footage of the Beirut explosion came as a huge shock, and I replayed the images repeatedly in disbelief,” said Zeina Klink-Hoppe, curator at the British Museum.

“Working with colleagues at the British Museum and at the Archaeological Museum in Beirut to piece together some of the artefacts that were shattered in the explosion has been an emotional journey, but also a meaningful small step in the preservation of Beirut’s heritage and pride and in the recovery of its citizens as they gradually rebuild their lives.”

During the reconstruction process, individual fragments underwent scientific analysis at the British Museum and University College London’s Institute of Archaeology. Non-destructive scanning techniques revealed new information about the provenance of glass production and the nature of the glass materials, along with interesting manufacturing details.

The vessels were made at sites along the eastern Mediterranean coast — six were produced using early glass-blowing technology, revealing experimentation in the function and form of the pieces. Two others date to the early Islamic and late Byzantine periods, and were possibly imported to Lebanon from present-day Syria or Egypt.

Some of the vessels revealed signs of recycling in their production, with craftspeople possibly using older glass to make new objects.

While experts have found it fascinating to identify the similarities between today's glass recycling techniques and those from 2,000 years ago, the discoveries have also shed light on the habits and practices of glass producers and consumers of Lebanon in the first century BC.

The development of glass-blowing technology in the Levant enabled the mass production of glass objects, revolutionising production of the material in the region.

The Shattered Glass of Beirut exhibition will be on show at The Asahi Shimbun Displays, British Museum, until October 23.

British Museum Egyptian hieroglyphs exhibition - in pictures

Updated: August 29, 2022, 3:05 PM
MORE FROM THE NATIONAL

UNESCO inscribed traditional Syrian glassblowing on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

The documents link the craft's urgent safeguarding to its very long history and to damage and disruption caused by recent conflict, which together threaten continuity.

The provided context does not give a specific count of how many craftsmen currently practise traditional glassblowing in Syria.

For introducing your guest, emphasize the craft's two-thousand-year history, the local practices of recycling and hand-blowing, the cultural role in Damascus and Aleppo, and the recent UNESCO listing that signals the craft is endangered.

Traditional Syrian glassblowing is an ancient craft centered in places such as Damascus and Urem Al-Kubra, practised with recycled glass and hand-blowing techniques, and was inscribed by UNESCO in December 2023 as an Intangible Cultural Heritage in Need of Urgent Safeguarding because its long history and wartime damage put its continuity at risk.


Global avocado consumption has risen markedly over the past decade, driven by food trends, year‑round availability, and demographic shifts.

Mexico supplies about 80 percent of the avocados eaten in the United States and Mexican avocado exports to the United States were reported at about $2.8 billion.

Prices and short‑term import disruptions have increased market volatility, and one report noted prices were 100% higher than the previous year during a disruption.

In Michoacán roughly 300,000 workers depend on the avocado industry for picking, packing, and transporting the fruit.

The industry in Mexico has attracted criminal groups and law‑enforcement issues that threatened inspectors and briefly halted U.S. imports.

Kenya experienced rapid export growth from 2017 to 2020, with shipments rising from 3,406 to 9,666 and volumes increasing from 38.7 million kilos to 71.7 million kilos.

Kenyan farmers often favor exports because export prices are higher, which has reduced local supply and pushed up domestic prices.

Avocado cultivation requires large amounts of water and is vulnerable to hotter, drier conditions, making yields at risk under climate change.

A cited report estimates avocado‑suitable land could decline by 14–41% globally by mid‑century and that Mexico could lose about 59% of its suitable land even if warming stays below 2°C.

The same report projects yields in the best growing regions may fall by about 40–41% by 2050.

The provided documents do not include direct evidence tying avocado expansion to deforestation.

Rising plant‑based and vegan market trends are documented and are likely contributors to increased demand for plant ingredients, which can include avocados.

Overall, rising global demand has increased export income and market opportunity for producing countries while also raising prices, creating security and labor pressures in producing regions, and exposing production to climate and water risks.

Global avocado consumption has risen markedly over the past decade, driven by food trends, year‑round availability, and demographic shifts.

Title:

Content: For foodies, workers, restaurant owners and investors on both sides of the Rio Grande border, Friday brought a sigh of relief after the United States lifted its temporary ban on imports of Mexican avocados.

The week-long pause — albeit a short one — had fueled concerns in the avocado industry, from the workers who pick the fruit in Mexico to consumers worrying about a potential shortage of a staple in the diets of many Americans.

Mexico supplies about 80 percent of the avocados eaten in the United States. The import ban — stemming from purported threats to a U.S. inspector in the Latin American country — shook a billion-dollar industry. Not only did the commotion showcase the law enforcement issues that growers are frequently subjected to in Mexico, but experts said it underscored the importance of one of the strongest and most successful bilateral trade agreements.

Before being smeared into toast or squashed into guacamole, the avocado’s life begins in an orchard in Michoacán — a western Mexican state over a thousand miles away from the border and the only one allowed to send over avocados to the United States. From a bright-green fruit hanging atop trees to its final stage inside American kitchens, the avocado’s journey from seed to food encompasses different phases of inspections and agreements between the two nations — which suddenly took a hit.

Last week, a plant safety inspector from the U.S. Agriculture Department’s Animal and Plant Health Inspection Service was inspecting avocados in Michoacán, when he saw some avocados that looked suspiciously like they came from another state, according to USDA and other industry experts. He raised a red flag and soon after, he received a voice-mail threat. Then the USDA announced it was shutting down imports until it could be assured its agents were safe.

The potential of an impending shortage quickly rippled across the industry — one that came shortly before the Super Bowl, one of the avocado’s biggest events. Soon, food establishments and groceries began worrying about keeping up with a demand that has exponentially increased throughout the past decade.

Prices for the fruit deemed “green gold” were already 100 percent higher than the previous year, said David Magaña, a senior analyst for RaboResearch Food & Agribusiness. But the year-long availability of avocados had also increased as well — indicating that a surge in demand can be attributed to different factors, he said.

For one, avocados, with their versatility and healthy fat attributes, became a food trend and Internet obsession. At the same time, the Hispanic population booms across the country — with a larger share of Latinos among Gen Z — have been “one of the major forces pulling the demand for avocados,” the analyst said.

But behind all those green juices and avocado Instagram-worthy photos is the partnership between Mexico and the United States — which has played a crucial role in enabling the market to expand.

In 1995 — a time when “fat-free” food staples ruled the market — the United States did not have much of a taste for avocados. The majority of the consumed fruit was produced in California. Avocado imports that year totaled $14.7 million, of which $700,000 came from Mexico, said David Orden, a professor in the department of agricultural and applied economics at Virginia Tech.

Mexico’s avocados had been banned in the decades before the North American Free Trade Agreement from 1994, Orden said — mostly out of a concern that weevils, scabs and other pests could enter U.S. orchards from imported products. The trade agreement opened the door for the incremental expansion of avocados.

In establishing a system in which U.S. inspectors verify that avocados are pest-free — from when they are growing in orchards to the moment they are packed into sealed trucks — Mexico has been allowed to ship its agricultural product. It started with an approved wintertime stock in Alaska back in the ’90s that has turned into a current year-long supply in all states.

“So that’s all very encouraging and great story about growth and trade agreements, and something the U.S. is trying to do in other countries as well,” Orden said.

The agreement has contributed to economic progress in both sides of the border. Last year, “the two-way food and agricultural trade reached $65 billion, including $2.8 billion in Mexican avocado exports to the United States,” U.S. Ambassador to Mexico Ken Salazar said in a statement. In Michoacán, some 300,000 workers depend on the avocado industry — including those doing the picking, the packing and the transporting of the fruit.

But their livelihoods have been threatened by encumbering cartels, who see the booming industry as a golden hen for profit, Orden said.

“It has attracted the attention of these gangs in an area where the cartels are not under control,” he said. “That’s where this story takes on a shadier color. But that’s really a law enforcement issue, and one that affects all of our relationships with Mexico.”

The USDA’s Animal and Plant Health Inspection Service said in a statement that it had worked with the Mexican government and the Association of Avocado Exporting Producers and Packers of Mexico to enact “additional measures” to safeguard the safety of its inspectors.

While the agency did not disclose what such measures encompass, they served to avert what could have been a costly avocado crisis — one that would had impacted plenty, from those picking the fruit to those biting into their avocado toasts.

“With this we ensure the exportation of fruit and provide economic certainty to farmers and day laborers,” Michoacán Gov. Alfredo Ramírez Bedolla tweeted Friday.

Title:

Content: Plant-Based Food Market to Surpass Worth 37981.6 Million by 2027 at 10.20% CAGR - Report by Market Research Future (MRFR)

Plant-Based Food Market Information by Type (Plant-Based Milk & Derivatives, Bakery & Confectionery, Sweet & Savory Snacks, Plant-Based Juices, RTD Tea & Coffee, RTE; RTC Meals and Others), Category (Organic and Conventional), Distribution Channel (Store-Based [Supermarkets & Hypermarkets, Convenience Stores and Others] and Non-Store-Based) and Region (North America, Europe, Asia-Pacific and Rest of the World) - Forecast till 2027

New York, New York, UNITED STATES

New York, US, Oct. 25, 2022 (GLOBE NEWSWIRE) -- Market Overview

Market Research Future (MRFR) 's report highlights, "Plant-Based Food Market Information by Type, Category, Distribution Channel, and Region - Forecast till 2027", the market will reach USD 37981.6 Million by 2027, at 10.20% CAGR.

Market Synopsis

A wide range of food products manufactured from organic plant-based ingredients is referred to as plant-based food. These products, which don't contain animal products or those derived from animals, such as milk, meat, or eggs, typically contain nuts, whole grains, vegetables, fruits, and legumes. The most well-liked plant-based foods are tofu, coconut,  tempeh, almond milk, and seitan. Veganism's carbon footprint is declining as more people become environmentally conscious. The foreign market and its expansion provide the clearest evidence of this. The globe has been searching for new, alternative meals to eat, and its preferences mirror the development of the global market.

We humans have long used plants and their products as food. However, plant-based foods are the more refined version of plant products marketed for commercial use. Various food items derived from organic plant materials are called "plant-based food." These products often contain no components originating from animals, such as meat, milk, or eggs, and are manufactured from fruits, whole grains, vegetables, nuts, oils, and legumes. Popular plant-based foods include tempeh, seitan, coconut and almond milk, and tofu. It is advised to eat foods high in folic acid, vitamins B1, C, and E, magnesium, and iron while avoiding foods high in cholesterol and saturated fats.

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Report Scope:

Report AttributeDetails
2027 Market SizeUSD 37981.6 Million
CAGR10.20% (2020–2027)
Base Year2019
Forecast Period2020-2027
Historical Data2018
Forecast UnitsValue (USD million)
Report CoverageRevenue Forecast, Competitive Landscape, Growth Factors, and Trends
Segments CoveredBy Type, Category, Distribution Channel, And Region
Geographies CoveredNorth America, Europe, Asia-Pacific, and Rest of the World (RoW)
Key Market DriversRising Prevalence Of Lactose Intolerance
Increasing Adoption Of Vegetarian And Vegan Diet

Market Competitive Landscape:

The promising contenders in the plant-based food market are:

  • TYSON FOODS, INC.
  • DANONE SA
  • NESTLÉ S.A.
  • GENERAL MILLS, INC.
  • CLARA FOODS
  • KEYSTONE NATURAL HOLDINGS
  • PREMIER FOODS PLC
  • DEL MONTE FRESH PRODUCE N.A., INC.
  • AMY’S KITCHEN

Market U.S.P. Covered:

Market Drivers:

One of the main elements fueling the market's expansion is the rise in chronic lifestyle conditions and sensitivity to animal protein. Additionally, the sector is being advanced by the widespread acceptance of vegan eating practices. There is a global trend in the public's preference for plant-based food items as people become more conscious of animal health and the need to stop the exploitation of animals in the food industry. Additionally, growing consumer acceptance of these food items results from the recent discovery of novel products like egg substitutes, plant-based milk, and meat substitutes. These products taste almost identical to those made from animals and are rich in essential nutrients.

In addition, vegan products have been promoted as a way to maintain a healthy diet through influencer and athlete awareness campaigns. The market is expected to grow even more due to these measures and the products' simplicity of availability via online sales channels. Lactose intolerance is one of the most current market opportunities. The majority of people on earth will still be lactose intolerant. This population will always require a lactose-free alternative, which even the plant-based food industry can provide. Another choice is the trend toward sustainable living, which supports animal- and climate-safe meals. As customers become more concerned with reducing their home carbon footprint, the worldwide industry is paying special attention to a fantastic opportunity for plant-based cuisine.

Browse In-depth Market Research Report (100 Pages) on Plant-Based Food: https://www.marketresearchfuture.com/reports/plant-based-food-market-8578

Market Restraints:

The market for plant-based foods is subject to several limitations. For instance, plant items don't taste the same as those made from animals. As a result, some people may object to consuming food made from plants. Additionally, some individuals might be allergic to plant minerals and proteins. As a result, plant-based foods might not be a widely recognized food option.

COVID 19 Analysis

The plant-based food market has seen the impact of the pandemic on its grades, just like other market segments. There are holes in the supply chain and production since the immediate market impact was a sharp slowdown. In the meantime, there were issues with the global supply chain, and sales in the retail sector declined. The manufacturing of plant-based foods was also negatively impacted. However, the global market looked at clear growth forecasts once the retail and production network had been trained to acclimate itself to a post-pandemic environment.

The plant-based food market benefits from the general public's propensity for good health in the post-pandemic world. Health-aware people prefer plant-based foods due to their low-calorie content. Conversely, lactose-intolerant people like plant-based diets because of their nutritional value and lack of side effects. The average person does not hesitate to spend money on food and nutrition in the post-pandemic society to maintain his internal health. The majority of global market participants profit from this mentality.

Market Segmentation

By category, the market includes organic and conventional. By distribution channel, the market includes store-based and non-store-based. By type, the market includes plant-based milk & derivatives, bakery & confectionery, RTE, sweet & savory snacks, plant-based juices, RTD Tea & coffee, and RTC meals.

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Regional Insights

The major regional markets are Asia Pacific, North America, Europe, and the rest of the world. There has always been a significant need for plant-based diets in the European continent. The trend of going vegan has also contributed to expanding the regional global market in North America. In terms of revenue generated by the plant-based food industry, the USA dominates North America. In terms of global Market Revenue, China is the leader in the Asia-Pacific area. In actuality, Asia-Pacific exhibits the greatest regional rate of market size growth during the projection period.

The majority of revenue came from North America. The market is primarily driven by growing environmental and animal welfare issues related to the food sector. The prevalence of lactose intolerance in the U.S. is another factor that increases demand for dairy alternatives. The region with the fastest anticipated growth is the Asia Pacific. Consumers' growing health consciousness primarily drives the market. Due to the strong development potential, leading manufacturers in the market have been concentrating on growing their business in the Asia Pacific.

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Spain Fermentation Ingredients Market Information- by Type (Alcohol. Amino acid, Antibiotics, Polymer, Vitamins, Enzymes, Organic acid and Others), by Form (Dry, Liquid and Others), by Application (Chemical, Food & beverages, Pharmaceutical, Animal Feed and Others) and by Feedstock (Sugar beet, Wheat, Corn and Other) and by Province Forecast to 2027

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Content: Categories
News

Study Shows High Demand for Plant-Based Alternatives

Summary: A recent study reveals that there is a growing demand for plant-based alternatives among consumers. The research suggests that people are becoming more conscious of the environmental impact of their food choices and are opting for plant-based options as a result.

According to a study conducted a leading market research firm, there has been a significant increase in the demand for plant-based alternatives in recent years. The researchers found that consumers are increasingly choosing plant-based options over traditional animal-based products.

This shift in consumer behavior can be attributed to various factors, one of which is the growing awareness of the environmental impact of meat production. The study found that a substantial number of consumers are actively seeking out plant-based alternatives as a way to reduce their carbon footprint and contribute to a more sustainable food system.

Additionally, the study also revealed that health concerns are a driving factor behind the increased demand for plant-based alternatives. Many consumers are turning to these products as a healthier alternative to traditional animal-based options, as they are often lower in fat and cholesterol.

Furthermore, the study highlighted the role of innovation in the plant-based food industry. The researchers noted that the availability and variety of plant-based alternatives have greatly improved in recent years, making it easier for consumers to choose these options. This, combined with increased marketing and promotion of plant-based products, has contributed to the growing demand.

In conclusion, the study indicates that there is a clear trend towards plant-based alternatives among consumers. It suggests that people are increasingly conscious of the environmental impact and health implications of their food choices, leading them to opt for plant-based options. This growing demand highlights the need for continued innovation and development in the plant-based food industry.

How has avocado consumption changed in recent years?

How has avocado consumption changed in recent years?

How has avocado consumption changed in recent years?

Mexico supplies about 80 percent of the avocados eaten in the United States and Mexican avocado exports to the United States were reported at about $2.8 billion.

What are the countries and regions that produce and export avocados?

What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

Prices and short‑term import disruptions have increased market volatility, and one report noted prices were 100% higher than the previous year during a disruption.

How have avocado prices changed in recent years?

In Michoacán roughly 300,000 workers depend on the avocado industry for picking, packing, and transporting the fruit.

What are the countries and regions that produce and export avocados?

What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

The industry in Mexico has attracted criminal groups and law‑enforcement issues that threatened inspectors and briefly halted U.S. imports.

What negative impact has the increased global demand for avocados had on the social structure and the economy of the countries that produce them?

Why did the US temporarily ban Mexican avocado imports in 2022?

Kenya experienced rapid export growth from 2017 to 2020, with shipments rising from 3,406 to 9,666 and volumes increasing from 38.7 million kilos to 71.7 million kilos.

Title:

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Finally, the long-awaited avocado bonanza arrives

MONEY & MARKET
By Graham Kajilwa | January 10th 2022
By Graham Kajilwa | January 10th 2022
MONEY & MARKET

If there were to be a list of the three things that bother Kenyans today, the crazy prices of avocados would feature without a doubt.

Of late, these prices have hit the roof. An acute shortage in some markets has raised the standard of this fruit to an almost luxurious product.

A few years before avocado was as glorified as a super fruit, the price for a reasonable size of this ‘green gold’ was as low as Sh10 or at most Sh30 from the local vendor.

To some villagers, it was used to feed animals with farm gate prices being as low as Sh5 per piece. But now, the price of a fruit is averaging Sh60.

Currently, an avocado that costs Sh20 or Sh30 is not even attractive to the eye. While the prices of avocados have been steadily rising even in the international markets, the recent absence of the fruit has been prompted by the Directorate of Horticulture’s decision to restrict exports.

Fresh Produce Consortium of Kenya Chief Executive Okisegere Ojepat attributed the high prices of avocados in the local market to the restricted export of the fruit, leading to controlled harvesting.

Due to restriction, limited avocados are being exported until later next month as farmers are required to only sell mature fruits. “For that reason, there is little in the market,” said Ojepat.

He explained that the supply in the local market is dependent on international supply as the fruits Kenyans buy are mostly those which do not meet international export standards.

Some of them are small in size, have scratches or bruises. “For that reason, you can be assured if there is not much export, the domestic market feels the heat,” he said. The Jumbo variety is what is mostly sold in the local market. However, this is the only variety now with an open market.

While announcing the decision to restrict export of avocados last month, the Director, Horticultural Crops Directorate, Benjamin Tito, said this would ensure farmers do not export immature fruits. “We are shipping too much but what (the money) we get in return is too little,” said Tito at a press conference.

He said harvesting and exporting of immature avocados has negatively affected the image of the country in overseas markets, in addition to interfering with the cropping cycle of the trees - hence reducing the projected volumes.

According to the Fresh Produce Exporters Association of Kenya, avocado is the topmost fruit being shipped out of the country.

According to the association’s 2021 report, shipment out of the country has been increasing: rising from 3,406 in 2017, 5,833 in 2018, 8,525 in 2019 to 9,666 in 2020. In terms of volume, the figure has been going up from 38.7 million in 2017 to 71.7 million in 2020.

Data from the Horticultural Crops Directorate paints the same picture as shipment in kilogrammes increased between January and July last year to 67.1 million kilos. The period between June and July 2021, however, saw a drop to 9.8 million and 4.6 million kilos respectively, from the double-digit in May of 10.9 million kilos.

Currently, fruits constitute 34 per cent of shipments of fresh produce from Kenya, with avocado having the lion’s share.

“The Kenyan avocado recorded 9,990 shipments in 2020, shipping to 57 destinations from 35 in 2017,” reads the Fresh Produce Logistics 2021 report by the Fresh Produce Exporters Association of Kenya.

The report names avocado as among the fruits that have demonstrated consistent growth over the last five years, with others being mango, passion fruit, raspberries and pineapples.

“On avocados and nuts, Kenya has only exploited 38 per cent of its potential, which means there is still room to grow,” it adds.

The US and Pacific are some of the areas that have the potential to buy Kenya’s avocados.

Avocado Society of Kenya Chief Executive Ernest Muthomi said globalisation had increased demand for the fruit. The universality of the fruit and its use as a spread for bread or smoothie also plays a key role.

“This craze is international,” he said. “And the growing of avocados in Kenya is fueled by this – the international demand. That is why you hear some funny stories of some few Kenyans exporting immature avocados.” He said while Kenyans are also eating avocados just like anyone else in the world, the international prices as stated seem more attractive to a local farmers and exporters, hence the preference for exports.

Prices in the last three years as been a fruit go for Sh25 at the beginning. “Now we are talking about Sh40 or Sh45 for a big size fruit,” he said. The average price per box for export is Sh400 when you get it directly from the farmer.

Pressure on local prices will continue, owing to huge demand globally. It might take 50 years for global demand to be met since there are market openings in India and China.

“Some of it (shortage) is being fueled by the processing of local avocado into other products. Like some are using avocado to process oil,” he said.

As more factories are set up with international demand rising, scarcity is likely to continue unless production goes up.

“Avocados are going to be expensive,” he said. “But thank God people are planting them in areas where they have not been growing before, like Uasin Gishu, Trans Nzoia and Bomet.”

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What are the positive effects of the global demand for avocados on the countries and regions that produce and export them?

Kenyan farmers often favor exports because export prices are higher, which has reduced local supply and pushed up domestic prices.

How have avocado prices changed in recent years?

Avocado cultivation requires large amounts of water and is vulnerable to hotter, drier conditions, making yields at risk under climate change.

Title:

Content: By 2050, avocados will begin to disappear on Earth: prices for the rest will soar to the skies
Researchers have found that the amount of one of the most popular fruits on the planet could be significantly reduced by the middle of the century.
Related video
Bad news for millennials and other avocado toast aficionados: the world-famous fruit is in jeopardy.
Scientists believe that by the middle of the century in the best regions of the world, the growth of the avocado harvest can be reduced by an incredible 41%, writes the Daily Mail.
Avocado is a superproduct, but is also known for its environmental impact due to the need for plenty of water during growth.
As a result, the cultivation of the fruit was threatened in the climate crisis due to climate change, which hit our planet.
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Scientists predict that by 2050, the amount of the crop could be reduced by more than 40% due to the vulnerability of the fruit in a hotter, drier and more prone to drought world.
This is stated in a new report by the London-based charity Christian Aid.
According to Mariana Paoli, head of global advocacy at Christian Aid, avocado may be a superfood, but its kryptonite is climate change.
This fruit is one of the most popular and useful in the world, but it is not suitable for a hot and drought-prone climate.
Alas, this climate is exactly where we are heading in the climate crisis.
Note that avocado is nutritious, contains useful fats, vitamins and minerals necessary for human health.
The fruit also contains a large amount of fiber and vitamins, and therefore is often considered as the main source of nutrition.
Moreover, today scientists are actively studying avocados for potential activity against diseases, including cancer.
However, scientists recognize that if humanity fails to stop or slow down climate change, the planet will experience periods of prolonged heat.
In this case, it will be difficult for the trees to grow and tie the fruits.
As a result, the world will lose almost half of today ’ s avocado crop.
In addition, some of the world ’ s most productive avocado regions will shrink simply because the land will become too arid.
The study also says that avocados are not the only product that will suffer as a result of climate change.
The authors of the report also argue that products such as coffee and cashews will be in a vulnerable position.
According to the report, by the middle of the century, the area suitable for growing avocados will be reduced by 14-41% worldwide.
At the same time, a key region in the world in Mexico could lose 59% of the land suitable for growing avocados, even if the global average temperature remains below 2 ° C compared to pre-industrial levels.
Previously, Focus wrote that the superfood of tomorrow can be a very poisonous plant.

What negative impact has the increased global demand for avocados had on the environment?

A cited report estimates avocado‑suitable land could decline by 14–41% globally by mid‑century and that Mexico could lose about 59% of its suitable land even if warming stays below 2°C.

The same report projects yields in the best growing regions may fall by about 40–41% by 2050.

The provided documents do not include direct evidence tying avocado expansion to deforestation.

Rising plant‑based and vegan market trends are documented and are likely contributors to increased demand for plant ingredients, which can include avocados.

How has avocado consumption changed in recent years?

How has avocado consumption changed in recent years?

Overall, rising global demand has increased export income and market opportunity for producing countries while also raising prices, creating security and labor pressures in producing regions, and exposing production to climate and water risks.