**Syrian Glassblowing: History, Cultural Importance, and Contemporary Challenges**

**Introduction**
Syrian glassblowing is an ancient craft with roots that reach back over two millennia.

Today, it stands as a symbol of Syria’s rich artistic and cultural heritage—particularly in the city of Damascus—while also facing an urgent need for safeguarding and revival.

**Historical Background**
Glassblowing as a technique was invented by Syrian craftsmen in the 1st century BC, in the regions of Sidon, Aleppo, Hama, and Palmyra.

This innovation revolutionized the making of glass objects globally, enabling artisans to shape molten glass by blowing air through a tube, rather than by casting or cutting.

Damascus soon became a famed center for exquisite blown glass, producing lamps, goblets, perfume bottles, and decorative wares.

The vibrant colored glass, swirling patterns, and unique forms became hallmarks of “Damascene” glass, admired around the ancient world.

**Cultural Significance**
Traditional glassblowing is deeply woven into Syrian identity and heritage.

Beyond their beauty, glass items held ritual and everyday significance in Syrian households and mosques.

The skill and artistry required are typically passed down within families or through apprenticeships, making each piece an embodiment of learned techniques and local creativity.

Glassblowing has also become a symbol of resilience, with Syrian artisans preserving the tradition even under periods of hardship and displacement—seen today among refugees continuing the craft in places like the Zaatari Camp in Jordan.

**Current Status and Challenges**
Due to decades of modernization, mass production, economic hardship, and the devastation of Syria’s civil war, the number of traditional glassblowers has dwindled to a handful—reports often suggest fewer than five masters in Damascus still work according to ancient methods.

Much of the knowledge survives only orally, and local demand for traditional glass is rapidly shrinking in the face of cheaper, imported goods.

**UNESCO’s Urgent Safeguarding Listing**
Recognizing the craft’s exceptional value and acute vulnerability, UNESCO has placed Syrian glassblowing on its List of Intangible Cultural Heritage in Need of Urgent Safeguarding.

This highlights the risk of the art disappearing completely if not actively protected through documentation, promotion, apprenticeships, and support for remaining master artisans.

UNESCO’s action aims to mobilize resources, awareness, and international cooperation to ensure this unique tradition is not lost to history.

**Conclusion**
Today, introducing a Syrian glassblower is not only an introduction to a master artisan, but also an opportunity to witness a living link to global history and to support a tradition at a crossroads—one that beautifully illustrates the enduring spirit, creativity, and cultural wealth of Syria.

**Summary: Syria’s Traditional Glassblowing (Damascus Glass / صناعــة الزجاج الدمشقي التقليدية)**

**1.

Historical Background and Cultural Importance:**
Syria, particularly Damascus, is home to one of the oldest glassblowing traditions in the world.

Glassmaking in the region dates back over 2,000 years, with ancient sources suggesting that the technique of glassblowing may have been invented in Syria during the Roman era.

By the 1st century BCE, Syrian artisans perfected the technique of inflating molten glass into a bubble using a blowpipe, revolutionizing glass production globally.

Damascus glass became renowned for its beauty, intricacy, and colored designs, contributing to the city’s reputation as a center for luxury crafts and trade.

Syrian glass items — vases, lamps, goblets, and beads — were exported along ancient trade routes, spreading the artistry and innovation of Damascus glass far beyond its borders.

Craft Features and Techniques:**
The traditional Damascene glassblowing technique relies on primary materials such as silica sand, soda, and limestone, and is performed in small artisanal workshops using simple, ancient furnaces.

Skilled craftsmen manipulate molten glass through blowing, shaping, and adding colored decorations or metallic oxides for unique hues and patterns.

Recycled glass, often from old bottles, is frequently used — reflecting both resourcefulness and tradition.

Common forms include delicate, naturally asymmetrical vessels, mosaic glassware, and items adorned with gold or enamel painting.

The process is highly skilled, demanding years of apprenticeship.

Status of the Craft and Practitioners:**
Today, the craft is at risk.

Where once hundreds of artisans thrived in Damascus and other cities, now only a few master glassblowers remain, often working in isolated workshops and struggling to sustain the economic viability of their trade.

The ongoing conflict in Syria, urban development pressures, and competition from factory-made glass have all taken a toll.

Modern threats include the destruction or repurposing of traditional workshops, loss of skilled mentors, and diminished transmission of knowledge to new generations.

UNESCO Urgent Safeguarding:**
In recognition of its unique cultural value and endangered status, UNESCO inscribed the "Glassblowing in the Damascus tradition" on its **List of Intangible Cultural Heritage in Need of Urgent Safeguarding** in 2023.

This UNESCO designation underscores concerns about the imminent loss of traditional knowledge, techniques, and the social contexts of the art.

Efforts are needed to support practitioners, raise awareness, improve market conditions, and ensure intergenerational transmission of skills so that this cultural treasure is not lost.

Importance Today:**
Syrian glassblowing is more than a decorative art: it represents resilience, identity, and centuries of local innovation and creativity.

Preserving it supports cultural diversity, community pride, and sustainable economic development for artisans.

*Introducing a Syrian glassblower at your workshop thus means connecting participants to a living tradition stemming from ancient craftsmanship, a testament to human ingenuity, and a heritage that needs collective attention and safeguarding for future generations.

Certainly!

Here’s a summary focused on highlights relevant to the preservation and status of traditional crafts in Syria, which will help provide context for your introduction about Syrian glassblowing:

**Summary:**

Syrian art and handicrafts, particularly in Damascus, have long been a cornerstone of the country's material heritage.

Crafts such as Ajami art (wood painting with Arabic calligraphy), macrame decoration, and Damascene brocade textiles have been preserved by dedicated artisans.

These individuals actively work to innovate within tradition, adding new materials or motifs to help sustain the crafts.

Among the initiatives supporting heritage crafts, the Dummar Incubator for Heritage Crafts in Damascus stands out as the first development project aimed explicitly at protecting Syrian heritage from extinction and ensuring its continuity.

The incubator offers artisans the resources and environment necessary to develop creative new interpretations of traditional crafts and seeks to expand its reach across Syria and internationally.

This reflects an increasing institutional awareness of the urgent need to protect intangible cultural heritage.

Craftspersons and organizations emphasize the importance of passing these skills to new generations—through training, mentorship, exhibitions, and integrating crafts into heritage events or humanitarian projects involving children.

These efforts not only keep crafts alive but foster innovation and adapt traditional techniques to contemporary contexts.

However, the continuation of many Syrian crafts faces significant challenges: economic hardship, loss of markets due to conflict, high costs of raw materials, and declining numbers of master artisans as fewer young people enter these trades.

For example, the production of luxurious textiles like brocade is endangered due to the difficulty of sourcing materials such as natural silk and precious metal threads, as well as the closure of several historic workshops.

UNESCO has recognized the urgent need to safeguard these crafts.

The rationale behind designations such as the "List of Intangible Cultural Heritage in Need of Urgent Safeguarding" is the recognition that these ancient traditions, passed down for generations, are at risk of disappearing.

In the case of glassblowing in Damascus, this involves both the technical artistry—shaped by centuries of innovation—and the cultural knowledge embedded in the craft, important not just as artistic achievement but as a living facet of Syrian cultural identity.

In summary, facing modern pressures and the aftermath of conflict, Syria’s rich tradition of artisanal crafts—glassblowing among them—exists at a critical juncture.

Community initiatives and international recognition aim to ensure these irreplaceable skills will endure for future generations.

Certainly!

Below is a focused summary/report suitable for your introduction on the history, cultural significance, current status, and importance of safeguarding Syrian traditional glassblowing, particularly in Damascus, in the context of UNESCO’s designation:

---

**Syrian Traditional Glassblowing: History, Importance, and Urgent Safeguarding**

**Historical Roots**
Syria—most notably its capital Damascus—holds an extraordinary place in the history of glassmaking.

The region is widely believed to be one of the birthplaces of glassblowing, with archaeological evidence showing that glass production thrived here as early as the 1st century BCE.

The innovation of glassblowing itself, which revolutionized how glass was shaped, is often attributed to craftsmen in the Syria-Palestine region.

Damascus glass vessels became famed for their clarity, elegance, and delicate artistry, spreading across the ancient world via trade routes.

They’re also a symbol of Damascus craftsmanship and ingenuity.

**Syrian Glassblowing: History, Cultural Importance, and Contemporary Challenges**

**Introduction**
Syrian glassblowing is an ancient craft with roots that reach back over two millennia.

Title:

Content: Bella Hadid flashes her toned figure in shorts and a cropped sports top while showing off her creative side as she learns the art of glassblowing

It appears Bella Hadid has found a new hobby that showcases her artistic side.

On Sunday, the catwalk queen took to her Instagram page and posted a step-by-step video of herself making her own glass piece, using classic glassblowing technique in a workshop.

Considering the extreme temperatures it takes to make glass from beginning to end, Bella opted to keep her cloths to a minimum and wore skimpy white shorts with a cropped purple sports top.

Showing her creative side: Bella Hadid, 25, learned the classic art of glassblowing to make her own glass piece and posting a video on her Instagram page on Sunday

Glass is made from the process of heating sand to an extremely high temperature so that it turns into a moldable liquid. When it solidifies, a piece of glass is formed in whatever shape the creator has molded it into.

In the video, viewers will find Bella at the stage where she's working to shape the molten red hot material.

She can be seen sitting down and jabbing a long, sharp wrench-like tool with her scorching hot material, which was attached to a hollow blow pole about three feet long.

She was concerned with safety and wore goggles to protect her eyes.

Shaping: The video shows Bella at the stage where she's working to shape the molten red hot material that is attached to a blow pole

Working it: An instructor can be heard voicing a couple of tips as she spins that object around to the point where a small hole begins to form

Dose of heat: By the end of the first clip, Bella gets up and gives the hot material another dose of intense heat by placing it into a fiery furnace

An instructor can be heard voicing a couple of tips as she spins that object round and round to the point where a small hole begins to form.

By the end of the first clip, Bella gets up and gives the hot material another dose of intense heat by placing it into the fiery furnace.

For the next phase, the instructor assists Bella and slowly spins the blow pole while she sands down the still-molten red piece with two black blocks.

The heat is so intense that you can see steam floating into the air as they continue the sanding-down process.

Honing it: For the next phase, the instructor assists Bella and slowly spins the blow pole while she sands down the still molten red piece with two black blocks

Team work: Bella and the instructor work together to begin molding the molten hot object into shape with those two black blocks

Trippy: Bella gave her 53.7 million Instagram fans and followers a look at how her glass piece is looking at this stage of the process

More intense heat: At one point, the Washington, DC, native can be seen kneeling down using a small propane tank to heat up the object to make a few more changes

At one point, the Washington, DC, native can be seen kneeling down using a small propane tank to heat up the object to make a few more changes.

'Oh yeah, that's the one right there,' a man's voice from behind the camera can be heard saying as they continue to spin the object while jabbing it with that sharp tool.

As the process continues, Bella sits down, spinning the blow pole back and forth as it rests in a round plate that she holds with her right hand.

'It's a perfect shape,' the instructors says in encouragement.

'Here it is, ladies and gentlemen,' the man continues just as Bella gets up to blow into the pole to expand the molten hot material out to form some sort of glassware or vase.

Example: The catwalk queen drew out the shape of her piece she was trying to attain with chalk

Rounding it out: As the process continues, Bella sits down and spins the blow pole back and forth as it rests in a round plate that she holds with her right hand

Major phase: 'Here it is, ladies and gentlemen,' the man from behind the camera continues as Bella starts blowing into the pole

Expanding: Bella then process of blowing into the pole to expand the molten material out to form some sort of glassware

Old technique: Glassblowing is the practice of shaping a mass of glass that has been softened by heat by blowing air into it through a tube, or in this case a pole

The final clips shows a closeup of Bella spinning the glass while adding a few intricate touches to the piece with a prong-like tool.

Glassblowing is the practice of shaping a mass of glass that has been softened by heat by blowing air into it through a tube

It was was invented by Syrian craftsmen in the area of Sidon, Aleppo, Hama and Palmyra in the 1st century BC, according to Britannica.

The technique has remained essentially the same to the present day.

Ancient art form: Glassblowing was was invented by Syrian craftsmen in the area of Sidon, Aleppo, Hama and Palmyra in the 1st century bc, according to Britannica

Lovin' it: The glassblowing technique has remained basically the same to the present day

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Bella Hadid flashes her toned figure in shorts and a crop top while learning the art of glassblowing

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Today, it stands as a symbol of Syria’s rich artistic and cultural heritage—particularly in the city of Damascus—while also facing an urgent need for safeguarding and revival.

Title:

Content: Selma Feriani Gallery opens a new artistic era in Tunis

Tunisia has a long and distinguished history of art and the appreciation of art. Young artists are exploring new visions and building bridges to the rest of the world through a growing proliferation of art spaces. Omar Ben Yedder visits the Selma Feriani Gallery in Tunis, one of the latest to open.

By

Selma Feriani’s eponymous art gallery, which opened on 25th January 2024, is one of the growing number that have sprung up in Tunisia in the wake of the Arab Spring which also ended the dictatorial rein of Zine El Abedin Ben Ali in 2011.

Feriani says this reflects not only a change in the cultural climate, but also that there are fewer logistical barriers. “What really changed after the revolution [of 2011] was the use of public spaces, which was not possible before the revolution.

“That allowed for a lot of interesting projects sourced from outside galleries and outside institutions. There is also an emergence of art project spaces like La Boite Contemporary Art Centrale,” she explains.

Increased access to the city’s spaces for the artistic community has allowed greater forms of self-expression, she says. “For me, one of the most important festivals in Tunisia is Dream City, “she says.

The 9th edition of the Dream City festival took place in Tunis’s old town, the Medina from 22 September to 8 October 2023. The programme for this unique festival of Art in the City includes numerous works by artists from over 18 countries – Tunisia, Morocco, Democratic Republic of Congo, France, Portugal, Lebanon, Egypt, Belgium, Syria, United Kingdom, Palestine, United States, Kuwait, Nigeria, Haiti, Turkey, Mali, and Argentina), with creations, concerts, debates and immersive projects.

“The festival has expanded a lot after the revolution because they’ve been able to use the Medina and downtown Tunis in a very efficient way. They had access to a lot of sites that were not necessarily accessible to the public.”

Art has always been central to Tunisia, which in the 16th century was one of the centres of Arab culture and learning. Its artistic heritage bears influences from the Levant, Italy, Spain, Persia and the Near East, resulting in a distinctive Arabesque style.

Tunisian artists have long been recognised for their expertise in creating captivating mosaics and pottery which not only provide mesmerising decorative designs, but also narratives around the culture and history of the people.

With her new gallery, Feriani, who curates another gallery in London, wants to build cultural bridges from the Middle East to Europe and Latin America. The United States, she says, is a place that she will turn her attention to later.

The opening, attended by a who’s who in Tunis as well as renowned international collectors and specialised media, saw an exhibition by Nidhal Chamekh, one of five Tunisian artists Feriani represents in addition another 12 international ones.

She opened her first gallery in 2010 in London where she lives and another at Sidi Bou Said, a picturesque village, that is home to a bustling community of artists, in 2013. Housed in a former convent, it had nowhere near enough space to house the curator’s big dreams. Sidi Bou Said with its cobbled stones and narrow streets was also difficult to access and the space limiting for artists to fully work with.

The new gallery, located in La Goulette, an industrial port area in the northern suburbs of the capital, Tunis however, is a full 2,000m2, enough to accommodate the broad ambitions of its owner – such as having 17 artists in residence – as well as hosting others from other parts of the world to come and create site-specific pieces.

A big space for big ideas

She says it is the result of three years of “painstaking work” by herself and her team. “My idea was to work on site-specific projects, so every artist would come and put together a project that is specific to the space, because it was very difficult to develop a project in their studios, and then come and work on the scenography. They had to come, spend time in the space in Tunisia, and then develop the project.”

Naturally, the very idea of such a space can be challenging but Feriani says she is happy with the results. “A new space comes with a challenge because you need to get used to the space and understand how you’re going to take things forward, especially when you are displaying visually strong works and also very research-driven and with a lot of conceptual elements but I really took my time to make sure every single detail is looked at. I wanted to make sure it’s perfect so that when you come in, you have the same experience as you would in any major gallery around the world.” The initial reviews would seem to bear out her tenacity. “Art,” as she herself puts it, “has always been an act of resistance.”

With this new space. “We have an atelier (a residency) where the artist can spend time from August until January to produce sculptures and other installations. In September we will show, for the first time in Tunis, ‘French Pavilion’ [a grouping of installations and a film by Algerian artist Zineb Sedira) so that those who couldn’t go to the Venice Biennale can watch it here in Tunis. We have a Peruvian artist coming in November with a show developed in Tunisia with marble artisans.”

On the global art map

She wants the space to be a hub for international collaborations and artistic conversations. “So we will create this bridge and foster these conversations which, for me, are very important.” She has a schedule of events already planned for the next two years.

Feriani’s desire for international cooperation is mirrored by international interest in the artists that she is curating, some of whom have been associated with her gallery for over a decade and have really matured in their output over the period.

She expects that some of the artists will have the opportunity to showcase their work at the next Venice Biennale, for example, while globally renowned galleries such as the Tate Modern in London and the Guggenheim in New York, US.

A lot of institutions globally are looking at us as a result of the work we have done to promote our artists. I think curators and institutions are definitely looking at what’s happening here. Undoubtedly, we are on the map for them now.”

Will local collectors be able to make her venture viable? Despite the growth of the local art scene and collectors in Tunisia, Feriani says she doesn’t anticipate commercial success in the near term, especially given the economic downturn the country is facing.

“Commercially, the domestic market alone will not make [the gallery] necessarily viable. I think that’s the case for most of the commercial galleries and tours because there are very few domestic collectors and they are very price sensitive as well. And I don’t think it’s going to get better anytime soon.” she reports.

However that has not deterred her. “It looks complicated right now but we have a vision and we have a strategy, so there is no way for us to go backwards. We will continue to develop things back home. It’s in the DNA of the gallery. It’s my vision, my strategy, and it’s important for me to do it in Tunisia and to have a voice from Tunisia to the world,” she says.

It surely also helps that as an international gallery, the works are displayed elsewhere (in Western cities), enabling them to reach a wider audience and potential buyers.

World class

Feriani says she intends the gallery standards and quality to evolve to world class – her inspiration is London’s famous White Cube.

 “A new space comes with a challenge because you need to get used to the space and understand how you’re going to take things forward, especially when you are displaying visually strong works,” she says.

“But I really took my time to make sure of every single detail. I wanted to make sure it’s perfect so that when you come in, you have the same experience as you would in any major gallery around the world.” The initial reviews bear out her tenacity. “Art,” as she herself puts it, “has always been an act of resistance.”

The gallery also has extra facilities such as a bookstore and a library where people can either buy or borrow books. Again, unlike in purely commercial galleries, viewers will get a peek behind the curtains of the creative process, as they were able to with the exhibition that the gallery opened with.

“For the show we put together for Nidhal Chamekh, we had the main space showing the project but on the mezzanine and in the basement, we were able to show the process, how the exhibition was made and all the bibliography, meaning all the information and books used by the artist and the imagery and research behind the project.”

This is some distance from the typical commercial gallery where visitors are only able to see the product and make a purchase when they are moved to. “It was important for me to show a little bit of what happens behind the exhibition because it gives artists and also students a way to access the research and to better understand the thinking behind the creative work,” she emphasises.

Summarising the concept behind her efforts, she says: “What we are trying to do, is not only to promote art, but everything related to the city of Tunis.

“So people can come, travel for three days or a long weekend and not only go to the beach but also discover all the art centres and studios; take part in culinary tours and of course, visit the most famous museums – Carthage, and its Roman ruins, and the newly renovated Bardo, one of the largest museums on the continent. So we provided a tailored programme for our international guests.”

Feriani says she has received positive feedback from critics, curators, collectors, journalists and art lovers who saw the first exhibition and the city of Tunis as part of the package. For her, that’s exactly the objective she has set out for herself.

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Omar Ben Yedder

Omar is Editor-in-Chief of African Business.

**Historical Background**
Glassblowing as a technique was invented by Syrian craftsmen in the 1st century BC, in the regions of Sidon, Aleppo, Hama, and Palmyra.

This innovation revolutionized the making of glass objects globally, enabling artisans to shape molten glass by blowing air through a tube, rather than by casting or cutting.

Damascus soon became a famed center for exquisite blown glass, producing lamps, goblets, perfume bottles, and decorative wares.

The vibrant colored glass, swirling patterns, and unique forms became hallmarks of “Damascene” glass, admired around the ancient world.

**Cultural Significance**
Traditional glassblowing is deeply woven into Syrian identity and heritage.

Beyond their beauty, glass items held ritual and everyday significance in Syrian households and mosques.

Title:

Content: Meet Sumayya Vally, the woman behind the world's first ever Islamic Arts Biennale

Sumayya Vally   -  Copyright  Lou Jasmine
By Elise Morton

Changemaker, Pioneer, and One to watch.

These would all be fair descriptions of South African architect Sumayya Vally who is presently organising the world’s first Islamic Arts Biennale in Saudi Arabia.

Born in Pretoria (1990), Vally co-founded the experimental architecture and research firm, Counterspace, in 2015 and went on to become the youngest ever architect commissioned to design London’s famed Serpentine Pavilion in 2020.

The following year, Vally was recognized in the Time 100 Next list as an emerging leader shaping the future.

This year, Vally has undertaken a new challenge: designing the first ever Islamic Arts Biennale in Jeddah, Saudi Arab. Taking on this role saw her reimagine Jeddah Airport’s mammoth Hajj Terminal – ordinarily known for hosting hundreds of thousands of Muslims making their sacred pilgrimage to Mecca – as a journey through centuries of Islamic creativity. The Islamic Arts Biennale 2023 runs in Jeddah until 23 April 2023.

Euronews Culture spoke to Vally on the Biennale and its mission, the oft-contested definition of “Islamic art”, and the perspective she brings as a young, South African, Muslim woman spearheading such a seminal art event.

Why the need for an Islamic Arts Biennale?

I strongly feel that there is a need to acknowledge that Islamic faith, Islamic practice and Islamic tradition can and should be making a creative contribution to the world.

I have been thinking deeply about this opportunity to create a temporary home, an entirely new physical setting, one which has such a profound significance in the context of the Muslim pilgrim’s journey, in which to invite artists and audiences to reflect on ritual – the sacred, the personal, and the communal.

I think platforms for sharing ideas, pavilions, and biennales, for example, are incredibly important in how they set the tone for the future and how they allow us to project our imaginations into those spaces. To understand that we have the opportunity to make the future of culture and cultural typologies through these voices and perspectives, which reference and resonate with such diverse geographies, is profound.

How do you see the significance of a woman, and particularly a young Muslim woman, being the artistic director for this event, both within the context of contemporary Saudi Arabia and contemporary Islam? What does it mean to you?

My deepest strength is the confluence of lenses through which I see the world - the woman in me, the African in me, the Muslim in me and - these can be seen as limitations (and of course professionally they are), but they are absolutely the reason I see the future of the world and the visions I have for it in the ways I do.

I believe that hybridity is an incredible strength. The biennale foundation team is made up of a cohort of (mostly) strong women, all of whom are around my age and have cultural overlap with my background and upbringing.

It has been incredibly special to see and truly witness the value of our perspectives in putting forth a project that is entirely different – shaped entirely from these authentic perspectives. I think from the experience I’ve had with our team, if the future of culture is indeed in these hands, we are going to see remarkable things happening from here.

How do you understand the term "Islamic art"?

Existing definitions of “Islamic art” often focus on style, tradition, geography, pattern, and geometry. The ambition of this biennale is to build on and challenge these criteria, expanding on the existing canon of Islamic art, and to question the narrative, museological, and artistic practices of this time. Islamic artworks may have surface similarities, but what really unites them is inherent in how they are made, used, and understood.

When we identify great artworks as “Islamic”, we are simultaneously honouring historical traditions by keeping them alive, and contemporary practices by giving them a history. It is important to situate contemporary work in the historical narrative because it is only in context that things can belong.

The works in the biennale are experiential – they put forth an entirely different definition for Islamic Art – rooted in the experiential, the oral, the aural, our ritual practices and the ingredients and infrastructures of gathering and community.

For example, Cosmic Breath by Joe Namy choreographs the adhan, or call to prayer, from 18 different locations, where one wouldn't necessarily expect the call to prayer to be called – a parking lot, a gas station, the side of the road somewhere, from across the world, Japan, Durban in South Africa, Detroit. And he's recorded these and choreographed them so that the call starts at the same time. And this is really reflecting on the idea of cosmic breath, that every second of the day the call to prayer is being called somewhere on Earth. And there are five a day, so when we stand up in prayer, we're joining this undulating rhythm and this undulating call.

So many of our practices are not able to be held in traditional archives because they're not written forms. They're spoken, they're oral, they're passed down from generation to generation, from body to body. Many of our artists are not only taking on these practices and interpreting them in contemporary artworks, but are really deeply inspired by historic objects and historic practices.

In the works curated for this biennale, faith is resonant in the artists’ method of practice, regardless of their own faith or background. For example, the work of South African artist Igshaan Adams, who works collectively, weaving his tapestries together with a group of women from his home community.

The subject matter of his work is Islamic, but there's also something of a meditative nature in the way that he practises, and this repetitive action of weaving is also a kind of spiritual practice. So, we chose artists who have something of a spiritual nature that comes from the faith in their practice.

Who do you see as the main audience(s) for the Biennale?

My hope is that this biennale is an opportunity to invite audiences to reflect on ritual, the sacred, the personal and the communal - to build on that definition and to think through what Islamic Arts means and can mean, for now and for the future. We have seen a true cross-section of Jeddah come to experience the biennale – for many, this is their first experience of art in a setting like this in their own context – we have seen young and old people alike return to the biennale with their families. It has also been very special to witness pilgrims come over from the functioning airport across the road.

I have been avalanched with generous messages from people who came to the opening of the biennale. Many of these messages expressed a wish for the biennale to be in the West so that non-Muslims can access it and learn more about Islam, and see it presented in this way: deeply personal expressions from our artists about our ways of being.

As much as this biennale is an open hand and an invitation for all – east, west, north, south – the power of seeing ourselves represented in this way is also at the heart of the project.

I hope to convey the generativity of Islamic thinking and practice and the diversity and breadth of the Muslim world through the biennale. The philosophies of the Islamic faith offer the potential to think about the future differently. I am thinking beyond the stylistic traditions that have been called Islamic arts, and I have a deep interest in making a contribution to the canon here, to learn from how the philosophies of Islam and how the life of being a Muslim can inspire creativity and creative thinking.

There are an infinity of untold stories, unheard voices to be told, retold, made and remade.

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The skill and artistry required are typically passed down within families or through apprenticeships, making each piece an embodiment of learned techniques and local creativity.

Glassblowing has also become a symbol of resilience, with Syrian artisans preserving the tradition even under periods of hardship and displacement—seen today among refugees continuing the craft in places like the Zaatari Camp in Jordan.

**Current Status and Challenges**
Due to decades of modernization, mass production, economic hardship, and the devastation of Syria’s civil war, the number of traditional glassblowers has dwindled to a handful—reports often suggest fewer than five masters in Damascus still work according to ancient methods.

Much of the knowledge survives only orally, and local demand for traditional glass is rapidly shrinking in the face of cheaper, imported goods.

**UNESCO’s Urgent Safeguarding Listing**
Recognizing the craft’s exceptional value and acute vulnerability, UNESCO has placed Syrian glassblowing on its List of Intangible Cultural Heritage in Need of Urgent Safeguarding.

This highlights the risk of the art disappearing completely if not actively protected through documentation, promotion, apprenticeships, and support for remaining master artisans.

UNESCO’s action aims to mobilize resources, awareness, and international cooperation to ensure this unique tradition is not lost to history.

**Conclusion**
Today, introducing a Syrian glassblower is not only an introduction to a master artisan, but also an opportunity to witness a living link to global history and to support a tradition at a crossroads—one that beautifully illustrates the enduring spirit, creativity, and cultural wealth of Syria.

**Summary: Syria’s Traditional Glassblowing (Damascus Glass / صناعــة الزجاج الدمشقي التقليدية)**

**1.

Title:

Content: Shamaili Chulpan Sharifullina and Alfiya Iskhakova – on glass, on canvas and paper
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• Rinat Nazmetdinov
• Rinat Nazmetdinov
• Rinat Nazmetdinov
• Rinat Nazmetdinov
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Today, the exhibition “Shamaili Chulpan Sharifullina and Alfiya Iskhakova ” has started its work in the Museum of Islamic Culture.
The exhibition introduces the work of two masters involved in the art of traditional shamail.
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Historical Background and Cultural Importance:**
Syria, particularly Damascus, is home to one of the oldest glassblowing traditions in the world.

Title:

Content: The project "Light and color" is implemented in Tyumen
12: 34 01 October 2022
The project "Light and Color" of the Tyumen regional public association "Guild of Masters" won a presidential grant in the amount of 460 thousand rubles.
They will be sent for the purchase of equipment and materials for the creation of stained glass products.
These are glass cutters, glass breakers, breakers, soldering irons, grinding machine, foil smoothers.
This Tyumen line was reported by the chairman of the "Guild of masters" Inna Gaiduk.
Within the framework of the project, 48 master classes will be held, their participants will be more than 60 young residents of the region from 11 to 14 years old.
"For the students of the Gymnasium of Russian Culture, we hold master classes, where we create pendants, mirrors, panels, lamps in stained glass technology, including elements of the flora and fauna of the Tyumen region," Inna added.
She explained that at first the guys cut out the details from the glass, then they are polished to fit to a given template, wrapped with foil and soldered.
It all depends on the complexity and size of the products.
Hangers on the curtain 10-15 cm children are made in two classes.
If there are a lot of elements, time takes longer.
For example, a peacock, where there are a lot of details.
Glass products are bought by local residents, as well as connoisseurs from Moscow and St. Petersburg.
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News archive
November, 2022

Glassmaking in the region dates back over 2,000 years, with ancient sources suggesting that the technique of glassblowing may have been invented in Syria during the Roman era.

By the 1st century BCE, Syrian artisans perfected the technique of inflating molten glass into a bubble using a blowpipe, revolutionizing glass production globally.

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“Fascinating magic of glass ”: the exhibition of the project“ Lezem v bottled ” opened in Sviyazhsk
In the museum-reserve "Ostrov-grad Sviyazhsk" the opening of the exhibition "From the bottle" of the artistic and environmental project "Lezem in the bottle" took place.
“This project has become a new activity for all the team members, but the magic of glass has fascinated everyone so much that it is now difficult to imagine that we once lived without this activity, despite all the difficulties that arise.
It is very interesting to immerse yourself in the technological process and the history of glassblowing, the glass industry in Russia, which, unfortunately, is in the strongest decline at the moment, ” Yulia Nureeva, the project manager, told Tatar-Inform.
The essence of the project is the purposeful collection of glass bottles in special containers, which are sorted, cleaned and melted in a thick furnace for the manufacture of souvenir products and art objects.
Recall that in 2022, the team of the Sviyazhsky Reserve received grant support from the Potanin Foundation in the Creative Museum contest.
This made it possible to purchase 2 furnaces for working with liquid glass and for annealing finished products, the necessary tools, as well as to train the team.
Acquaintance with the craft of glassblower began from scratch - one of the masters was IT specialist Marat Proshkin, and the second - Alexandra Smirnova, she works with glass in the lampwork technique.
The project team was trained in several workshops of St. Petersburg, in Sviyazhsk and in one of the workshops of the city of Nikolsk, Penza region, the once famous glass factory of the Bakhmetyev.
During the implementation of the project, about 1.5 tons of bottles were collected, more than 700 kg of glass were processed, 30 demonstration workshops were held for visitors.
More than 100 souvenirs made of glass were bought by guests of Sviyazhsk in the museum store since January this year.
After the completion of the project "Lezem v botku" in the workshop "House of Glass" will continue to create souvenirs and conduct master classes for guests of Sviyazhsk.
The exhibition will run until April 8.
Photo: museum-reserve "Island-town Sviyazhsk".
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Damascus glass became renowned for its beauty, intricacy, and colored designs, contributing to the city’s reputation as a center for luxury crafts and trade.

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Content: Izhora Culture Centre in Vistino: from mittens to pottery
Participants of the project “From a needlewoman to a manufacturer of souvenirs ”, organized by the non-profit organization“ Planet of Good ” from p.
Siversky, visited the Museum of Izhora Culture in the village of Vistino, Kingisepp district.
The purpose of the trip was to get acquainted with the deeds and fruits of the hands of the masters of the Soykin Peninsula.
Category: Culture
Within the framework of the project “From needlework to the manufacturer of souvenirs ”, lectures, master classes in needlework and field classes are held.
The main goal of the project is the production of high-quality souvenir products for guests of the Leningrad region and, in particular, the Gatchina district.
One of these outbound classes was a trip of the project participants to the Soykin Peninsula, to the village of Vistino, where a unique ethnographic complex is located - the Museum of Izhora Culture.
The participants of the project got acquainted with the way of life and life of the indigenous peoples of the Soykin region, with the Izhora master knitters, visited the pottery workshop.
But the main topic of the lesson was a kind of master class on turning their own products into sought-after souvenirs by tourists and locals.
Features of national tourism on the Soykin Peninsula
On the way to the village of Vistino, the project participants listened to a small lecture on the ways to develop the tourism industry in the current realities.
The tourism industry is currently actively focused on domestic tourism, and it, like any other type of tourism, has many components - from logistics and services to the purchase of local products, in particular, souvenirs.
And in this sense, the trip to the Soykin Peninsula was very important.
Izhora Museum is known not only for its wonderful local lore exposition, but also for the fact that it is a launching pad for the development of creativity and folk crafts.
According to the staff of the museum, it is with the history of cultural heritage that any initiative aimed at the future can begin.
The Soykin Peninsula is located more than a hundred kilometers west of St. Petersburg.
The indigenous inhabitants of the peninsula are representatives of the Finno-Ugric Izhora people.
Here you can still hear the Izhora speech, the famous Izhora singing, join the national traditions of this people.
The village of Vistino is considered a kind of unofficial Izhora capital of our days.
It is here, on the border of two villages - Vistino and Ruchya, that the ethnographic museum of the history and life of the Izhora people is located.
According to the director of the Izhora Museum Elena Kostrova, it was formed in 1993, in the former building of the primary school.
In 2015, a young creative team came to the museum, and life in the whole district literally turned around.
- In fact, we are not museum workers by profession, we all have different education, - says Elena Kostrova. - I am by profession - a director, our master potter Dmitry Tkachev - a teacher, a teacher of art, drawing and technology.
Our guide Nikita Dyachkov is a culturologist who has Izhora roots and knows Izhora language.
We do all this with our own hands and work.
For five years, the sponsor watched the actions of our team, only then offered his help.
We had to develop one of the directions – pottery, which once flourished here in the Yamburg district, on the territory of the village of Big Aspiration.
The sponsors helped us build a pottery center.
In 2020, the governor of the Leningrad region, Alexander Drozdenko, came to open it, who twisted his first plate here with his own hand.
There will never be support for nothing, and no one will notice you.
You have to do something first...
Land of fishermen and needlewomen
Currently, the museum space in the village of Vistino includes two wooden buildings.
In one of them there is an ethnographic museum with an attic for classes and conferences.
In another building, the Izhora Language and Skills Center is located.
The main exposition is located in two halls on the first floor of the museum building.
The participants of the Gatchina project got acquainted with the history and culture of Izhora, traditions of local life and way of life, folk crafts and crafts.
All the exhibits were produced in different ways.
Most of them were brought by people from their homes, and some were found in burial grounds, which are enough on the Soykin Peninsula.
The age of some archaeological finds is hundreds and thousands of years.
A significant place in the exhibition is occupied by items related to marine fishing, which is not surprising: for Izhora it was the most important fishery for more than one hundred years.
- Almost all the idols were engaged in fishing, - says Elena Kostrova. - Here were strong dynasties, fishermen for a long time went to the sea.
They lived in boardhouses, women gave birth to children there, and all the Izhortsy therefore were strong, healthy, tall, strong.
By the way, on the Soykin Peninsula at one time flourished well-known throughout the country fishing collective farm "Baltika", which in recent years, unfortunately, fell into decline.
While men were fishing, women were engaged in housework and needlework.
On the Soykin Peninsula, oats, flax and some other crops were grown.
The museum presents samples of linen products with a unique ornamental embroidery, made in red and blue colors.
How an ordinary mitten became a regional souvenir
Particular attention of the participants of the Gatchina project was attracted by the stand with a collection of mittens with a variety of ornaments, each of which has its own history and meaning.
As Elena Kostrova said, ornamental knitting is another iconic tradition of the Soykin Peninsula.
- Everyone kept sheep here, everyone knitted, - says Elena Ivanovna. - Mittens and socks were made of coarse wool - warm and prickly.
Women preserved and transmitted the memory of the traditional Izhora ornaments, the variety of which is represented on these mittens.
Once these ornaments were a kind of language: for example, from the ornament of the mittens it was possible to find out from which family the daughter-in-law came.
Izhora Museum is a participant of the large-scale project “Villaväki – Woolen People ”, which is aimed at preserving and developing traditional occupations of the indigenous peoples of the Leningrad region, related to the processing of wool and the manufacture of clothing, toys and household items made of wool.
In Vistino, a program for the revival of traditional ornaments and knitting mittens "Ornaments Izhora Soykinsky Krai" has been implemented for several years.
- At first, we had only five old ornaments and three participants in the project, - says Elena Kostrova. - In fact, we carried out the reconstruction of these ornaments.
To date, we have more than thirty women who have become good, strong masters themselves.
They knit at home, go to fairs and sell their products.
By the way, the largest fair on the territory of the museum is the festival of Izhora culture, which takes place in July.
Many of the Izhora masters are already under ninety years old.
They not only knit socks and mittens, but also work to preserve the unique culture of ancient peoples, creating on the basis of museum samples of traditional knitting copies of Finnish, water, Izhora objects.
Some of them work, as they say, “from the Sokha ”.
So, for example, the participant of the project Valentina Vasilyevna herself breeds and grows sheep, sheds them, processes wool, spins it on a real spinning wheel, and then knits wonderful mittens.
The participants of the Gatchina project were pleased to meet Valentina Vasilyevna, who held a small master class on spinning wool for them.
The librarian of the Kobrin school Anna Surina has a special interest in this process.
- My grandmother constantly spun dog and sheep wool, - she says. - Now I have a dream to learn how to spin with a spindle and a spinning wheel.
I've already started buying equipment and got Angora rabbits.
Currently, souvenirs from natural materials - wood and wool are in great demand.
The master in the pottery
Near the Center of Izhora Language and Craftsmanship, under glass caps are samples of ceramics made in the Soyka pottery workshop.
In the workshop itself, work is constantly boiling - potter Dmitry Tkachev works here.
Pottery production has always been an integral part of the traditional culture of the Izhora people.
The main production of this fishery was in the village of Big Aspiration, where by the beginning of the XX century there were about a hundred workshops.
In 2014, the Izhora Museum began research and practical work to revive the pottery of the Soykin region.
Unfortunately, the culture of burning the Great Aspiration is lost today, and there are practically no masters left.
Dmitry Tkachev is engaged in the reconstruction of pottery, not only preserving the forms of traditional pottery, which have reached us, but also recreating them literally from archaeological fragments.
There is only one departure from traditional fishing: the improvement of clay processing technology.
Products of the workshop "Soyka" can be seen at the exhibition of ceramics of gas firing and at the stands of the photo exhibition "Graphics".
At the same time, on the territory of the Izhora Museum, programs are being implemented to teach children and young people pottery and the Izhora language.
What unites us
Gatchina craftsmen were greatly impressed by what they saw in the Center of Izhora Culture.
Someone gathered new ideas and began to better understand how to establish their own production of souvenir products.
Someone was pleased with the scale of Soikin residents, whose activities have long been of serious interest to tourist structures - even despite the difficulties of travel to this remote corner of the region.
- A very interesting museum, - says the head of the Kartashevsky patchwork club "Sudarushki" Anna Gradovich. - What we have seen is in Russian culture, and at the same time we see some differences.
Something we take from the ijor, something they take from us.
It is very important now to talk about the different nationalities of Russia, about what unites us, not divides us.
It is important to bring our cultures together.
This is what happens when we communicate, when we listen to each other, delving into the culture, traditions and history of each nation – albeit through needlework.
In general, the topic itself - "From needlewomen to souvenir manufacturers" - is very interesting and promising.
Women in our club are creative, but sometimes we do not understand how to apply, to realize our skills and talents.
We sew for ourselves, have already supplied our products to all relatives and friends.
But the person still reaches for creativity and continues to do something.
Our project helps us to think creatively and understand where and how to apply our creativity, how to sell our products, which can be in demand in our cultural centers, museums, at holidays...
Julia Lysanyuk

Syrian glass items — vases, lamps, goblets, and beads — were exported along ancient trade routes, spreading the artistry and innovation of Damascus glass far beyond its borders.

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In Russia came into force a new law on folk art crafts
January 17, 2024 14: 03
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Its main advantage is that the status of masters of folk art crafts can now be obtained by self-employed, and not only individual entrepreneurs or large factories.
In Russia, a new law on folk art crafts came into force.
Now masters can choose the appropriate tax regime, and the authorities will provide them with systemic support.
What other innovations are fixed in this document, will tell Anna Shuster, writes Watch.
The house of Victoria and Leonid Chernovs has long been compared with a museum.
In 1988, they got into Gzhel by distribution after graduating from the Krasnoyarsk Art Institute.
At first, they worked in a production association, then opened their own individual entrepreneurs – they became individual entrepreneurs, then they received the status of self-employed.
When there are only two masters in production, it is much more profitable.
Income tax is only 4%, in addition, self-employed are exempt from insurance premiums.
But the artistic value of their products self-employed masters could not prove, the expert art council could not certify their works.
Until in December, a new law on folk arts and crafts was issued.
The status of masters of folk art crafts can now be obtained by self-employed, not only individual entrepreneurs or large factories.
Here, in the Union of Gzhel Masters, this was expected for several years, because 90% of the members of the union are self-employed.
"Now the artist, a natural person, in the status of self-employed can also pass the art expert council and get the status already legally - the status of" Master of folk art craft ", - comments the representative of the Union of Gzhel masters Valentin Rozanov.
In the 1980s, Valentin Rozanov worked as the chief artist of the Gzhel production association.
He has seen nine of the 16 local ceramics factories shut down over the past two decades, and the number of workers in the porcelain factory has dropped from 1,500 to 100.
The only way to survive and preserve the craft traditions was the opening of home workshops.
This is the way the Kashtanovs went.
Moreover, Nikolai himself built a kiln for firing with a temperature of 900 degrees and a slicker-mixer for the preparation of porcelain mass.
Here it is stirred at a constant speed of 320 revolutions per hour – otherwise air bubbles will appear – and is cleaned.
It is important that the new law on folk arts and crafts fixed the concept of "model model product of folk arts and crafts" and fixed the main directions of state support for masters.
Industry experts consider this extremely important, and propose to go even further - to introduce an additional article of state financing - for the technical re-equipment of production.
“We use stoves in almost all industries, and replacing these old stoves with new ones will reduce energy costs by almost three times, ” says Gennady Drozhzhin, Chairman of the Board of the Association of Folk Artistic Crafts of Russia.
Even for the preservation and development of folk crafts, the Association considers it important to develop sales markets and cultural tourism, because it is one thing to buy a ready-made thing in the store, another thing - on an excursion in the workshop to witness the birth of an art object and make sure that the gods do not burn the pots.
Photo: pxhere.com

Craft Features and Techniques:**
The traditional Damascene glassblowing technique relies on primary materials such as silica sand, soda, and limestone, and is performed in small artisanal workshops using simple, ancient furnaces.

Skilled craftsmen manipulate molten glass through blowing, shaping, and adding colored decorations or metallic oxides for unique hues and patterns.

Recycled glass, often from old bottles, is frequently used — reflecting both resourcefulness and tradition.

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Content: Surprise with algae and clay
Khruleva Inga
The main feature of the Sevastopol socio-cultural project “Kamka and Kil ” is products made of unique blue clay and the unexpected use of seaweed.
The creative project combines craft workshops and educational and leisure space, where they teach pottery, cook soap, soak in a bath and rejuvenate in a tank with black sea algae.
How it all started
Sergei and Olga Moskalyuk moved to Sevastopol from Moscow.
Being tourists and having traveled around different countries and cities, they fell in love with the Crimea and chose Sevastopol for life and creativity.
Their dream was to create an attractive tourist destination that combines production and interactive excursions.
In 2016, in the Delagardova beam, the couple built a manor and began to develop their project.
They believe that in the world of consumption, there is little to surprise a person who has everything, but you can help realize creative opportunities!
Based on this, enthusiasts decided, based on old practices and experience, to return interest in forgotten crafts, to teach children and everyone who wants to create utilitarian things by hand.
Today, in the open workshop "Kamka and keel" there are several craft "stations", educational programs and master classes have been developed, and even there they try to make various tourist souvenirs.
Children are the most responsive audience.
They always want to do something, they do not need to be persuaded and it is not difficult to interest them.
Only, small children do not hold the focus for so long, it is easier for them to do than to listen, so that young guests do not get tired, the estate has a choice of craft locations for different types of "doing", - said the head of the craft workshop O. Moskalyuk.
In just a season, interactive excursions in the workshops are visited by up to two thousand children.
Soap "Kil" - a souvenir legend
According to O. Moskalyuk, now souvenir soap is made by a huge number of people in different regions.
But the Kil soap, which is produced in Sevastopol as part of the project of the same name, is a special story.
- Keel's nowhere else.
Soap "Keel" is our thing, and around this we spin the story, - says the head of the workshop.
The Crimean keel is not just clay particles formed during the destruction of various rocks and settled on the bottom of the water basin, but the converted volcanic ash is bentonite clay.
It has long been mined near Sevastopol on Sapun Mountain (translated from Turkic "sapun" means soap) and in Balaklava.
Taurida vice-governor, scientist and traveler Karl Gablitz wrote in 1785: "Six versts from Inkerman... deserves a note fossil there from the earth soap clay, which Tatar and Turkish women in the baths for washing the head is used and in many places from Balaklava to Constantinople is released."
It is believed that this is one of the first descriptions of a special Crimean clay - keel, which was actively mined and used on the peninsula from ancient times until the middle of the 20th century.
Before the revolution on the peninsula was widely advertised expensive Sevastopol soap of the highest grade "Miracle of Crimea", made of keel and palm oil.
Everyone knows that soap is made from natural oils.
In our case, it is coconut, palm and fir.
Everything is natural.
The main idea of our soap is to use a keel.
We always tell our guests its unique story, - shares the secret of soap making O. Moskalyuk.
Soap "Kil" has a marble texture of stone.
Consists of 85% oil and 15% of the caring component - keel, it is added to soften the mass, and fir oil - for flavor.
According to O. Moskalyuk, cooking soap is “not a higher mathematics, but still a chemical process ”, so children do not participate in it, but watch it with pleasure.
Ceramics
Everyone wants to have handmade ceramics, but it ’ s an expensive product.
Producing ceramic products is interesting, but difficult.
The organizers of the project believe that a quality tourist souvenir is determined by two criteria: it should not be expensive and have its own history.
In their workshop, two pottery wheels and a kiln are installed, and they directed the focus of their creative activity towards conducting master classes on working with clay.
On excursions, visitors are told about the history of crafts, which traditions in the production of ceramics have been preserved on the peninsula.
In their work, the masters are guided by the age of the guests.
Young children are offered to sculpt angels from clay for the New Year, in the fall - vegetables: pumpkin, tomato, which can be used as caskets.
Teenagers prefer to make more complex things: cups, plates.
In this work, the tourists are assisted by professional artists-ceramists.
Algae rock
In addition to popular educational programs, the estate has a leisure space - a wood-fired sauna and a large cast-iron vat installed in the open air.
It can take health baths at the same time six people.
Under the tank there is a furnace, which allows you to maintain the water temperature at the optimal level depending on the time of year.
For rejuvenation, algae is added to the water - a stone that gives a relaxing and calming effect.
Kamka (translated from Turkic "spring") is a genus of green algae, common in the Black and Azov seas.
Its scientific name is Zoster.
Algae are rich in organic iodine, iron, zinc, copper, cobalt and other trace elements.
According to our interlocutor, recently kamka is in high demand.
These algae are also used as insulation in the construction of houses, for therapeutic and therapeutic purposes in the form of pillows and mattresses, bads and even seasoning.
Work with enthusiasm
In addition to soapmaking and ceramic production, the workshops in Delagardova Balka have platforms for the production of raw oils from seeds and chocolate from cocoa beans.
- Despite the fact that the project is actively developing, it is still difficult to work, - complains O. Moskalyuk. - We are not a commercial, but a socially oriented business.
But in connection with the pandemic and now, against the background of a special military operation, it is necessary to work with zero financial returns.
She and her husband have two companies - one non-profit with jurisdiction in Sevastopol, the second - IP - is registered in the Crimea.
“We do not change the jurisdiction, because in the Crimea at least small subsidies, but we receive.
There, with projects like ours, they work more quickly, ” O. Moskalyuk stressed.
According to her, their Sevastopol NGO is a creative project, and therefore it is difficult to identify.
Last year, they applied for participation in the competition for a grant announced by Rosturizm.
We wanted to re-equip the craft grounds to improve the quality of excursions, but did not receive a grant.
Officials explained that their NGO is “not quite tourist ”.
Since educational activities are more for the soul, you have to earn the production of souvenirs: soap, oil, ceramics.
“At the state level, the task is set to help artisans to sell their products through the development of fairs, but at the local level everything is done formally, ” O. Moskalyuk believes.
And they want to sell their souvenirs in conceptual shops, where the product is selected according to the meaning, has a history or legend.
But such fairs, in her opinion, there are in Evpatoria, in New Jerusalem, on Massandra beach in Yalta, but in Sevastopol they are organized only for a “tick ”.

Common forms include delicate, naturally asymmetrical vessels, mosaic glassware, and items adorned with gold or enamel painting.

The process is highly skilled, demanding years of apprenticeship.

Title:

Content: You will not miss us!
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How to collect mosaics
Have you ever thought about how to make a mosaic?
How do hundreds and thousands of pebbles of different colors turn into a solid art canvas?
I had speculative ideas about this, but in reality it turned out very differently.
In this post, I will show Jordanian technology, and also tell you how to inlay wood...
Previously, when I saw a mosaic, I thought that artists pasted pebbles on the wall according to a sketch.
Turns out it's not like that at all.
First, the mosaic is going from the inside out.
On a sheet of paper or fabric, a contour is drawn, along which the pieces begin to be laid out:
Secondly, the mosaic elements are cut in advance.
They are not picked up in shape, like puzzles.
Initially, the master has long sticks of stone:
During work, he cuts them into pieces of the desired shape and size:
Then each piece carefully put tweezers to the next:
Why is the mosaic going from the inside out?
It's very simple.
Since the pebbles are of different shapes, the surface is uneven.
On this side, the picture is poured with a fastening compound:
But on the other hand, it turns out to be perfectly smooth:
It is much easier to make a fake under the mosaic.
Here the clay coating with a pattern is taken stupidly and the “pieces ” are cut out.
After the clay is processed in the furnace, it is practically indistinguishable from the real mosaic:
Still somehow punctured “pixel ” drawings on the eggs.
Unfortunately, the technology was not disclosed:
Now about how to make inlay:
Initially, the element looks like this.
Sticks of wood of different breeds are collected together:
Sometimes elements of very small size:
A wooden “cake ” is made from sticks.
When it is glued, it is simply cut off layer by layer, which is glued to where you need to:
For example, on the back of the chair:
All this is covered with varnish and looks very smooth:
Assortment of finished products.
According to the tradition of the Arab (and not only) world, the area of   the workshop occupies ten square meters, while the store - all a hundred!
Stay Tuned!
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Status of the Craft and Practitioners:**
Today, the craft is at risk.

Where once hundreds of artisans thrived in Damascus and other cities, now only a few master glassblowers remain, often working in isolated workshops and struggling to sustain the economic viability of their trade.

The ongoing conflict in Syria, urban development pressures, and competition from factory-made glass have all taken a toll.

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Content: Shamaili Chulpan Sharifullina and Alfiya Iskhakova – on glass, on canvas and paper
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Today, the exhibition “Shamaili Chulpan Sharifullina and Alfiya Iskhakova ” has started its work in the Museum of Islamic Culture.
The exhibition introduces the work of two masters involved in the art of traditional shamail.
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Modern threats include the destruction or repurposing of traditional workshops, loss of skilled mentors, and diminished transmission of knowledge to new generations.

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Content: In Dubna, a fair of masters took place: uniting in creativity
Monday, 14 March 2022 | 17: 00
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On Sunday, March 13, the JINR Masters Fair “Let ’ s meet the news together ” was held at the library“ Blokhinka ”, where employees of the Institute and members of their families presented their handmade products.
Ceramics, watercolor drawings, wooden dishes, felt miniatures and books of his own composition - this is not a complete list of what was presented at the fair.
This is the second event organized by the JINR Women ’ s Committee.
According to the organizers, the fair, first of all, involved the creation of a platform for informal and creative contacts for the employees of the Institute, in order to give people the opportunity to get to know each other, to get to know each other from a new side.
This task was fully realized – the atmosphere of warmth and creativity reigned at the event.
Many, both masters and visitors, came to the fair with children.
Young participants took an active part in the fair and presented their work to the public, showing collections of their own drawings, applications, miniatures made of wool and even books.
So, 10-year-old Sasha Baldina presented a collection of stories and poems that she wrote in English, “My true magic stories ”.
A copy of this book became part of the library fund "Blokhinki".
The fair brought together not only JINR employees, members of their families, representatives of several JINR national groups, but also young Egyptian scientists who arrived for full-time practice at the JINR Training and Research Center.
Mokha Masud, a participant of the student practice at the JINR UNC from Egypt, noted that she expected the event to be somewhat larger, but, on the other hand, it made it possible to communicate more closely with the masters: “There are very nice people here, you can see how everyone loves creativity.
I am very happy to be able to talk to people in person.
I liked the fair very much.
In addition, I and my colleagues have acquired some interesting things for themselves here. ”
Treating all visitors with homemade oriental sweets, Aytekin Isayeva, spouse of the representative of the national group of Azerbaijan in JINR Rafaela Isayeva, said that her daughter, who is passionate about drawing, liked the event very much: “Our child is simply delighted, because here she was able to actually organize her own exhibition and show people her drawings.
This will help to support her interest in creativity, will motivate her to develop in this area.
In addition, it was just a pleasure to be here, it was great to get acquainted with other JINR employees and their families. ”
Anna Vertogradova, Dubna ceramist, sharing her impressions of participating in the fair, described it as a place where positive, creative energy is exchanged: “Now, when it is difficult for everyone, communication is more necessary than ever.
It is very important not to close, not to close in yourself, but on the contrary to move towards each other - to unite, to share knowledge, creativity.
It is not for nothing that they say that beauty will save the world. ”
Petra Beneshova, Senior Specialist of the JINR Department of International Relations, noted that she was glad to get to know her colleagues from the new side, and her daughter was interested in master classes in ceramics: “This will allow my girl to escape from her smartphone.
I strive to immerse myself in the creative environment for which I go to master classes in Moscow.
At this fair, I found the kinds of creativity that I am interested in, and now I can do them in Dubna. ”
This idea was continued by the Chairman of the JINR Women ’ s Committee Elena Badavi, who told about the proposal to organize regular master classes on ceramics and clay modeling on the basis of JINR under the leadership of Anna Vertogradova: “We strive to unite people, give them the opportunity to tune in to a creative way.
Working with your hands creates a meditative mood, allows you to get distracted, focus on something positive.
And at the same time, it means getting to know each other in a new capacity. ”
Another idea being developed by the Women ’ s Committee is the organization of a mutual assistance group, headed by a JINR employee with basic knowledge in the field of psychology.
The other day, a meeting with a psychologist, organized by the committee, was successfully held, and this format showed its relevance.
All events held under the auspices of the JINR Women ’ s Committee can be found by subscribing to the Telegram channel: https: / / t.me / women _ jinr.
The JINR Women ’ s Committee invites enthusiasts to share their ideas and suggestions at women @ jinr.ru, and all JINR employees and their families to come to the committee ’ s events and feel like a member of a large, friendly, international family of the Joint Institute for Nuclear Research.
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UNESCO Urgent Safeguarding:**
In recognition of its unique cultural value and endangered status, UNESCO inscribed the "Glassblowing in the Damascus tradition" on its **List of Intangible Cultural Heritage in Need of Urgent Safeguarding** in 2023.

This UNESCO designation underscores concerns about the imminent loss of traditional knowledge, techniques, and the social contexts of the art.

Efforts are needed to support practitioners, raise awareness, improve market conditions, and ensure intergenerational transmission of skills so that this cultural treasure is not lost.

Title:

Content: In the village of Chervishevo held a summer "School of young ceramist"
16: 24 01 August 2021
pixabay.com
Summer "School of young ceramist" ended in the village of Chervishevo.
75 children aged 5 to 15 years studied materials for modeling, created figures and learned the features of work in the workshop of author's ceramics.
The result of the training will be an online exhibition, which will be held from August 20 to 30.
The author of the school was Daria Gassman, who won the All-Russian competition of youth projects among individuals in 2019 and received a grant.
The students attending the school were divided into groups of 12-14 people.
They will present their works at the exhibition, which will be posted online on the website.
After that, the children will receive diplomas and will be able to take work home.
“Only students who are on display will be able to participate in the exhibition.
Anyone can see the work.
In the near future, the page of the exhibition will be ready, ” said the author of the project Daria Gassman.
She also said that during the online exhibition will be held a vote for the best works.
Three students will receive the Audience Award.
In three more nominations, the winners will be determined by an expert jury of young artists, writes "Megatyumen".
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September, 2021

Importance Today:**
Syrian glassblowing is more than a decorative art: it represents resilience, identity, and centuries of local innovation and creativity.

Preserving it supports cultural diversity, community pride, and sustainable economic development for artisans.

*Introducing a Syrian glassblower at your workshop thus means connecting participants to a living tradition stemming from ancient craftsmanship, a testament to human ingenuity, and a heritage that needs collective attention and safeguarding for future generations.

Certainly!

Title:

Content: The news tape.
The aroma of roses reeks in the Arab Cultural Center in Abu Rummaneh
Damascus-Sana
The Directorate of Culture of Damascus, in cooperation with Dummar Central Incubator for Craft Arts, organized today a seminar entitled “Extraction of essential and plant oils and perfume design ” at the Arab Cultural Center in Abu Rummaneh.
The seminar was presented by the trainer Mohammed Mazen Zakour and included an exhibition of various traditional handicraft products within the plan of the Ministry of Culture to support and encourage craftsmen.
The head of the General Union of Craftsmen, Naji al-Hadwa, said in a statement that traditional crafts are a treasure we possess and reflect the quality of the Syrian worker's professionalism through what he produces and the duty of the General Union of Craftsmen to preserve and develop it, including the establishment of such kind of exhibitions and seminars, which may be framed within the productive institutions owned by the General Union or in partnership with other ministries such as the Ministry of Culture.
Al-Hadwa stressed that the General Union is following up within its plan to qualify and train cadres on an ongoing basis to maintain these crafts as well as create promotional and marketing opportunities for them through the establishment of such events.
Amani Frog
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Sight of the Spirit Spreads their Creativity in Jadak Al Ghaith on a Cultural Theater in Kafarsousa - Video
Damascus-SANA With their vision, they mastered the arts of playing, singing, reciting poetry, acting and with their delicate emotions.

Here’s a summary focused on highlights relevant to the preservation and status of traditional crafts in Syria, which will help provide context for your introduction about Syrian glassblowing:

**Summary:**

Syrian art and handicrafts, particularly in Damascus, have long been a cornerstone of the country's material heritage.

Title:

Content: Dummar Incubator for Heritage Crafts is the first development project to protect the Syrian heritage from extinction and maintain its continuity, and provides the right conditions for professionals to innovate, develop ideas and access heritage products with creative ideas.
Khobar Code: 576992
Publication date: 27 September 2021
The incubator is the product of an idea that is part of an integrated scientific research entitled "Syrian heritage between the heritage of the past and the challenges of the present", a research that won the Syrian Innovation Award for 2014, and was invested by the General Federation of Craft Associations with interest and support from the central leadership of the Arab Socialist Ba'ath Party.
He pointed out that the incubator consists of several departments, including the Assad Academy of Craft Arts, in addition to workshops for craftsmen, a cultural center, an exhibition hall, and a commercial center whose mission is to promote and market the craft product in local and foreign markets.
He complained that the incubator provides support for small projects.
The Director of Dummar Incubator for Traditional Crafts said that the incubator ’ s work is based on providing the possibility of gathering various “kar sheikhs ” and craftsmen in one place, which leads to the generation of new ideas through this convergence and convergence and access to new projects.
On the objectives of the incubator, he stressed that "it aims to establish branches in all the province and friendly countries as the basis for the development of small projects."
In turn, Nabil Karkutli, who specializes in alternative energy, pointed out that the objectives of the presence of his craft in the incubator aims to qualify cadres to make alternatives to imports to face the Caesar law as well as recycling materials, in addition to the production of alternative energy devices, especially solar energy.
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Crafts such as Ajami art (wood painting with Arabic calligraphy), macrame decoration, and Damascene brocade textiles have been preserved by dedicated artisans.

Title:

Content: Exhibition of craft products by Syrian and Russian artists in the public park in Aleppo
Halab-Sana
On the grounds of the public park in the city of Aleppo, the activities of the exhibition of craft products were launched today, with the participation of 20 craftsmen and artists from Syria and the Russian Federation.
The exhibition, organized by the Ministry of Industry in cooperation with the Russian Cultural Center in Damascus, the Federation of Artisans in Aleppo and the Syrian Professional Center Association, includes a collection of heritage and artistic works, paintings of Ajami thread, ornaments and handicrafts of wool, orphans, leather, rugs, carpets, bamboo and silver industry.
According to the President of the Union of Artisans in Aleppo, Mohammed Hossam Hallak, in a statement to SANA correspondent, the exhibition aims to highlight the traditional handicrafts and crafts and folklore professions to revive them by training the younger generations and mastering their industry to preserve them.
Mustafa al-Nu, President of the Syrian Professional Center Association, pointed out that the association worked to attract professionals and handicrafts, and provided them with financial grants to encourage them to continue their work, to preserve these crafts from extinction, in addition to training young people wishing to learn these crafts and develop them to suit the times.
The Russian artist Yuri Lishin, famous for the manufacture of blowing on glass, talked about his professionalism for more than 54 years, and his participation in many exhibitions in the world, indicating that his visit to Syria to learn about the glass industry, and participate in workshops on the manufacture of hand glass in Syria.
A number of participants noted the importance of the exhibition, which allows for the marketing of their products, where Zakaria Sultan, who works in the craft of silver and peat breaking, explained that he participates with silver and copper products and accessories made by hand in various forms for swimming pools, steadfastness, image cadres and chandeliers, in addition to grafting copper on wood, calling for providing the necessary support to maintain this profession.
The craftsman Ayman Saeed presented the results of the drawing on wood, which is called Ajami art, and stated that he learned to make this art and plant motifs and painting in Arabic calligraphy in the association, and became a trainer contributing to the revival of heritage, and that the exhibition is an important opportunity to market his products.
Artist Tala Naravyan participated in watercolor, oil and other paintings painted with pencils and charcoal, talking about the Armenian and Arab heritage and the neighborhoods of Aleppo and its citadel, pointing out that she participates to introduce people to the components of the rich Syrian heritage through painting because it constitutes the language of the world.
Samira Misto, who works in the craft of making the ancient traditional macrame, using colored threads and ropes to decorate the Koran, mirrors, clothes and jewelry, pointed out that she is working to develop this profession by adding beads and tree trunks to revive and preserve it.
Qusay Razzouk
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Aleppo Public Park

These individuals actively work to innovate within tradition, adding new materials or motifs to help sustain the crafts.

Among the initiatives supporting heritage crafts, the Dummar Incubator for Heritage Crafts in Damascus stands out as the first development project aimed explicitly at protecting Syrian heritage from extinction and ensuring its continuity.

The incubator offers artisans the resources and environment necessary to develop creative new interpretations of traditional crafts and seeks to expand its reach across Syria and internationally.

This reflects an increasing institutional awareness of the urgent need to protect intangible cultural heritage.

Craftspersons and organizations emphasize the importance of passing these skills to new generations—through training, mentorship, exhibitions, and integrating crafts into heritage events or humanitarian projects involving children.

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

These efforts not only keep crafts alive but foster innovation and adapt traditional techniques to contemporary contexts.

However, the continuation of many Syrian crafts faces significant challenges: economic hardship, loss of markets due to conflict, high costs of raw materials, and declining numbers of master artisans as fewer young people enter these trades.

Title:

Content: (Hakawati) Drama of the beautiful time and nice Ramadan evenings
Damascus-Sana
The image presented to us by the visual space through its channels, which compete strongly for the premiere of its dramas in Ramadan, is only a natural evolution of an art that began more than a hundred years ago, based on the story, using the efforts of one hero, the storyteller, how did the art of storytelling begin?
RAMADAN NIGHTS
A storyteller, storyteller, storyteller or storyteller, by definition, is a person who has been a storyteller in homes, shops and cafes, who used to crowd around people in the past, not only telling the story in constant interaction with his audience, but motivated by enthusiasm to embody the role of the character that he tells about with movement and voice.
Hakawati is a profession that relied on one character, the character of the storyteller, she possessed her own treasure of diversity and difference, and she roams the psychological character in all respects and depends on the extension and prolongation of the story so that it turns into a night series that can cover the days of the month of Ramadan.
Folk cafes are a theater for storytellers
With his voice and image, Hakawati is the alonis of the Ramadan evenings, telling stories of heroism and manhood in front of a group of people in the popular cafes. Mohammed Khair Kilani, who for thirty years embodied the role of Hakawati in the Ramadan evenings of Homs, showed that the popular cafes were the center of Hakawati and his stories were linked to the holy month. She, they follow attentively his movements and his interaction with the storytelling and sometimes embodying the role of her characters.
Al-Hakawati is a character, according to Kilani, was once considered a means of collective entertainment and education for the real and fictional stories of heroism and the promotion of moral values and positive behaviors, pointing to the most famous tales known (Antara, Al-Zir Salem, Al-Himma, and Strange Beni Hilal) and others.
The origin of the folk tale
The East was the source of popular tales, as most studies and researches in the field of the history of the emergence of the folk tale, and the opinions differ between those who consider the Arab East the source of the tale and its origin as the Babylonians, Assyrians and Pharaohs, and between Persia and India is the origin of the tale, and then moved from it to Mesopotamia according to the book of the popular tale between the past and the present by Mustafa Muhammad Ali Mystic.
The popular tale was known in the Arab heritage early on, as the books of Tabari, Isfahani, Masoudi, Ibn Kathir and others gathered many of these tales, which were known in the pre-Islamic era and what followed, mixed with the traditions and news of kings, as well as what was deposited in the collective memory of old news and facts.
It was formed in the beginnings in the public circles did not take care of anyone of the private, except as a kind of nice Asmar, and in the second century AH accounted for the interest of news and poets and writers, especially in the Abbasid era where translated Ibn al-Maqba book (Kalila and Damna) and increased interest in the third and fourth centuries, and mentioned historian Hamza Esfahani that it was in his era of books of the brown hands circulation Of the seventy books, books on the Hadiths of Sinbad and the Snail and the Mouse also appeared during the period when there was a wide discussion about the introduction of the tales of One Thousand and One Nights into the Arab heritage.
It ’ s a job that doesn ’ t die in Damascus.
In 1990, Rasheed al-Hakawati al-Damascene revived the profession of Hakawati at the coffee shop (al-Nawfra) at the request of the owner of the coffee shop Abu Saleh al-Rabat grandfather and the heads of religious rituals, where they decided to serve it after the Maghreb prayer until the Isha ’ an to be served in Ramadan after the Taraweeh prayer.
Hakawati Al-Sham Rashid Al-Hallaq started the art of Hakawati for the intangible cultural heritage since 1990 and continued until 2014 at the Nofra Café and was presenting stories that combine lessons and awareness, where he dealt with the story of the apparent King Bebars, Antra bin Shadad Al-Absi and many others.
On this subject, Shadi Alhallaq, Jr., spoke in a statement to SANA correspondent, saying that the tourist delegations had a permanent stop in the cafe to attend the Hakawati and take commemorative pictures with him, pointing to the works of his father Rashid, which exceeded the Syrian borders, where he participated in the Jerash Festival in Jordan in 1992 and until 1995 on the theater of sound and light. Hump, participated with the UNESCO Committee of the Medleheart Project for the Protection of the Heritage of the Mediterranean Countries in 2010.
Shadi the barber deepened his father ’ s career and began searching for the mythical and historical stories loved by the audience of storytellers from Syrian cafes and collected handwritten books and restored them as the story of One Thousand and One Nights and the sword of the son of Yazan. The French Institute for Middle Eastern Studies printed the story of the apparent king Bebars with the help of his father to explain some words and their meanings.
The son of the barber pointed to the heritage treasure that he found during the search operations, which was written in a coded language, which he discovered that it is a tent of Karkouz and preachers of Syria, where his father explained to him how to present and make them of leather, colors, ways of moving and the names of the pieces and their recipes to present the first presentation of shadow fiction in the presence of a group of shadow fiction.
Shadi Alhallaq practiced this profession with the art of Hakawati until it was classified by UNESCO on the list of urgent conservation in cooperation with the Syrian Secretariat for Development and provided a workshop to teach 22 students to make shadow and animation and teach them the basics of the profession and traditional craft.
Hereditary career:
Shadi went on to turn the Hakawati profession into a continuous work project for him and his children, pointing out that it is his profession that he loves and he continued in it after the death of his father in 2014 and continued the journey of Hakawati Al-Sham with the shadow imagination and currently his children learn this art.
Jawad bin Rashid, the oldest barber, has performed shadow fiction since he was nine years old at Qasr al-Azm Theater in the festival of (grandparents to grandchildren) and now he is 10 years old has more than 40 shadow fiction shows, the youngest of them and helps his father manufacture pieces and make presentations.
Eight-year-old Rashid is also learning the profession of storyteller and shadow fiction, and five-year-old Jad is driven by his passion for shadow fiction, which he drinks from his family, to provide dialogues at home and for the family.
Hakawati is a comprehensive artist:
Hakawati Ammar Jarrah says in a statement to SANA correspondent: The character of Hakawati is a historical figure known from the immaterial heritage inherited from generation to generation, and he has been working in this field since 2000 and every year of the month of Ramadan appears in this character to protect it from extinction, like the shadow imagination (Karkouz and Ewaz), and the world fund to remain in memory.
Al-Jarrah pointed out that he is working on developing it to suit the people ’ s desire through his presence with his audience in traditional restaurants and cafes, choosing local stories that carry humor and interest to the public in addition to the presence of an oriental takht to play music, and the presentation of the Mesharati segment.
Tarek Ali, one of the listeners of the storytellers, said that the choice of the presence of storytellers for the folklore stories and the stories of his heroes revives the beautiful times, where he catches their eyes with the tone of his voice, which rises and falls in harmony with the course of events and the enthusiasm contained in his story.
Lawyer Rana Bakbashi found in the character of Hakawati a return to the revival of the immaterial heritage, and to create an atmosphere of love and harmony, and a little away from the pressures of life in addition to attracting the young generation to listen to the championships of Antra and Abu Zaid al-Hilali and learn the values of chivalry and Arab ethics.
Economic and Heritage Project
Hakawati is not only a profession, but the details of the owner of the profession carry with it a growing economic importance in the Syrian society, starting from the clothes of Hakawati, which includes a dark red cowl on the head and a bra made of hand looms and long Shami pants. The zenar is a roll of Damasco fabric, Damasco brocade, in addition to a shawl on the shoulders of silk and an Arabic jacket called Damer. The silk belly is as black as the trousers are black and the storytellers sit in the public cafes on a chair that represents the work of the hands of the Damascene craftsmen of carved wood and mosaic restaurant with seashells.
These details represent traditional heritage crafts bearing the distinctive Syrian character of Damascene brocade, Aghbani mosaic, engraving and engraving on wood and shells, explained by the Chairman of the Board of Directors of the Syrian Development Society Ramal Saleh, indicating that this heritage has become a development project for many Syrian families through the project (Orient House for Heritage) launched by the Society with the support of the Syrian Trust for Development, which includes 13 artisans. Zain, whose workshops were destroyed by the terrorist war on Syria, was collected in an old Arab house with an area of about 750 meters, and provided them with production tools and requirements to preserve the cultural and cultural heritage and their production is present in external and local exhibitions.
Saleh pointed out that the Aghbani industry is also one of the most important projects of the Association, which was established at the end of 2017, which brings together women affected by the war in Douma city in Damascus countryside, where it started with four women to include 450 women within four years.
As for the Damascus brocade, Saleh pointed out that it is one of the finest and most luxurious fabrics in the world, as it is woven from natural silk threads extracted from silkworm cocoons, a luxurious fabric woven on the hand loom and added to it golden and silver threads. Damascus is known as the incubator of this industry, which is one of the oldest Syrian industries.
Saleh added that the Damascene brocade reflects the culture, nature and history of the region through the drawings called princesses or Damascene cloth and its threads woven the most beautiful paintings and prints such as the lover and the mahshooq, Salahuddin, Romeo, Juliet, Damascus rose and Damascus jasmine. The brocade is expensive because of the difficulty of extracting natural silk and the presence of silver and gold threads inside.
Saleh said that Damascus included several factories for the production of Damascus brocade, the most famous of which was the Naasan factory for handicrafts near Bab Sharqi. The importance of Naasan Palace with the factory lies in the fact that its founder is one of the mosaic and brocade artists, the young Georges Naasan, who built the factory in 1720 in Bab Sharqi to pour his leadership in the mosaic school itself.
Muhasen Awad - Rasham Mahrez - Tamam Al-Hassan - Alaa Al-Shehabi
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The storytellers...
An authentic Ramadan heritage

For example, the production of luxurious textiles like brocade is endangered due to the difficulty of sourcing materials such as natural silk and precious metal threads, as well as the closure of several historic workshops.

UNESCO has recognized the urgent need to safeguard these crafts.

The rationale behind designations such as the "List of Intangible Cultural Heritage in Need of Urgent Safeguarding" is the recognition that these ancient traditions, passed down for generations, are at risk of disappearing.

In the case of glassblowing in Damascus, this involves both the technical artistry—shaped by centuries of innovation—and the cultural knowledge embedded in the craft, important not just as artistic achievement but as a living facet of Syrian cultural identity.

In summary, facing modern pressures and the aftermath of conflict, Syria’s rich tradition of artisanal crafts—glassblowing among them—exists at a critical juncture.

Community initiatives and international recognition aim to ensure these irreplaceable skills will endure for future generations.

Certainly!

Title:

Content: People 's Network > > Education
Students, practice craftsmanship in this way.
— — College Art Workshop Innovates to Educate People with Beauty
August 17, 2021 08: 29 | Source: Guangming Daily
Small number
Original title: College students, practice craftsmanship with art
During the summer vacation, college students taught their children to sing at a "nursery gas station" in Ninja Village, Xiadawu Township, Maqin County, Guoluo Tibetan Autonomous Prefecture.
Xinhua News Agency issued
Several students in Ganyu District, Lianyungang City, Jiangsu Province, practiced painting.
Photo by Siwei / Bright Pictures
Inner Mongolia Autonomous Region Hohhot City primary and secondary school students creative building model.
Photo by Wang Zheng / Bright Picture
One wall, one culture, one landscape.
This summer, a number of young figures were ushered in in the village of Huomachong Town in Chenxi County, Hunan Province.
In the past few days, a wall painting on the theme of rural revitalization appeared in front of the villagers, becoming a beautiful scenery line showing the new style of rural civilization.
How many possibilities can the spirit of art be transformed by the youth of college students?
Because of the common love and artistic pursuit, college students are gathered together in the form of "art workshops" and other organizations.
They grafted traditional art with modern elements, docked commonplace art forms with new technologies, and combined artistic inspiration with rural revitalization "seamlessly."
They use meticulous care and perseverance to explain the open and inclusive charm of art with one activity and one piece of work, and also write "Youth, I line" in the growth of the team.
Bringing flowers to life, let art innovate in inheritance
“To participate in this art exhibition is a rare opportunity for me to exercise. The dazzling array of exhibitors not only condenses the sweat of the team, but also carries the genes of the excellent traditional culture of the Chinese nation. ” At the time of the workshop, my understanding of the shadow is still in the stage of ignorance.
Later, under the guidance of the instructor, after continuous learning and exploration, he gradually realized the important role of innovative thinking in artistic creation.
It is a national intangible cultural heritage.
The workshop uses big data and virtual simulation technology to combine the teaching resources of national universities and the literature resources of museums.
Original works such as Wukong, Wukong, Wukong, and A Dream in the Garden, developing shadow art images such as The Legend of the Fairy Sword, The Legend of the Cat, and introducing percussion and string music into the shadow music score. The fusion of artistic resources expands the radiative value and expressive power of shadow culture.
The integration of inheritance and innovation is also the heart of a group of students who love art at Jilin Institute of Architecture and Technology.
Entering the exhibition area of the "Northeast Big Flower Fabric" Cultural Inheritance and Innovation Workshop, the red festive faces came - boat bags, mandarin duck bags, and red and blue color masks customized for epidemic prevention.
"Northeast big flower cloth" is an important part of the folk culture of the Northeast region, which is characterized by colorful and festive patterns, and is mostly used for clothing and home accessories.
On the basis of giving full play to the rich traditional connotation of Northeast China's big flower cloth, the workshop developed a series of products such as home decoration, clothing accessories, daily necessities and installation art.
"The graduation of the college requires not only design drawings, but also the display of manual works, and usually attaches great importance to cultivating our hands-on ability."
The Northeast big flower cloth flourished in the 60s and 70s, and we integrated the new era elements in it. Before the cloth group used to learn to create hand-dyed cloth and blue dyed cloth. We combined the Northeast big flower cloth and the two together, forming a jump with the red of the big flower cloth, and developed the boat bag, the mandarin bag, and the cloth bear doll.
Team members introduced to the reporter, "the course learned public art, modern design how to combine with home, soft packaging, the workshop to provide us with new ideas, deepen our understanding of professional knowledge."
"Let's record history, let's record our efforts," the workshop continued to innovate, promote the Chinese spirit and national culture, and create cultural products with the characteristics of the times and modern aesthetic taste.
At the same time, we should pay attention to the current social development, establish family feelings and cultural self-confidence, and actively transmit the positive cultural energy of the new era, so as to realize the correct innovation of cultural inheritance in the aesthetic education of colleges and universities.
Smart brain, let art embrace technology and avant-garde
In the exhibition area of Shanghai University's wearable technology and Chinese non-heritage embroidery innovation workshop, 40 colorful embroidery pattern display walls attracted the attention of the reporter, "This wall is not simple, and may contain the code of the traditional Turkish craftsmanship 'disc embroidery'."
We have selected a representative who has been engaged in disc embroidery for 34 years and a novice who has learned disc embroidery. Let the teachers and students embroider 20 traditional patterns separately, and compare the perspective, length of the line, EEG, myoelectricity and other data used in the process to reveal the secret behind the process.
Turkish embroidery has a history of thousands of years, has been passed down to the present, however, due to the complexity of the process, time-consuming, many Turkish young people do not want to learn this craft, once faced the danger of losing it.
Shanghai University Wearable Technology and Chinese Inheritance Embroidery Experiment Workshop Teachers and students combined wearable technology with Chinese Inheritance Embroidery, using microprocessors, low-temperature thermoplastics and other technical means to complete the prototype of wearable components. Creative works with the characteristics of science and technology, national characteristics and modern design, classic modeling and innovative application.
"Through the construction of more than two years of workshops and activities, we have built a new interdisciplinary training mechanism for the integration of science and art, so that art students can understand the non-heritage through the mutual promotion of modern science and technology and traditional skills. With respect for different nationalities and national cultures, we will create new technical services from the perspective of people-centered, so that the development of science and technology will ultimately serve the society. ”
What will you do with old clothes? In front of the students of the "HuanRan New" art workshop of Zhejiang University of Technology, there may not be a treasure from inside to outside.
It is reported that the workshop takes clothing and clothing regeneration as the entry point, and takes the curriculum, scientific research and practice as the support of multi-dimensional platform, leading college students to play the new fashion of aesthetic education. With sales of more than 4 million yuan, the "Kunyuan in Tie Dyeing" series is linked with the University of Mauritius and the Confucius Institute in Suriname every year to transform the fabric of recycled old clothes and spread Chinese culture through traditional straw and wood dyeing and tie-dyeing technology.
"Red tiles, green trees, blue water and blue sky" describes the scenery of Qingdao coastal scenic belt, and the historical buildings distributed therein make the city block more sense.
Students of the “Qingdao Historical Architecture Digital (VR) Museum Workshop ” at China University of Petroleum (East China) have“ pegged ” the treasures of this historical legacy and tried to build their “digital archives ” with familiar VR methods.
"The workshop is composed of three teachers and a number of students, and teachers and students use their spare time to carry out the work of digital museums in combination with their research interests and the need for the preservation and renovation of historical buildings in Qingdao."
The “Qingdao Historic Building Digital (VR) Museum ” established by this workshop aims to present the colorful historical and classic buildings in Qingdao to the audience through advanced digital technology and multimedia display methods, so that the audience can have a comprehensive and close understanding of the historical buildings through online tours.
In addition, the digital museum can also retain a digital archive for historical buildings in Qingdao, and retain a digital data for future renovation.
Home country feelings, let the art dot the beautiful countryside
Poverty alleviation, victory over; rural revitalization, is still on the road.
How to coordinate the relationship between man and nature and create a beautiful countryside more suitable for human habitation has become the theme of creative expression in many art workshops in colleges and universities.
Many people in Guangzhou may not be familiar with the word "river".
Urban rivers can provide water for residents, promote business prosperity, and are an important site for people's daily leisure.
It was a common childhood memory for the elderly residents of Guangzhou to swim, play in the water and catch fish and shrimp in the river.
As a representative of the village type of Guangzhou, the coastal village can be said to be both universal and special - the life and production of the villagers have converged with the city, but its village landscape is the rural style of large farmland.
"Through the exploration of its urban life and rural features, we discovered the problems it has, and at the same time excavated its social, cultural, living and ecological values, and designed the village."
We find that it is the carrier of the residents' memories of the river, and the artistic design of it is not only to provide the villagers with a place for activities, but also to the continuation of the culture of the river.
In the design process, we studied and reorganized the activities of the river flow space, determined the type of space, and then extracted and laid out the elements, and finally formed a multi-functional public space that can be used for rest and play. ”
The first is to explore the combination of rural revitalization practice and rural teaching, and form their own rural planning teaching methods; the second is to pay attention to the excavation and inheritance of regional characteristics, to find the old and new as the theme, continue to study the planning and design and transformation of local villages, and strive to find beauty in the countryside., pay attention to probing and cultivate students' research ability. "said Hu Yuan, a teacher leading the team.
How do ethnic minority villages blend tradition and modernity? This is what Hainan Normal University ’ s workshop “Art and Beautiful Countryside – Dreaming in the South China Sea ” is dedicated to.
At the exhibition site of the workshop, a "boat house" is very eye-catching.
Members of the team told reporters that this is a model of the houses of the local Li nationality residents live in, showing the living conditions of the local residents.
"In the workshop, we will also display and remake products with the intangible cultural heritage of the Li people, such as Li Jin, known as the living fossil of China's textile history, and bamboo weaving with Lingnan characteristics."
In addition to the original cultural products and modern art, the new concept and polishing, creating new cultural and creative products of the Li nationality, showing and promoting the wisdom of the Li nationality people's selfless dedication passed down from generation to generation, driving the industrial development of the Li nationality villages and helping the rural revitalization.
Wang Dengfeng, director of the Department of Physical Education and Arts Education of the Ministry of Education, said that the theme of art practice activities for college students is combined with the revitalization of rural areas and the construction of beautiful villages, which not only reflects the characteristics of aesthetic education and life, but also closely focuses on the major strategies that the party and the state pay close attention to.
This shows that allowing college students to find beauty and create beauty in the major strategy surrounding national development is also a very important link in the comprehensive education of people.
"The results of the excellent art practice workshop fully reflect that aesthetic education is an important part of the daily life of college students, and it also carries the important function of educating people, reflecting aesthetic education 'for everyone'."
The university students who participate in art shows may not be able to become artists in the future, but I think they have a common characteristic, high artistic quality, humanistic quality, aesthetic quality. "
King said.
(Newspaper reporter Zhou Shixiang)
(Edited by: Hao Mengjia, Xiong Xu)
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Below is a focused summary/report suitable for your introduction on the history, cultural significance, current status, and importance of safeguarding Syrian traditional glassblowing, particularly in Damascus, in the context of UNESCO’s designation:

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**Syrian Traditional Glassblowing: History, Importance, and Urgent Safeguarding**

**Historical Roots**
Syria—most notably its capital Damascus—holds an extraordinary place in the history of glassmaking.

The region is widely believed to be one of the birthplaces of glassblowing, with archaeological evidence showing that glass production thrived here as early as the 1st century BCE.

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Content: On the 14th, the Cultural Assets Bureau of the Ministry of Culture held an exhibition on the theme of "weaving", "coincidence" and "color". The exhibition was curated by bamboo and rattan weaving artist Chang Hsien-ping, lacquer and pottery artist Shi Chia-hsiang, and Wang Jun-ying, the troupe leader of Taichung Sound Wuzhou Opera Troupe. A total of 68 works from the course participants will be exhibited at the 1916 Workshop in the Cultural Assets Park from January 14 to March 19 this year.
Wu Hua-tsung, deputy director of the Cultural Heritage Bureau, said that the 1916 Workshop, set up in the Cultural Assets Park of the Ministry of Culture, is an annual invitation to traditional craftsmen, artists and craftsmen to organize various cultural heritage education courses.
Wu Hua-tsung says that cultural heritage education involves craftspeople, school teachers, and artists recommending students to take courses for the students, using living chemicals to create, and through theoretical and practical teaching, hoping that superb traditional crafts and traditional performing arts will continue to be passed on from generation to generation.
The exhibition is curated on the three themes of “Weaving ”,“ Skillful ” and “Color ”. A total of 68 pieces of work by the students of the 111th Annual Communication Program are presented to show the rich achievements of communication.
We hope that through exhibitions and seminars, the public can understand the elegant beauty of traditional crafts, lead the public to recognize the cultural and artistic value of intangible cultural assets, and further care for the preservation and inheritance of traditional crafts.
During the Spring Festival holiday, the exhibition also plans the Spring Festival market and a series of craft experience courses and seminars.
For more information, please follow the official website of the Cultural Assets Bureau of the Ministry of Culture and the Facebook fan page.
# Cultural Assets Bureau, Ministry of Culture # Cultural Heritage Education Achievements Exhibition # Zhang Xianping # Shi Jiaxiang # Wang Yingjun

The innovation of glassblowing itself, which revolutionized how glass was shaped, is often attributed to craftsmen in the Syria-Palestine region.

Damascus glass vessels became famed for their clarity, elegance, and delicate artistry, spreading across the ancient world via trade routes.

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Content: Santiimen Township Office has put the art of one of the three treasures of Taiwan into an exhibition, hoping to use the treasures of ancient and modern times as a medium for tourists to explore the richness of the people. Culture.
Shi Xiuju, who has accumulated more than 39 years of experience in the creation of glass beads, is the main protagonist of this exhibition. She said that glass beads are regarded by the Paiwan people as a family treasure, representing the class of the people, as long as you can tell the identity of the owner of the beads.
She has repeatedly said that if the Paiwan people do not understand the meaning of glass beads, they will be sorry for their ancestors.
Shi founded Dragonfly Art Studio in 1983, actively encouraging tribal women to learn a skill, and her own unremitting efforts to create, coupled with flexible marketing methods, led her and Wang Xuehong, chairman of Hongda Power, to be recognized by the Asia-Pacific Economic Cooperation Conference (APEC) as an outstanding representative of female innovation enterprises.
Shi Xiuju 's works were collected by the National Taiwan Museum in 2012, a total of 83 items and 113 pieces, in recognition of her remanufacturing and innovation in Paiwan glass beads. Only through exquisite works can the outside world see this beautiful embellished by fire.
In the exhibition, Shi Xiuju will combine her creative energy with calligrapher Luo Huiyu to reinterpret the cross-border cooperation between Chinese culture and indigenous art. Cemelesai said that her works will present the history of glass culture from ancient times to the present.
# Glass beads # Shi Xiuju # Paiwan # Presence # Beauty

They’re also a symbol of Damascus craftsmanship and ingenuity.

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Content: Boats in a bottle carry dreams
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Ruifu led 46 teenagers and 20 mentors to create a large-scale art installation called “Writing Voyage ”, which allows the younger generation to express their dreams and visions for the future.
Art out of the hall, into the community, can also radiate different colors.
Local artist Ryf Zaini has guided young people to express their feelings through creative work and joined hands to create a multimedia art installation that reflects the community ’ s characteristics.
After graduating from the Engineering Department of Temasek Polytechnic, Rui Fuk (42) enrolled at Lassalle College of Art to study interactive art.
In the past few years, Ruifu has repeatedly cooperated with the People's Association to let residents connect their feelings through collective creation.
Last year, he worked with 46 teenagers between the ages of 11 and 17 at the Mentoring Club and 20 mentors to create large-scale art installations.
The painting, “Written Voyage, ” is a patchwork of about 50“ boats in a bottle. ”
Because of the installation of motion sensors, whenever someone passes the work, it will play the recorded messages of the teenagers to express their dreams and hopes for the future.
A "boat in a bottle" made of paper boats and plastic bottles is also affixed with a QR code, which can be scanned by a mobile phone to see the message written on the paper boat.
"There is a legend that Prince Sonila Uthama of Sumatra landed in Singapore in the early years, when he landed on the shore of Naoklanya," he said.
We wanted to highlight the theme of the voyage and reflect the historical legends of the area.
In addition, in the early years, people would put a note in the bottle, and we came up with the concept of "ship in bottle", so that teenagers can write their hearts on the paper boat.
Due to the coronavirus epidemic, Ruifu held a learning workshop for young people at the end of last year, which was conducted in an online and offline hybrid mode.
He observed that teenagers have more time at home to decorate the works, and many people have put their minds to it, even adding private small items such as keychains to the works, so that each piece becomes personalized.
“Over the years working with the People ’ s Association to bring art into the community, I have had surprises from time to time.
Many residents, including Andi, do not usually have the time or opportunity to explore art, and once they are given the opportunity to explore, they can also create good works. "
The installation took about eight months from conception to completion and is currently on display at the Straight Blanja Popular Club until July.
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Content: People 's Network > > International
"Blue wind sea" Zhejiang Qingpora tour kicked off in Iran
October 31, 2023 08: 30 | Source: Xinhua Network
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Xinhua News Agency, TEHRAN, October 30 (Reporter Shadati) The opening ceremony of the "Qingfeng Sea" Zhejiang Qingporcelain Tour and the promotion meeting of the "Vientiane China · World Ningbo" Ningbo Cultural Tourism was held at the Iranian National Academy of Arts in Tehran on the 30th.
Chinese Vice-Minister of Culture and Tourism Lu Yingchuan, Chinese Ambassador to Iran Chang Hua, and Iranian Academy of National Academy of Arts and Sciences Shahhousseini attended the event.
On October 30, the performers performed at the opening ceremony of the "Qingfeng Sea Coming" Zhejiang Qingporcelain Tour and the opening ceremony of the "Vientiane China · World Ningbo" Ningbo Cultural Tourism Promotion Conference held by the Iranian National Academy of Arts in Tehran, Iran.
Photo by Xinhua News Agency reporter Shatati
Lu Yingchuan said in his speech that the second meeting of the China-Iran Joint Committee on Culture and the implementation plan for cultural and educational exchanges between 2024 and 2027 signed by the two sides has laid a beautiful blueprint for cultural and educational exchanges and cooperation between the two countries.
In his speech, Shah Hosseini said that porcelain is a common cultural symbol of Iran and China and an important reflection of the history of exchanges between the two countries along the Silk Road.
The visit will further enhance mutual understanding between the peoples of the two countries, he said.
On October 30, the performers performed at the opening ceremony of the "Qingfeng Sea Coming" Zhejiang Qingporcelain Tour and the opening ceremony of the "Vientiane China · World Ningbo" Ningbo Cultural Tourism Promotion Conference held by the Iranian National Academy of Arts in Tehran, Iran.
Photo by Xinhua News Agency reporter Shatati
The art troupe from Ningbo performed traditional folk music such as Oule, Pipa, Erhu and Big Drum for the guests.
The “Qingfeng Sea Coming ” tour is sponsored by the Chinese Embassy in Iran, the Zhejiang Provincial Department of Culture and Tourism, and the Iranian National Academy of Arts. More than 70 works of Zhejiang masters will be exhibited at the Iranian National Academy of Arts for one month. The carefully crafted cloud exhibition H5 mini-program shows the geographical features, porcelain manufacturing history and production process of Zhejiang through pictures, videos and interactive games.
People watch an exhibit at the Iranian National Academy of Arts in Tehran, Iran, on October 30.
Photo by Xinhua News Agency reporter Shatati
People watch an exhibit at the Iranian National Academy of Arts in Tehran, Iran, on October 30.
Photo by Xinhua News Agency reporter Shatati
People watch an exhibit at the Iranian National Academy of Arts in Tehran, Iran, on October 30.
Photo by Xinhua News Agency reporter Shatati
(Editor: Cao Xinyue, Liu Ye Ting)
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