The traditional craft of glassblowing in Syria has a rich history, dating back over two thousand years to the time of the Phoenicians.

The city of Damascus has been famous for its traditional glassblowing art for centuries.

The craft of glassblowing in Damascus was used to create decorative items such as mishkats and lanterns.

The history of glassblowing in Damascus evolved over time, with the craft being introduced by the Phoenicians and developing throughout history.

The traditional glassblowing craft in Syria is at risk due to the lack of support and the high cost of products, making it difficult for craftsmen to continue their work.

The war considerably affected the traditional craft of glassblowing in Syria, but some artisans have brought it back to life after the liberation of the city from terrorism.

UNESCO included traditional Syrian glassblowing on the list of intangible cultural heritage of humanity that needs urgent preservation in December 2023.

The preservation of traditional crafts like glassblowing is seen as essential to maintaining Syria's cultural identity and authenticity in the face of globalization.

The Syrian government and institutions are working to preserve the country's intangible cultural heritage, including traditional crafts like glassblowing, to protect national identity.

The Directorate of Intangible Cultural Heritage has been active in most governorates, focusing on monitoring, studying and documenting the national intangible heritage, including Syrian traditional glassblowing.

The traditional craft of glassblowing in Syria has a rich history, dating back over two thousand years to the time of the Phoenicians.

Title:

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

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

The city of Damascus has been famous for its traditional glassblowing art for centuries.

Title:

Content: Sulaymaniyah in Damascus.
Do you want to throw out your guards?
While the Ottoman Sultan Suleiman the Magnificent saw in his dream that he was in a grove in the center of the capital Damascus, the Prophet Muhammad (peace be upon him) appeared to him and instructed him to build a mosque in that land. The Ottoman Sultan awoke from his sleep pleased with what he saw and heard. He immediately ordered to cut off a side of that grove and build a large kiosk in the middle of it. He was in a dream and pointed out.
This is the story conveyed by a number of writers and historians, the latest of which was Sheikh Najmuddin al-Ghazi in his book "The Walking Planets in the Eyes of the Tenth Hundred", about the decision of the legal sultan to build the Tekke Sulaymaniyah (west of Damascus) in the 16th century, one of the most prominent Ottoman tekaya and the most modern style and the most beautiful architecture, according to specialists.
Historically, the Tkiyet Sulaymaniyah was a place to perform religious duties and a resting place for pilgrims and a refuge for the maqtada and poor people of Damascus, Muslims and others, and remained so until the French colonizer entered the country in 1920; where General Guru and his forces took from the Tkiyet as a residence.
With the departure of colonialism and the advent of 1948, the Shari ’ ah school in Tkiyet returned to hold educational seminars and memorization of the Quran, and since the mid-seventies of the last century began to embrace dozens of shops of ancient Damascene handicrafts, and expanded this part to be known later as the market of handicrafts.
Recently, this complex cultural and religious identity of the heritage teacher has become threatened, after the Ministry of Tourism (in the government of the Syrian regime) notified professionals to vacate their shops before the end of the year under the pretext of restoration.
From Al-Ablaq Palace to Al-Tkiyet Sulaymaniyah
The site of Tkiyet Sulaymaniyah, west of Damascus, was known for the construction of a number of royal residences, the last of which was the palace of the owner of the Mamluk Sultan Baqiris (1228-1277 AD), which was named after the colors of the stones of its construction black and yellow brought from Aleppo and Daraa.
However, large parts of the palace were burned during the conquest of Damascus by the Mongol commander Tamerlane in 803 A.D. (1402 A.D.), and it was not until the Ottoman Sultan Selim I entered Damascus in 923 A.D. (1517 A.D.) that the Ablaq palace was restored and rehabilitated.
By 959 A.D. (1502 A.D.), Sultan Selim the Magnificent commissioned the famous Ottoman architect Mimar Sinan to develop a modern architectural plan for a hospice on the site of the Al-Ablaq Palace. In 960 A.D. (1553 A.D.), a large number of workers began building the hospice under the supervision of the Damascene engineer Shahabuddin ibn Al-Attar.
Then rest on the banks of the Barada River "a luxurious architectural group that captivates the hearts of the hearts with its regular domes like knots around a large main dome, surrounded by two minarets, and interspersed with gardens and trees whose beauty blends with the beauty of architecture makes this spot in Damascus one of the most beautiful and beautiful spots", the Tkiyet Sulaymaniyah, as described by Abdul Qader Rihawi in his book "Architecture in Arabic".
Ottoman architecture and Damascene motifs
The building of the Sulaymaniyah Tekke consists of two similar architectural blocks, one large and includes the mosque and the other small and includes the school, and linked between these two blocks was a market dedicated to the caravans of pilgrims, and the Ottoman engineering effects on the planning and construction, while the Damascene artistic touch overshadows the designs of doors and windows and decorations that decorate the walls and rooms of the place.
The two architectural blocks are surrounded by relatively low walls, while the middle of them are two rectangular pools fed by water vertical fountains used for ablution, and the mosque with its narrow minarets tops the southern block, while the school mosque with its smooth dome tops the eastern block, and on the sides of the blocks spread buildings are shops and narrow rooms covered with low domes interspersed with low The chimneys are shaped like minarets and are led by shady arcades with ornate arches.
The Sulaymaniyah Tikkiye market extends from its easternmost to its westernmost, and is lined with dozens of shops that were previously commercial shops, and have since the 1970s turned into handicrafts shops.
In addition to its traditional role as a place for the betters, the poor and the needy, the Sulaymaniyah Tekke was designed to be a stop for pilgrims on the pilgrimage route to Mecca, where the place was equipped with spacious kitchens, bakeries, rest rooms, several prayer rooms, a sea for ablution and other necessary services for pilgrims.
When it became a teachers ’ house in 1923, it stopped hosting guests and sheltering arrivals for the first time since its establishment four centuries ago, but soon regained its identity as a hospitable place when it hosted a number of Palestinian families displaced to Damascus following the 1948 Nakba.
While the Sulaymaniyah school was famous for receiving students of Sharia sciences from all parts of the world, before turning, with the opening of the Syrian University in Damascus in 1934, into a place to teach dentistry, and then into an archaeological landmark that includes a war museum with the continuation of religious activities in the chapels and mosque to this day.
From an incubator to a bounty hunter.
In mid-October, the Ministry of Tourism in the government of the regime warned the Karar sheikhs of craftsmen in the handicrafts market to evacuate their shops before the new year 2023 for the purpose of restoration.
Despite the appeals of the craftsmen to the concerned authorities through the local newspapers and media, and the intervention of the Damascus Chamber of Tourism to promise the craftsmen their return after the completion of the restoration operations, Nidal Mashfej, Assistant Minister of Tourism, stressed that there is no legal provision obliging the ministry to renew the contracts of craftsmen after the end of each year. Shopkeepers have the right to claim any malfunction, damage, injustice or the like, the official told the official Tishreen newspaper.
A member of the Damascus Chamber of Tourism, Arafat Oza Bashi, points out that all the shopkeepers in the Sulaymaniyah Tkiyet hope to return to their shops after the completion of the restoration, to continue their work and preserve the intangible heritage threatened with extinction.
Haj Abu Mohammed, 57 years old, owner of a shop in Tkiyet, told Al Jazeera Net, "Years ago they evacuated the glass market of Tkiyet under the pretext of restoring it, and it is still a wreck and it is not clear if it will return to a glass market, and I do not exclude that our shop has a similar fate."
"As if they were not satisfied with the stagnation of the market in the last 10 years and the absence of tourists and visitors from our shops, which the simple citizen can not buy goods from them because of their high cost, and all the losses we suffered to continue to revive these crafts during the war."
The Sulaymaniyah Tikkiye has been undergoing restoration since 2019, and the first phase aimed to restore part of the Tikkiye and what is known as the glass market, while the second phase is dedicated to the handicrafts market and some parts of the interior of the Tikkiye “to preserve the archaeological site from landings and structural cracks, ” according to Nidal Mashfaj.
Source: The Island

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

Title:

Content: Culture of Al-Baath Newspaper
Intangible heritage contributions to the protection of national identity
Amina Abbas
Heritage researchers and scholars agree that the Levant region is the most important heritage repository for humanity, as it has the oldest and richest heritage, and this heritage, both material and intangible, was coveted by the colonists since ancient times to destroy culture and identity, there is no identity without heritage based on it, and no heritage without identity, so Syria is keen through its institutions and bodies to emphasize the importance of preserving it.
Hence, the Quneitra branch of the Arab Writers Union, in celebration of World Heritage Day, decided to hold a seminar in the Levant Hall of the National Museum entitled “Contributions of Intangible Heritage to the Protection of National Identity ” with the participation of Dr. Amal Daccak, Professor Ruba Al-Diab, Qas Ghassan Houranieh and Dr. Rima Diab, Head of the Quneitra branch of the Arab Writers Union. It represents not only traditions and the past, but society in all its layers, and links the past to the present and the future, and it is a means for each people to prove its existence in the world and its authenticity, while stressing that the intangible heritage contributes to the preservation of identity and personality. Our identity and our heritage in the era of globalization, which is trying to eliminate our heritage and culture to be part of this lost world.
This was also confirmed by Dr. Dakak in her participation: “The Syrian tangible and intangible heritage is rich in its authenticity and civilization that dates back thousands of years, so it was and still is coveted by the colonists who stole many treasures to be in their world museums, and their war on Syria recently was aimed at destroying culture and identity and stealing antiquities. ” It is an integrated cultural unit formed by man throughout his long history with his creative thinking, observations, reflections and experiences accumulated generation after generation, and it is the social environment occupied by man and the components and pillars produced by previous generations until it reached subsequent generations and has the function of supervising the behavior of the individual and his sociocultural upbringing because it is a reflection of the social, intellectual and cultural life of peoples. As Daccak pointed out, the identity is the set of psychological, social and civilizational features of our nation throughout its long history, and the folklore constitutes the identity of a homeland rich in culture and civilization, calling in the era of globalization to seek to preserve our cultural identity and heritage, which represents this identity to face the challenges of globalization that invade us and want to eliminate our identity and culture. And our originality by drawing different borders in which national identity is absent and killing people in their country.
Because the Levantine rose and its associated practices and traditional crafts are important Syrian heritage elements inherited from generation after generation, and was included by UNESCO in 2019 in the list of intangible human heritage was talked about by Professor Al-Diab, who was crowned queen of roses and became Syrian ambassador to the world: “The Levantine rose was found painted on the wall of a palace on the island of Crete and was introduced to France during wars. As the poet Nizar Qabbani wrote about her,“ I am your Damascene rose, O people of the Levant, and whoever finds me should put me in the first vase, ” referring to the areas of its cultivation in Damascus countryside and Ghubartha. The project was launched by the Syrian Secretariat for Development in 2020 with the support of First Lady Asma al-Assad, affirming that Syrians consider the Levantine Rose an important part of their culture. The Ministry of Tourism has taken it as its slogan, in addition to many medical and cosmetic companies and building a path that is architecturally designed in the form of a Levantine Rose, explaining that the elements of the Syrian intangible cultural heritage include: Traditions and expressions “qaṣīda, mawwāl, ataba, dalaouna, zaghārīd, folk proverbs ” and the arts:“ Aleppo qadūd, coastal dabka, Circassian dance, Syriac church music ” Social practices “preparing and serving bitter coffee ” Knowledge and practices related to nature and the universe:“ cupping, traditional architecture ” Skills related to traditional crafts “wooden mosaic, brocade ” The crafts associated with the Levantine Rose ”, and that the elements of the intangible Syrian heritage included in the lists of human heritage are: falcon hunting, shadow fiction theater, Levantine Rose, Aleppo cod, glass blowing and making sticks and playing on them.
It is noteworthy that the seminar included the presentation of a film prepared by dr.
Amal Daccak spoke about heritage in our contemporary lives and its role in preserving our national identity, and the participation of the storyteller Ghassan Houranieh through a short story titled “The Levantine Rose ”.

The craft of glassblowing in Damascus was used to create decorative items such as mishkats and lanterns.

The history of glassblowing in Damascus evolved over time, with the craft being introduced by the Phoenicians and developing throughout history.

The traditional glassblowing craft in Syria is at risk due to the lack of support and the high cost of products, making it difficult for craftsmen to continue their work.

The war considerably affected the traditional craft of glassblowing in Syria, but some artisans have brought it back to life after the liberation of the city from terrorism.

UNESCO included traditional Syrian glassblowing on the list of intangible cultural heritage of humanity that needs urgent preservation in December 2023.

The preservation of traditional crafts like glassblowing is seen as essential to maintaining Syria's cultural identity and authenticity in the face of globalization.

The Syrian government and institutions are working to preserve the country's intangible cultural heritage, including traditional crafts like glassblowing, to protect national identity.

The Directorate of Intangible Cultural Heritage has been active in most governorates, focusing on monitoring, studying and documenting the national intangible heritage, including Syrian traditional glassblowing.

Title:

Content: A year of hard work to document and preserve the Syrian tangible and intangible heritage locally and internationally
Damascus-Sana
The Syrian heritage, both tangible and intangible, forms an important pillar within the World Heritage system, and is a key factor in strengthening the cultural identity of the Syrian people, building the present and protecting the future.
During 2022, the Ministry of Culture and its concerned institutions, in particular the Directorate General of Antiquities and Museums and the Directorate of Intangible Cultural Heritage, focused on organizing a series of events and seminars and signing a series of agreements related to the importance and mechanisms of preserving this heritage in its various components.
Among the most important Syrian activities and works related to tangible and intangible heritage during 2022 are:
During the year, Syria held several discussions on the loan of Syrian artifacts damaged during the terrorist war on Syria for restoration and display in the Sultanate of Oman, and signed a joint statement on cooperation to preserve cultural heritage with the People ’ s Republic of China.
Syria participated in the International Forum of the Convention for the Protection of the World Cultural and Natural Heritage in the Russian city of Kazan, and the Scientific Conference on Archaeology in the Hungarian capital, and participated in a virtual lecture within the international conference on the protection of the Syrian cultural heritage after the war.
– The archaeological missions returned to excavations in 2022, including the joint Syrian-Italian archaeological mission, which began its work for the first season at the archaeological site of Amrit, and the discovery of a funerary burial and some archaeological finds and discoveries dating back to the Roman era in Amrit by the joint excavation team between the Directorate General of Antiquities and Museums and the Department of Tartus Antiquities.
– The national expertise of the Directorate General of Antiquities worked to expand the work to discover the entire rare archaeological mosaic painting in the city of Rastan, which dates back to the Roman era, and reached a length of 20 meters and a width of 6 meters.
– Completion of the restoration work of the Arc de Triomphe in the ancient city of Palmyra, which was destroyed by terrorist organizations in 2015, and the second phase of the restoration project began with the signing of a memorandum of understanding between the Directorate of Antiquities, the Syrian Secretariat and the Institute of the History of Material Culture of the Russian Academy of Sciences in the Russian Federation.
– Holding a workshop “Restoring Syrian Heritage and Reviving Local Communities ” at Expo 2020 Dubai, in which local, Arab and international bodies specialized in antiquities participated.
– In the National Museum in Damascus and in tribute to the lives and sacrifices of about 27 martyrs who rose during the terrorist war on Syria in defense of the Syrian cultural heritage, an exhibition of recovered archaeological treasures 3 entitled (Salute to the martyrs of the General Directorate of Antiquities and Museums) was opened within the days of Syrian culture.
– The opening of a painting exhibition entitled “Restoration of Syrian Heritage by Theo Vitit ’ s Vision ” at the National Museum in Damascus, which is a painting of restoration and excavation works in Syrian archaeological sites, painted by the Dutch artist and archaeologist Theo Vitit in 2018 and 2021, and was presented in the Netherlands to introduce the Western community to what happened to the Syrian cultural heritage.
In Damascus Castle, the first national screening of the film Siriacus Section, directed by Olivier Bourgeois, was launched in 2022 in cooperation between the Ministry of Culture, the Directorate General of Antiquities and Museums, and the Syrian Trust for Development. The film, which won more than 17 international awards, talks about the solidarity of a small group of archaeologists and museum curators with the escalation of the terrorist war on Aleppo in 2015. The National Museum of Aleppo.
The Directorate of Antiquities, in cooperation with the European Center for Byzantine and Post-Byzantine Monuments and the Department of Antiquities at the University of Damascus, organized a digital exhibition on historical mosaics in Syria, entitled “Syria is still the source of arts ”.
– The beginning of the year witnessed the return of five Syrian destructive artifacts to the National Museum in Damascus at the initiative of the management of the Naboo Museum in Beirut, and the pieces are various funerary destructive statues from the collections of the Naboo Museum previously purchased from European auction houses.
The second leg of the Syrian Antiquities Exhibition, entitled “The Wonderful Syria ”, was opened in Chengdu, Sichuan Province, southwest China, which lasted until May. During this period, special scientific seminars and cultural events were held in connection with the exhibition, in which the Department of Antiquities and Museums participated with 195 important artifacts and collections of Syrian museums.
In 2022, the Directorate of Intangible Cultural Heritage has been active in most governorates, focusing on monitoring, studying and documenting the national intangible heritage and preparing the necessary plans to search for, study and inventory the elements of this heritage and include them in the national register, in cooperation with governmental and non-governmental institutions, local communities and international organizations.
The Directorate of Heritage organized a workshop on Syrian intangible cultural heritage at Al-Assad National Library, in preparation for the development of a national strategy for intangible cultural heritage in Syria.
– The project (Windows 5) was organized, whose musical evenings varied between documentation and promotion of Syrian heritage songs, and many heritage festivals were held in the provinces.
– The project of documenting the elements of the Syrian intangible heritage in ancient Homs, implemented by the Ministry of Culture in cooperation with the Syrian Secretariat and civil society, was launched in 2022 to preserve the elements of this heritage, and work continued on the project of documenting the elements of the intangible heritage in Tartus province.
Within the framework of the implementation of the plan to preserve the element of the theater of shadow imagination Karkouz and Aiwaz after registration on the list of urgent conservation of the world humanitarian heritage at UNESCO, the Syrian Secretariat for Development continued the third professional training after Damascus and Suwayda, for youth cadres in the city of Aleppo.
The Syrian Secretariat for Development has developed the “Living Heritage ” program with the local community in Aleppo governorate, the main axes for the preservation of the Aleppo cod, which was registered on the Representative List of Human Heritage at UNESCO by the end of 2021 with the participation of a group of governmental and civil authorities, artists, musicians, researchers and interested in the Arab, musical and art of cod.
At the international level:
Syria has been elected vice-president of the ninth session of the General Assembly of the States Parties to the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage of Humanity for a two-year term 2022-2024.
Syria participated in the UNESCO World Conference on Cultural Policies and Sustainable Development, Mondiacult 2022, in Mexico.
– In 2022, a scientific research by the son of the city of Aleppo, Antoine Makdis, related to how to recover from the effects of war through independent cultural production based on intangible cultural heritage won the first place in the competition of the Foundation of Santgrata, specialized in the Italian cultural economy.
– An integrated archaeological project in the Baal Shemin Temple in Palmyra has been shortlisted for the third cycle of ICCROM Sharjah Award for the Conservation and Protection of Cultural Heritage in the Arab Region 2020-2022.
Rasha Mahfoudh and Mays Al-Ani
Follow SANA news on Telegram https: / / t.me / SyrianArabNewsAgency


The traditional craft of glassblowing in Syria has a rich history, dating back over two thousand years to the time of the Phoenicians.

The city of Damascus has been famous for its traditional glassblowing art for centuries.

The craft of glassblowing in Damascus was used to create decorative items such as mishkats and lanterns.

The history of glassblowing in Damascus evolved over time, with the craft being introduced by the Phoenicians and developing throughout history.

The traditional glassblowing craft in Syria is at risk due to the lack of support and the high cost of products, making it difficult for craftsmen to continue their work.

The war considerably affected the traditional craft of glassblowing in Syria, but some artisans have brought it back to life after the liberation of the city from terrorism.

UNESCO included traditional Syrian glassblowing on the list of intangible cultural heritage of humanity that needs urgent preservation in December 2023.

The preservation of traditional crafts like glassblowing is seen as essential to maintaining Syria's cultural identity and authenticity in the face of globalization.

The Syrian government and institutions are working to preserve the country's intangible cultural heritage, including traditional crafts like glassblowing, to protect national identity.

The Directorate of Intangible Cultural Heritage has been active in most governorates, focusing on monitoring, studying and documenting the national intangible heritage, including Syrian traditional glassblowing.

The traditional craft of glassblowing in Syria has a rich history, dating back over two thousand years to the time of the Phoenicians.

Title:

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

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

The city of Damascus has been famous for its traditional glassblowing art for centuries.

Title:

Content: Sulaymaniyah in Damascus.
Do you want to throw out your guards?
While the Ottoman Sultan Suleiman the Magnificent saw in his dream that he was in a grove in the center of the capital Damascus, the Prophet Muhammad (peace be upon him) appeared to him and instructed him to build a mosque in that land. The Ottoman Sultan awoke from his sleep pleased with what he saw and heard. He immediately ordered to cut off a side of that grove and build a large kiosk in the middle of it. He was in a dream and pointed out.
This is the story conveyed by a number of writers and historians, the latest of which was Sheikh Najmuddin al-Ghazi in his book "The Walking Planets in the Eyes of the Tenth Hundred", about the decision of the legal sultan to build the Tekke Sulaymaniyah (west of Damascus) in the 16th century, one of the most prominent Ottoman tekaya and the most modern style and the most beautiful architecture, according to specialists.
Historically, the Tkiyet Sulaymaniyah was a place to perform religious duties and a resting place for pilgrims and a refuge for the maqtada and poor people of Damascus, Muslims and others, and remained so until the French colonizer entered the country in 1920; where General Guru and his forces took from the Tkiyet as a residence.
With the departure of colonialism and the advent of 1948, the Shari ’ ah school in Tkiyet returned to hold educational seminars and memorization of the Quran, and since the mid-seventies of the last century began to embrace dozens of shops of ancient Damascene handicrafts, and expanded this part to be known later as the market of handicrafts.
Recently, this complex cultural and religious identity of the heritage teacher has become threatened, after the Ministry of Tourism (in the government of the Syrian regime) notified professionals to vacate their shops before the end of the year under the pretext of restoration.
From Al-Ablaq Palace to Al-Tkiyet Sulaymaniyah
The site of Tkiyet Sulaymaniyah, west of Damascus, was known for the construction of a number of royal residences, the last of which was the palace of the owner of the Mamluk Sultan Baqiris (1228-1277 AD), which was named after the colors of the stones of its construction black and yellow brought from Aleppo and Daraa.
However, large parts of the palace were burned during the conquest of Damascus by the Mongol commander Tamerlane in 803 A.D. (1402 A.D.), and it was not until the Ottoman Sultan Selim I entered Damascus in 923 A.D. (1517 A.D.) that the Ablaq palace was restored and rehabilitated.
By 959 A.D. (1502 A.D.), Sultan Selim the Magnificent commissioned the famous Ottoman architect Mimar Sinan to develop a modern architectural plan for a hospice on the site of the Al-Ablaq Palace. In 960 A.D. (1553 A.D.), a large number of workers began building the hospice under the supervision of the Damascene engineer Shahabuddin ibn Al-Attar.
Then rest on the banks of the Barada River "a luxurious architectural group that captivates the hearts of the hearts with its regular domes like knots around a large main dome, surrounded by two minarets, and interspersed with gardens and trees whose beauty blends with the beauty of architecture makes this spot in Damascus one of the most beautiful and beautiful spots", the Tkiyet Sulaymaniyah, as described by Abdul Qader Rihawi in his book "Architecture in Arabic".
Ottoman architecture and Damascene motifs
The building of the Sulaymaniyah Tekke consists of two similar architectural blocks, one large and includes the mosque and the other small and includes the school, and linked between these two blocks was a market dedicated to the caravans of pilgrims, and the Ottoman engineering effects on the planning and construction, while the Damascene artistic touch overshadows the designs of doors and windows and decorations that decorate the walls and rooms of the place.
The two architectural blocks are surrounded by relatively low walls, while the middle of them are two rectangular pools fed by water vertical fountains used for ablution, and the mosque with its narrow minarets tops the southern block, while the school mosque with its smooth dome tops the eastern block, and on the sides of the blocks spread buildings are shops and narrow rooms covered with low domes interspersed with low The chimneys are shaped like minarets and are led by shady arcades with ornate arches.
The Sulaymaniyah Tikkiye market extends from its easternmost to its westernmost, and is lined with dozens of shops that were previously commercial shops, and have since the 1970s turned into handicrafts shops.
In addition to its traditional role as a place for the betters, the poor and the needy, the Sulaymaniyah Tekke was designed to be a stop for pilgrims on the pilgrimage route to Mecca, where the place was equipped with spacious kitchens, bakeries, rest rooms, several prayer rooms, a sea for ablution and other necessary services for pilgrims.
When it became a teachers ’ house in 1923, it stopped hosting guests and sheltering arrivals for the first time since its establishment four centuries ago, but soon regained its identity as a hospitable place when it hosted a number of Palestinian families displaced to Damascus following the 1948 Nakba.
While the Sulaymaniyah school was famous for receiving students of Sharia sciences from all parts of the world, before turning, with the opening of the Syrian University in Damascus in 1934, into a place to teach dentistry, and then into an archaeological landmark that includes a war museum with the continuation of religious activities in the chapels and mosque to this day.
From an incubator to a bounty hunter.
In mid-October, the Ministry of Tourism in the government of the regime warned the Karar sheikhs of craftsmen in the handicrafts market to evacuate their shops before the new year 2023 for the purpose of restoration.
Despite the appeals of the craftsmen to the concerned authorities through the local newspapers and media, and the intervention of the Damascus Chamber of Tourism to promise the craftsmen their return after the completion of the restoration operations, Nidal Mashfej, Assistant Minister of Tourism, stressed that there is no legal provision obliging the ministry to renew the contracts of craftsmen after the end of each year. Shopkeepers have the right to claim any malfunction, damage, injustice or the like, the official told the official Tishreen newspaper.
A member of the Damascus Chamber of Tourism, Arafat Oza Bashi, points out that all the shopkeepers in the Sulaymaniyah Tkiyet hope to return to their shops after the completion of the restoration, to continue their work and preserve the intangible heritage threatened with extinction.
Haj Abu Mohammed, 57 years old, owner of a shop in Tkiyet, told Al Jazeera Net, "Years ago they evacuated the glass market of Tkiyet under the pretext of restoring it, and it is still a wreck and it is not clear if it will return to a glass market, and I do not exclude that our shop has a similar fate."
"As if they were not satisfied with the stagnation of the market in the last 10 years and the absence of tourists and visitors from our shops, which the simple citizen can not buy goods from them because of their high cost, and all the losses we suffered to continue to revive these crafts during the war."
The Sulaymaniyah Tikkiye has been undergoing restoration since 2019, and the first phase aimed to restore part of the Tikkiye and what is known as the glass market, while the second phase is dedicated to the handicrafts market and some parts of the interior of the Tikkiye “to preserve the archaeological site from landings and structural cracks, ” according to Nidal Mashfaj.
Source: The Island

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

Title:

Content: Culture of Al-Baath Newspaper
Intangible heritage contributions to the protection of national identity
Amina Abbas
Heritage researchers and scholars agree that the Levant region is the most important heritage repository for humanity, as it has the oldest and richest heritage, and this heritage, both material and intangible, was coveted by the colonists since ancient times to destroy culture and identity, there is no identity without heritage based on it, and no heritage without identity, so Syria is keen through its institutions and bodies to emphasize the importance of preserving it.
Hence, the Quneitra branch of the Arab Writers Union, in celebration of World Heritage Day, decided to hold a seminar in the Levant Hall of the National Museum entitled “Contributions of Intangible Heritage to the Protection of National Identity ” with the participation of Dr. Amal Daccak, Professor Ruba Al-Diab, Qas Ghassan Houranieh and Dr. Rima Diab, Head of the Quneitra branch of the Arab Writers Union. It represents not only traditions and the past, but society in all its layers, and links the past to the present and the future, and it is a means for each people to prove its existence in the world and its authenticity, while stressing that the intangible heritage contributes to the preservation of identity and personality. Our identity and our heritage in the era of globalization, which is trying to eliminate our heritage and culture to be part of this lost world.
This was also confirmed by Dr. Dakak in her participation: “The Syrian tangible and intangible heritage is rich in its authenticity and civilization that dates back thousands of years, so it was and still is coveted by the colonists who stole many treasures to be in their world museums, and their war on Syria recently was aimed at destroying culture and identity and stealing antiquities. ” It is an integrated cultural unit formed by man throughout his long history with his creative thinking, observations, reflections and experiences accumulated generation after generation, and it is the social environment occupied by man and the components and pillars produced by previous generations until it reached subsequent generations and has the function of supervising the behavior of the individual and his sociocultural upbringing because it is a reflection of the social, intellectual and cultural life of peoples. As Daccak pointed out, the identity is the set of psychological, social and civilizational features of our nation throughout its long history, and the folklore constitutes the identity of a homeland rich in culture and civilization, calling in the era of globalization to seek to preserve our cultural identity and heritage, which represents this identity to face the challenges of globalization that invade us and want to eliminate our identity and culture. And our originality by drawing different borders in which national identity is absent and killing people in their country.
Because the Levantine rose and its associated practices and traditional crafts are important Syrian heritage elements inherited from generation after generation, and was included by UNESCO in 2019 in the list of intangible human heritage was talked about by Professor Al-Diab, who was crowned queen of roses and became Syrian ambassador to the world: “The Levantine rose was found painted on the wall of a palace on the island of Crete and was introduced to France during wars. As the poet Nizar Qabbani wrote about her,“ I am your Damascene rose, O people of the Levant, and whoever finds me should put me in the first vase, ” referring to the areas of its cultivation in Damascus countryside and Ghubartha. The project was launched by the Syrian Secretariat for Development in 2020 with the support of First Lady Asma al-Assad, affirming that Syrians consider the Levantine Rose an important part of their culture. The Ministry of Tourism has taken it as its slogan, in addition to many medical and cosmetic companies and building a path that is architecturally designed in the form of a Levantine Rose, explaining that the elements of the Syrian intangible cultural heritage include: Traditions and expressions “qaṣīda, mawwāl, ataba, dalaouna, zaghārīd, folk proverbs ” and the arts:“ Aleppo qadūd, coastal dabka, Circassian dance, Syriac church music ” Social practices “preparing and serving bitter coffee ” Knowledge and practices related to nature and the universe:“ cupping, traditional architecture ” Skills related to traditional crafts “wooden mosaic, brocade ” The crafts associated with the Levantine Rose ”, and that the elements of the intangible Syrian heritage included in the lists of human heritage are: falcon hunting, shadow fiction theater, Levantine Rose, Aleppo cod, glass blowing and making sticks and playing on them.
It is noteworthy that the seminar included the presentation of a film prepared by dr.
Amal Daccak spoke about heritage in our contemporary lives and its role in preserving our national identity, and the participation of the storyteller Ghassan Houranieh through a short story titled “The Levantine Rose ”.

The craft of glassblowing in Damascus was used to create decorative items such as mishkats and lanterns.

The history of glassblowing in Damascus evolved over time, with the craft being introduced by the Phoenicians and developing throughout history.

The traditional glassblowing craft in Syria is at risk due to the lack of support and the high cost of products, making it difficult for craftsmen to continue their work.

The war considerably affected the traditional craft of glassblowing in Syria, but some artisans have brought it back to life after the liberation of the city from terrorism.

UNESCO included traditional Syrian glassblowing on the list of intangible cultural heritage of humanity that needs urgent preservation in December 2023.

The preservation of traditional crafts like glassblowing is seen as essential to maintaining Syria's cultural identity and authenticity in the face of globalization.

The Syrian government and institutions are working to preserve the country's intangible cultural heritage, including traditional crafts like glassblowing, to protect national identity.

The Directorate of Intangible Cultural Heritage has been active in most governorates, focusing on monitoring, studying and documenting the national intangible heritage, including Syrian traditional glassblowing.

Title:

Content: A year of hard work to document and preserve the Syrian tangible and intangible heritage locally and internationally
Damascus-Sana
The Syrian heritage, both tangible and intangible, forms an important pillar within the World Heritage system, and is a key factor in strengthening the cultural identity of the Syrian people, building the present and protecting the future.
During 2022, the Ministry of Culture and its concerned institutions, in particular the Directorate General of Antiquities and Museums and the Directorate of Intangible Cultural Heritage, focused on organizing a series of events and seminars and signing a series of agreements related to the importance and mechanisms of preserving this heritage in its various components.
Among the most important Syrian activities and works related to tangible and intangible heritage during 2022 are:
During the year, Syria held several discussions on the loan of Syrian artifacts damaged during the terrorist war on Syria for restoration and display in the Sultanate of Oman, and signed a joint statement on cooperation to preserve cultural heritage with the People ’ s Republic of China.
Syria participated in the International Forum of the Convention for the Protection of the World Cultural and Natural Heritage in the Russian city of Kazan, and the Scientific Conference on Archaeology in the Hungarian capital, and participated in a virtual lecture within the international conference on the protection of the Syrian cultural heritage after the war.
– The archaeological missions returned to excavations in 2022, including the joint Syrian-Italian archaeological mission, which began its work for the first season at the archaeological site of Amrit, and the discovery of a funerary burial and some archaeological finds and discoveries dating back to the Roman era in Amrit by the joint excavation team between the Directorate General of Antiquities and Museums and the Department of Tartus Antiquities.
– The national expertise of the Directorate General of Antiquities worked to expand the work to discover the entire rare archaeological mosaic painting in the city of Rastan, which dates back to the Roman era, and reached a length of 20 meters and a width of 6 meters.
– Completion of the restoration work of the Arc de Triomphe in the ancient city of Palmyra, which was destroyed by terrorist organizations in 2015, and the second phase of the restoration project began with the signing of a memorandum of understanding between the Directorate of Antiquities, the Syrian Secretariat and the Institute of the History of Material Culture of the Russian Academy of Sciences in the Russian Federation.
– Holding a workshop “Restoring Syrian Heritage and Reviving Local Communities ” at Expo 2020 Dubai, in which local, Arab and international bodies specialized in antiquities participated.
– In the National Museum in Damascus and in tribute to the lives and sacrifices of about 27 martyrs who rose during the terrorist war on Syria in defense of the Syrian cultural heritage, an exhibition of recovered archaeological treasures 3 entitled (Salute to the martyrs of the General Directorate of Antiquities and Museums) was opened within the days of Syrian culture.
– The opening of a painting exhibition entitled “Restoration of Syrian Heritage by Theo Vitit ’ s Vision ” at the National Museum in Damascus, which is a painting of restoration and excavation works in Syrian archaeological sites, painted by the Dutch artist and archaeologist Theo Vitit in 2018 and 2021, and was presented in the Netherlands to introduce the Western community to what happened to the Syrian cultural heritage.
In Damascus Castle, the first national screening of the film Siriacus Section, directed by Olivier Bourgeois, was launched in 2022 in cooperation between the Ministry of Culture, the Directorate General of Antiquities and Museums, and the Syrian Trust for Development. The film, which won more than 17 international awards, talks about the solidarity of a small group of archaeologists and museum curators with the escalation of the terrorist war on Aleppo in 2015. The National Museum of Aleppo.
The Directorate of Antiquities, in cooperation with the European Center for Byzantine and Post-Byzantine Monuments and the Department of Antiquities at the University of Damascus, organized a digital exhibition on historical mosaics in Syria, entitled “Syria is still the source of arts ”.
– The beginning of the year witnessed the return of five Syrian destructive artifacts to the National Museum in Damascus at the initiative of the management of the Naboo Museum in Beirut, and the pieces are various funerary destructive statues from the collections of the Naboo Museum previously purchased from European auction houses.
The second leg of the Syrian Antiquities Exhibition, entitled “The Wonderful Syria ”, was opened in Chengdu, Sichuan Province, southwest China, which lasted until May. During this period, special scientific seminars and cultural events were held in connection with the exhibition, in which the Department of Antiquities and Museums participated with 195 important artifacts and collections of Syrian museums.
In 2022, the Directorate of Intangible Cultural Heritage has been active in most governorates, focusing on monitoring, studying and documenting the national intangible heritage and preparing the necessary plans to search for, study and inventory the elements of this heritage and include them in the national register, in cooperation with governmental and non-governmental institutions, local communities and international organizations.
The Directorate of Heritage organized a workshop on Syrian intangible cultural heritage at Al-Assad National Library, in preparation for the development of a national strategy for intangible cultural heritage in Syria.
– The project (Windows 5) was organized, whose musical evenings varied between documentation and promotion of Syrian heritage songs, and many heritage festivals were held in the provinces.
– The project of documenting the elements of the Syrian intangible heritage in ancient Homs, implemented by the Ministry of Culture in cooperation with the Syrian Secretariat and civil society, was launched in 2022 to preserve the elements of this heritage, and work continued on the project of documenting the elements of the intangible heritage in Tartus province.
Within the framework of the implementation of the plan to preserve the element of the theater of shadow imagination Karkouz and Aiwaz after registration on the list of urgent conservation of the world humanitarian heritage at UNESCO, the Syrian Secretariat for Development continued the third professional training after Damascus and Suwayda, for youth cadres in the city of Aleppo.
The Syrian Secretariat for Development has developed the “Living Heritage ” program with the local community in Aleppo governorate, the main axes for the preservation of the Aleppo cod, which was registered on the Representative List of Human Heritage at UNESCO by the end of 2021 with the participation of a group of governmental and civil authorities, artists, musicians, researchers and interested in the Arab, musical and art of cod.
At the international level:
Syria has been elected vice-president of the ninth session of the General Assembly of the States Parties to the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage of Humanity for a two-year term 2022-2024.
Syria participated in the UNESCO World Conference on Cultural Policies and Sustainable Development, Mondiacult 2022, in Mexico.
– In 2022, a scientific research by the son of the city of Aleppo, Antoine Makdis, related to how to recover from the effects of war through independent cultural production based on intangible cultural heritage won the first place in the competition of the Foundation of Santgrata, specialized in the Italian cultural economy.
– An integrated archaeological project in the Baal Shemin Temple in Palmyra has been shortlisted for the third cycle of ICCROM Sharjah Award for the Conservation and Protection of Cultural Heritage in the Arab Region 2020-2022.
Rasha Mahfoudh and Mays Al-Ani
Follow SANA news on Telegram https: / / t.me / SyrianArabNewsAgency


The 2020 reconversion of Hagia Sophia into a mosque is seen as President Erdogan's attempt to erase multiculturalism and bolster his Islamo-nationalist base.

Converting historic sites like Hagia Sophia into mosques undermines Turkey's cultural and religious diversity.

The move is seen as compensation for President Erdogan's weakened position due to a bad economy.

The Greek Orthodox Church decried the conversion of Hagia Sophia into a mosque as an attack on religious tolerance and freedom.

The conversion of Hagia Sophia and Chora Church into mosques prioritizes the Islamic past over Greek Orthodox, Armenian, Jewish, and Syriac heritage.

Greece, the U.S. State Department, and Orthodox Christian institutions have criticized the decision to revert the structure into a mosque.

Erdogan's ruling party is turning Hagia Sophia and Khora into mosques to strengthen its conservative support base amid an economic downturn.

The Turkish president likened Hagia Sophia's transformation into a mosque to the fall of Constantinople.

Erdogan seeks to emulate Sultan Mehmed II by reconverting Hagia Sophia into a mosque.

Turkey's conversion of Hagia Sophia into a mosque is seen as a distraction from its economic woes, including a plummeting lira.

A Turkish court overturned a 1934 decision on July 10, 2020, allowing Hagia Sophia to revert to a mosque.

The historic building was used as a mosque for nearly 500 years, then a museum for 86 years, before being restored to its former use.

The UNESCO World Heritage List addition of Hagia Sophia in 1985 may be challenged by its reconversion.

Turkey called UNESCO's criticism of the site's 2020 conversion to a mosque 'biased and political'.

The 2020 reconversion of Hagia Sophia into a mosque is seen as President Erdogan's attempt to erase multiculturalism and bolster his Islamo-nationalist base.

Title:

Content: >
December 9, 2021

Christian leaders look forward to Turkey's new law on religious foundations

This is an issue of vital importance for local Christian communities whose places of worship are entrusted to and managed by their governing bodies

Religious minorities in Turkey are looking forward to the increasingly Islamo-nationalist government making good its promise of outreach to non-Muslims by giving them freedom to establish and run their religious and social institutions.

The Turkish government is preparing to issue a new regulation on the administrative management of foundations linked to non-Muslim faith communities, which have been paralyzed for years by a legislative impasse that blocks the renewal of their governing bodies.

This is an issue of vital importance for local Christian communities such as Armenians and Assyrians, whose places of worship – many of them historic --, other real estate and public institutions are entrusted to and managed by foundations.

Burhan Ersoy, head of the state-run Directorate of the Foundations, has confirmed that the plan for the drafting of a new regulation concerning the elections for the assignment of offices within the foundations has come into being, Fides reported.

The draft of the text has been drawn up, taking into account requests and proposals from the various minority communities, and it is expected that the new rules, after obtaining government approval, would be implemented by April 2022.

The previous electoral regulation for the top management of foundations had been suspended in 2013, after the government chose to establish new procedures to make the management of real estate more functional and transparent.

This led to some confusion with representatives of the various minority communities unable to come to a consensus to either accept or reject the new electoral rules, Ersoy said.

The Syrian Orthodox Christian Süleyman Can Ustabaşı, current representative of the non-Muslim Foundations within the Assembly of Foundations, has said that the structure of foundations and their membership profiles had changed over time.

The Turkish government already had consultations with the representatives of religious minorities to resolve the dispute over board elections for their foundations.

But Ustabaşı now urges Turkish authorities to carry out another consultation with representatives of minority communities before the new text is to be implemented in 2022.

The legal status of the Foundations is still based on the Peace Treaty of Lausanne, signed in 1923 by Turkey and the Entente powers (British Empire, France and Russian Empire) victorious from the First World War.

The treaty guaranteed equality before the laws and the freedom to promote and manage "religious and social institutions" for non-Muslim communities in Turkey.

However, the state had seized properties run by these foundations and had to contend with litigation as these foundations claimed the rights guaranteed by the Treaty of Lausanne.

Also, starting from 1936, legislative provisions had allowed foundations of non-Muslim communities to acquire new properties. But in 1974, this guarantee was canceled and the state begun seizing assets acquired by these foundations.

Between 2013 and 2018 about 1,084 properties were returned to the foundations linked to non-Muslim communities, and 20 places of worship restored and given back to the foundations, according to official data.

Greek Orthodox Laki Vingas, in a speech published by the Armenian-Turkish newspaper Agos, said that the legislative deadlock on the question of the regulation of the foundations has had a negative effect on the life of the different ecclesial communities.

The block in the processes of renewal of the governing bodies of foundations had led to the expulsion of young people from the institutions linked to their communities, and also that many voluntary activities were "unfortunately interrupted".

Non-Muslim places of worship

Within the general Assembly of the Turkish Foundations are some 167 minority foundations. The Turkish Greek community has 77, the highest number of foundations. The Armenian community has 54 and the Jewish community has 19 foundations.

Turkish President Recep Tayyip Erdogan after a cabinet meeting held on October 25 announced that authorities had put on the agenda the question of the elections of the directorates of the foundations linked to religious minorities.

He also spoke of fundamental tools for the management of assets and resources destined for non-Muslim places of worship.

The issue of the foundations come at a time when Turkish authorities have expelled more and more Protestant Christians -- foreigners and Turkish converts-- on grounds they constitute a "threat to national security".

Turkey had also recently transformed museums into mosques, such as the Hagia Sophia and the Church of the Holy Saviour in Chora.

Both churches had been turned into museums after the end of the Ottoman Empire and the establishment of modern Turkey.

The Church of the Holy Saviour in Chora was built by the Byzantines in the 5th century. The Ottomans then turned it into a mosque after they captured Constantinople in 1453. And it remained a Muslim worship space until the end of the Second World War when it was transformed into a museum.

The same happened to the Hagia Sophia Museum in Iznik, and the high-profile reconversion of the Hagia Sophia Museum, Istanbul's most identifiable monument.

Many observers believe that President Erdogan, weakened internally by a bad economy and a lack of political perspective, is compensating with erasing part of the country's multiculturalism, aimed at shoring up the ranks of his Islamo-nationalist base.

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What political motivations influenced Erdogan's decision to reconvert Hagia Sophia?

Erdogan's decision was influenced by Turkey's Islamic resurgence.

Converting historic sites like Hagia Sophia into mosques undermines Turkey's cultural and religious diversity.

The move is seen as compensation for President Erdogan's weakened position due to a bad economy.

The Greek Orthodox Church decried the conversion of Hagia Sophia into a mosque as an attack on religious tolerance and freedom.

Title:

Content: After Hagia Sophia, Turkey converts a second ancient Byzantine church into a mosque

Hundreds of worshippers filled the narrow streets of Istanbul's Fatih district on Friday to hear the sounds of Friday prayers ringing out from the newly inaugurated Kariye Mosque.

Once known as the Chora Church, the site spent the last 79 years as a museum. But it is now the latest structure to be converted back into a mosque by the government of Recep Tayyip Erdoğan, following the conversion of Hagia Sophia in 2020. While viewed as a triumph by many Turkish Muslims, the Greek Orthodox Church has decried it as an "ill-advised decision" that "makes a mockery of the Turkish government's commitment to religious tolerance and religious freedom."

Chora's conversion was announced shortly after Hagia Sophia's, but its opening for prayer was delayed by years of restoration work.

The showing for the first Friday prayers at Kariye was relatively quiet compared to Hagia Sophia, which drew hundreds of thousands who filled the streets with prayer rugs for blocks and blocks away from the building. By contrast, the crowd on Friday was relatively average for a mosque in one of Istanbul's more religiously conservative neighborhoods, where Friday worshippers frequently spill out onto the streets.

Both the Chora Church and Hagia Sophia are 4th-century Byzantine constructions. They spent nearly a millennium as Christian holy sites before being converted to mosques by the Ottomans after their conquest of Constantinople in the 15th century. Despite their conversions, they remained revered by Orthodox Christians. After the founding of a secular Turkish Republic in the early 20th century, the decision was made for both to be neither mosque nor church but simply museums.

"Both Hagia Sophia and Chora embodied Byzantine and Ottoman pasts, and they became symbols of co-existence and multi-faith living practices. Their conversion fundamentally implies a hierarchy, prioritizing the Islamic past over all other layers, Greek Orthodox, Armenian, Jewish, Syriac, et al," Dr. Özgür Kaymak, a lecturer and researcher on minority rights at Istanbul's MEF University, told Religion News Service in an email.

Rededicating the sites as mosques is more than just a status change. According to Islamic tradition, artwork of human figures are forbidden in places of prayer, while in Orthodox Churches, icons of Christ, saints and other biblical figures are a defining feature.

In Hagia Sophia, the mosaics of Jesus and Mary have been covered with curtains since the conversion. While Erdoğan promised Hagia Sophia would remain fully accessible and free to all visitors, Turkey reneged on that earlier this year, reimposing an entrance fee on tourists and relegating them to the upper level, while the main floor is exclusive to Muslim worshippers.

Observers have also criticized the Turkish Directorate of Religion's caretaking of the site, noting damage that did not exist when it was under the purview of the Ministry of Culture and Tourism.

Though Chora is significantly smaller than Hagia Sophia, it is home to some of the best-preserved examples of late-Byzantine art, including mosaics, icons and frescoes, and is considered a UNESCO World Heritage site.

"For us it's a very important place because it remembers our culture and our traditions here," Father Evangelos Markantonis, an Orthodox priest who was leading a group of theology students to Chora on Friday, told Religion News Service.

"Though we cannot venerate as Orthodox Christians, we have to try to find things we can be united on. Only with dialogue and good deeds can we continue our lives," Markantonis, who is also a professor at the University of Athens, said when asked about the controversy.

Erdoğan had long refused calls from his right to convert churches like Hagia Sophia and Chora, telling supporters in 2018 to fill the nearby Sultan Ahmet Mosque (also known in English as the Blue Mosque) before they talked about needing to pray in Hagia Sophia.

Nonetheless, he made an about-turn in 2020.

"My dear nation, the conquest of Istanbul and the conversion of the Hagia Sophia into a Mosque are among the most glorious chapters in Turkish history," Erdoğan said at the time in a speech inaugurating the Hagia Sophia as a mosque.

"This is the most honorable day that Islam has been looking forward to, Greek Constantinople has become Turkish Istanbul," he added, quoting the Turkish poet Nazim Hikmet.

"The resurrection of Hagia Sophia heralds the liberation of the al-Aqsa Mosque. The resurrection of Hagia Sophia is the footsteps of the will of Muslims across the world to come out of the interregnum," Erdoğan said in his concluding remarks.

Chora's opening as the Kariye Mosque comes just weeks after Erdoğan's Justice and Development Party (AKP) suffered its largest electoral defeat in two decades during Turkey's nationwide municipal elections.

"The recent conversion of Chora into a mosque may be due to Erdoğan's many problems, including his geopolitical power politics, his appeal to religio-nationalism to revive his electoral popularity after the March elections or his tactic to divert attention from Turkey's economic downturn," Kaymak said.

Many analysts have attributed the loss to AKP bleeding votes to the more Islamist-leaning New Welfare Party, which has pressured Erdogan over his response to the Israel-Hamas war and humanitarian situation in the Gaza Strip.

Muslim worshippers at the mosque on Friday said they viewed its rededication as an Islamic site to be a national win for Turkey.

"This mosque is one of the symbols of the Conquest. We are proud and happy. There are very beautiful frescoes inside. They were also nicely renovated before they were closed. May it be good for our country and our nation," a bystander, Ahmet Öteyüzoğlu, told Turkish media.

"Thank God for these days. Not everyone has the opportunity in their lifetime," another bystander named Mehmet Çelik told the Turkish news service Anadolu Agency, in reference to having been able to pray at both the rededicated Hagia Sophia and Kariye Mosques.

However, Greece, the U.S. State Department and Orthodox Christian institutions worldwide have all criticized the decision to revert the structure into a mosque.

"I want to publicly express my intense dissatisfaction, interpreting the feelings of all Greek women and men, for the completely unnecessary conversion of a historic Byzantine temple, the Monastery of Chora, into a mosque. It is, I believe, an action that offends the rich history of Istanbul itself as a crossroads of cultures," Greek Prime Minister Kyriakos Mitsotakis said shortly before leaving for Turkey for a planned meeting with Erdogan.

"We encourage the Turkish government to preserve and ensure access to sites and buildings that have hosted different religious communities in a way that respects their diverse histories," a State Department spokesperson said in response to questions from Greek media.

"The Turkish government's appropriation of both as the property of one faith group not only constitutes yet another sign of that government's contempt for Turkey's rich Orthodox Christian heritage but further imperils the religious freedom of the Ecumenical Patriarchate and the remaining Christians of that land," the Archons of the Ecumenical Patriarchate said in a statement.

© Religion News Service

How did Muslims and Orthodox Christians react to the reconversion?

Who was angered by the reconversion of Hagia Sophia in July 2020?

The conversion of Hagia Sophia and Chora Church into mosques prioritizes the Islamic past over Greek Orthodox, Armenian, Jewish, and Syriac heritage.

What political motivations influenced Erdogan's decision to reconvert Hagia Sophia?

Erdogan's decision was influenced by Turkey's Islamic resurgence.

Who was angered by the reconversion of Hagia Sophia in July 2020?

Greece, the U.S. State Department, and Orthodox Christian institutions have criticized the decision to revert the structure into a mosque.

How did Muslims and Orthodox Christians react to the reconversion?

Who was angered by the reconversion of Hagia Sophia in July 2020?

Erdogan's ruling party is turning Hagia Sophia and Khora into mosques to strengthen its conservative support base amid an economic downturn.

Title:

Content: Turkey officially opens the Byzantine church and museum "Khora" as a mosque (PHOTOS)
World News
"Kari Mosque" in the Museum and Monastery of "Khora"
Copy Link https: / / www.rt.com / xhpk
Turkish President Recep Tayyip Erdogan on Monday officially opened the Kari Mosque in Istanbul ’ s Byzantine Museum and Monastery of Khora, four years after the church dedicated a mosque to Muslims.
On Monday, Erdogan oversaw the official remote opening of the Khora mosque and a number of restored sites from the conference hall of his residence in Ankara.
Erdogan said during the opening ceremony, which was broadcast on Turkish television, "May it be a good start."
One of the first worshipers at the mosque told Anadolu Agency: “I have been waiting for its opening for four years, and I have been honored to pray in such a place. ”
Anadolu quoted another serum as saying: “Thank God for showing us these days, I hope we come here from time to time and do our prayers. ”
The site near the walls of the old city of Istanbul is famous for its fine mosaics and frescoes.
The church dates back to the 4th century, although the edifice took its present form during the 11th and 12th centuries.
Greece has criticized the Turkish government ’ s decision to return it to use as a mosque, accusing Ankara of “personal insult ” to another World Heritage site, saying the decisions to turn Hagia Sophia and Khora back into mosques are steps aimed at strengthening the support base of conservatives and the religious trend of Erdogan ’ s ruling party amid an economic downturn.
The museum was built "Khora" monastery, in 534, the building was converted into "Kari Mosque" at the beginning of the 16th century, it was used as a mosque for more than four centuries and was converted into a museum in 1945 by a Turkish ministerial decision.
In August 2020, President Recep Tayyip Erdogan signed a decree on the conversion of the Hagia Sophia Cathedral and the Kari Museum, known as a “bottomless church ” in Turkish, into mosques.
The conversion of the two churches into mosques was praised by Muslims, but drew criticism from Greece and other countries that urged Turkey to protect important Byzantine monuments, both of which have been listed as World Heritage Sites by the United Nations.
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What kind of domestic reaction did Erdogan's reconversion of Hagia Sophia receive?

What political motivations influenced Erdogan's decision to reconvert Hagia Sophia?

Erdogan's decision was influenced by Turkey's Islamic resurgence.

The Turkish president likened Hagia Sophia's transformation into a mosque to the fall of Constantinople.

Title:

Content: Roundup of news from December 30, 2021
Erdogan the Conqueror
The Turkish president compared the transformation of Hagia Sophia into a mosque with the fall of Constantinople.
Turkish President Recep Tayyip Erdogan seeks to try on the kaftan of Sultan Mehmed II, whose troops captured Constantinople in 1453.
In this regard, he, summing up the year, compared the transformation of the Hagia Sophia into a mosque with the fall of Tsargrad, reports the UOJ with reference to the publication “Vima Ortodoksiya ”.
According to the head of Turkey, the transformation of Hagia Sophia into a mosque is “as important ” for the Turks as the fall of the capital of the Byzantine Empire.
However, at the same time, many pay attention to the fact that the Turkish lira in the outgoing year fell strongly against the dollar, and this seriously hit the Turkish economy.
Responding to the criticism, Erdogan said he would “lead his people to what they deserve ” and stressed that he would“ apply the laws of Islam. ”
Thus, the Turkish authorities seek to distract their citizens from economic problems by proclaiming the Islamization of Turkey to the detriment of its secular status.
The economy of Turkey is not in the best condition, but Erdogan was again able to win the Hagia Sophia.
This is what officials in Ankara are thinking.
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Erdogan seeks to emulate Sultan Mehmed II by reconverting Hagia Sophia into a mosque.

No--In 1934, Ataturk turned it into a museum, making it a major tourist attraction and secular symbol in Turkey.

Turkey's conversion of Hagia Sophia into a mosque is seen as a distraction from its economic woes, including a plummeting lira.

A Turkish court overturned a 1934 decision on July 10, 2020, allowing Hagia Sophia to revert to a mosque.

Title:

Content: She returned Hagia Sophia to a mosque.
Turkey has challenged global trusteeship
Daily Morning
Istanbul, Turkey
Posted at 29.10.2022 10: 23
Hagia Sophia Mosque (Getty Images)
President Recep Tayyip Erdogan said Friday that the fact that Turkey has returned the Hagia Sophia museum from a museum to a mosque represents a major challenge to the global trusteeship.
Speaking at a ceremony announcing the vision of the ruling Justice and Development Party (AKP) “Turkey ’ s Century ” in Ankara, Erdogan said his country was challenging global tutelage and thanked citizens for their support for the decision to return Hagia Sophia.
He noted that his party has always sought to eliminate any vestiges of guardianship and promote democracy in the country over the past 20 years.
Turkey has lived through a remarkable period in its history in general and the history of Istanbul, especially when Hagia Sophia was transformed from its status as a museum and restored to its former glory as the Grand Mosque of Hagia Sophia on July 24, 2020.
The historic building remained a church for 916 years until the conquest of Istanbul.
It was then used as a mosque between 1453 and 1934, nearly 500 years before becoming a museum for 86 years.
It is one of the most visited historical buildings in Turkey by domestic and international tourists, and Hagia Sophia was added to the UNESCO World Heritage List in 1985.
On July 10, 2020, a Turkish court overturned a 1934 ministerial decision that turned Hagia Sophia into a museum, paving the way for it to be used again as a mosque after an 86-year hiatus.

No--In 1934, Ataturk turned it into a museum, making it a major tourist attraction and secular symbol in Turkey.

Why did Erdogan restore Hagia Sophia as a mosque in 2020?

Because he wanted to end its 86-year museum status to return it to its original role as a mosque.

The historic building was used as a mosque for nearly 500 years, then a museum for 86 years, before being restored to its former use.

How did Hagia Sophia become important for Muslims?

Sultan Mehmed II converted Hagia Sophia into a mosque,making it a key religious site for Muslims for centuries.

No--In 1934, Ataturk turned it into a museum, making it a major tourist attraction and secular symbol in Turkey.

Why did Erdogan restore Hagia Sophia as a mosque in 2020?

Because he wanted to end its 86-year museum status to return it to its original role as a mosque.

The UNESCO World Heritage List addition of Hagia Sophia in 1985 may be challenged by its reconversion.

Turkey called UNESCO's criticism of the site's 2020 conversion to a mosque 'biased and political'.

Title:

Content: Turkey’s iconic Hagia Sophia mosque to charge $28 entry fee for tourists

Published: Updated:
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Turkey’s Hagia Sophia mosque began charging tourists nearly $28 on Monday for entrance to the landmark site.

The UNESCO World Heritage site, renowned for its blue-tiled interior, will no longer allow free admission to foreigners, the Turkish tourism ministry announced.

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The former museum-turned mosque has a new entrance in front of the Topkapi Palace Museum open for tourists.

Tunnel entrance at Turkey's Hagia Sophia. (File photo)

The Hagia Sophia was a museum space from 1934 until 2020 when Turkey decided to change it to a mosque. Various historical reports say the mosque with byzantine architecture was an Orthodox cathedral decades ago.

“With the new application that will start on January 15 at the Hagia Sophia Mosque, tourists will be able to visit the mosque without disturbing the prayer environment,” the ministry said in a statement.

The entrance to the mosque will be “provided in a controlled manner through the tunnel and entrance ramp where visitors will be transported to the gallery floor and exited via the ramp in the northeast direction,” the statement said.

“Tourists who come to the gallery section will be able to see the sanctuary floor of the mosque and the Ottoman Period annexes, pass through the heaven-hell gate, and examine the Byzantine Period mosaics in this section,” it added.

Security cameras, fire detection and emergency announcement systems were reportedly installed in the mosque along the tour route. Cleaning and conservation work on the marble coverings and wooden railings on the gallery floor of the mosque was also carried out by restorers and conservators.

Visitors will also have access to a headset guide with QR codes where information on the sight is available in 23 languages.

People visit the Hagia Sophia, a UNESCO World Heritage Site, in Istanbul, Turkey, July 10, 2020. (Reuters)

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