Syria's traditional glassblowing craft has a 2000-year history, originating with Syrian craftsmen in the 1st century BC.

Glassblowing is a valued part of Syria's cultural heritage, producing intricate and beautiful pieces.

There are fewer than 50 traditional glassblowers left in Damascus.

Damascus' traditional glassblowing craft was listed by UNESCO as in need of urgent safeguarding in 2019.

The war in Syria has significantly impacted the traditional glassblowing craft, causing artisans to lose their livelihoods and heritage pieces to be destroyed.

Efforts are being made to preserve Damascus' traditional glassblowing craft through training programs and support for remaining craftsmen.

The Syrian government and international organizations are supporting traditional glassblowers with financial and technical assistance.

Preserving traditional glassblowing in Syria is crucial to the country's cultural heritage and identity.

The craft is influenced by Islamic motifs and is part of Syria's intangible cultural heritage.

Glassblowing originated with the Phoenicians and evolved in Damascus.

Damascus is known for its beautiful glasswork, decorated with Islamic motifs and natural materials.

The preservation of glassblowing is crucial for Syrian culture and national identity.

UNESCO's recognition of glassblowing as intangible cultural heritage highlights the importance of preserving traditional glassblowing in Damascus.

More needs to be done to preserve traditional glassblowing in Damascus, including addressing the lack of raw materials and conflict's impact.

The Syrian government and international organizations must work together to support traditional craftsmen and preserve intangible cultural heritage like glassblowing.

Preserving traditional glassblowing in Damascus is crucial for Syrian culture, national identity, and cultural diversity.

Damascus' traditional glassblowing craft needs urgent action to survive.

Syria's traditional glassblowing craft has a 2000-year history, originating with Syrian craftsmen in the 1st century BC.

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

Glassblowing is a valued part of Syria's cultural heritage, producing intricate and beautiful pieces.

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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There are fewer than 50 traditional glassblowers left in Damascus.

Title:

Content: What is the reality of traditional and traditional professions in Syria?
DAMASCUS – The traditional professions and crafts in Syria were not immune to the repercussions of the war. In light of the difficult economic and security conditions that the country has been witnessing for more than a decade, these professions are suffering from an unprecedented decline related to production and market conditions, which makes them today threatened with extinction.
The head of the Union of Craftsmen in the province of Latakia Jihad Pro, in a recent statement to the local newspaper Al-Watan, the decline of the production of handicrafts and handicrafts of various kinds by 50% within the province, considering the high costs of production inputs and increased income taxes as direct reasons for this decline.
Bassam Qalaji, head of the artisanal association for confectionery in Damascus, told the local newspaper Global last month that more than half of the confectionery craftsmen had stopped producing and switched to other professions due to low demand and insufficient profits.
Successive statements reveal the reality of Syrian traditional and traditional crafts, which are suffering under the weight of the economic decline that the country is suffering from.
This situation has prompted thousands of craftsmen to close their workshops and shops and switch to other jobs, or migrate and move their work abroad, amid the real threat of the disappearance of many traditional traditional traditional professions and handicrafts, which constitute vital sectors of the economic sector in the country and an integral part of its cultural identity.
What are the main reasons for this decline?
How does it affect the economic life of the country?
Lack of support and unequal competition
Anton, a 42-year-old Damascene craftsman and former owner of a mosaic workshop in rural Damascus, says his struggle for years to keep his workshop open, producing and selling enough to pay its workers has been futile.
He adds in an interview with Al Jazeera Net: "I tried hard to maintain the workshop and its workers for as long as possible, but the constant high prices of wood (local and imported) in an inappropriate manner, the long interruption of electricity (16-18 hours a day), and the low demand for mosaic in the domestic and foreign market, all factors forced me to lay off workers, and later to close the workshop after months, during which I received only two orders."
In addition to these factors, Anton attributed the low demand for "original" mosaics and other handicrafts and heritage artifacts (copperware, damask, antika, textiles) to:
The reality of the market at the moment in the absence of tourists.
• The decline of external demand for the commodity as a result of the interruption of trade relations with foreign markets.
• Migration of brokers and traders and thus reduced export.
• Unequal competition.
With heritage products becoming “more than luxury ” for Syrians suffering from poor purchasing power (average monthly salaries of about $20), and the lack of support for craftsmen and awareness of the importance and authenticity of these products by trade unions and government agencies, Syria ’ s craftsmen face major challenges to continue their craft.
Although there are no accurate figures on the number of craftsmen who have been driven by working conditions to emigrate outside the country, the head of the Damascus Craftsmen ’ s Union, Ali Qarmashti, revealed in an interview with the local news website Click News last year that the percentage of Damascene craftsmen migrating has become very high, especially among young people.
Repellent economic and social policies
In addition to the direct economic factors that led to the decline of traditional crafts during the past few years, represented by the high prices of raw materials, the poor reality of services, and the decline of the sale and purchase movement, there were indirect factors that affected these crafts.
Syrian economist Younis Karim believes that the artisan crisis began in 2008 after being subjected to great pressures due to the change of the general economic orientation in the country.
He said in an interview with Al Jazeera Net: "Since 2008, the authorities have put their hands on the spread of these industries due to the importance of their geographical location, and work to change their features in favor of wealthy investors, or provide them as donations to countries that Damascus seeks to establish bilateral relations with."
According to the expert, the reality of the work of traditional crafts after 2011 became more complex and difficult with "the continued adoption of economic and social policies by the regime that restrict the owners of these crafts, exclude them from support, take their places of deployment, in addition to the cessation of exhibitions and the difficulty of participating in external events because of the political positions of the regime.
Karim explains that the family and social disintegration suffered by Syrians as a result of large-scale migration during the last decade was an added reason for the decline of these crafts, which “relied on inheritance between generations of the same family as a tradition followed by Syrian craftsmen long ago. ”
Kilo to Piece and Pieces
It seems that some traditional crafts and crafts are in the same trench with traditional crafts in their war against extinction, where the owners of many traditional crafts are no less original than those of heritage, especially the confectioners from the high costs of raw materials in production, high costs of energy stands, and successive losses due to the reluctance of citizens to buy expensive Arabic sweets.
Suhaib, 55, owner of a sweets shop in the Jazmatiya area of Damascus, told Al Jazeera Net: "Days pass without selling a total of a kilo of various items, and two years ago the stagnation of goods in the shop became a familiar phenomenon to us, and had it not been for the holiday seasons, and some occasions and weddings held here and there, we would have closed long ago."
Al-Halwani Al-Damascene adds in an interview with Al-Jazeera Net: "Our profits, and the profits of most of the shops of Halwanis in Damascus, have decreased by a large percentage since the beginning of the economic crisis in the country."
Al-Halwani pointed out that the price of a kilo of some varieties of Arabic sweets has exceeded 400 thousand pounds recently, adding: "Which is not able for Syrians to buy, so we have become selling methods in which we rely on small quantities, so we sell baklava, crystal, shaped, asian, brominated and other items in ounces, grain (piece) and two grains to keep the sales movement, and do not stop customers from our shop."
As for the reasons why sweets in Damascus stopped working and many of them emigrated outside the country, Al-Halwani said: “Many reasons start from the large annual taxes that are inconsistent with high operating costs and low profits, in addition to the high prices of commercial electricity and fuel needed to operate shops and laboratories, the huge increase in the prices of raw materials, the high wages of workers, and the reluctance of customers to buy these sweets except on occasions. ”
High prices
Prices of food, nuts and other components of Arabic sweets have risen by varying rates recently, as the price of a kilo of animal margarine reached 150 thousand pounds ($equivalent to about 2511 pounds), while the price of a kilo of pistachio love rose to 300 thousand, and the price of a kilo of walnuts to 120 thousand.
The prices of popular sweets such as Al-Barazek and Al-Ma ’ amoul in Damascus markets, by the holy month of Ramadan, were between 100 and 130 thousand pounds per kilo, while the prices of medium and luxury sweets such as “Al-Belouria ”,“ Al-Mashkeel ”, “Kool and Shakour ”,“ Aish Al-Bulbul ” and “Baklava ” ranged between 250 and 500 thousand per kilo, which is equivalent to the salary of a Syrian employee in the public sector.
The head of the artisanal association for confectionery industry, Bassam Qalaji, attributed this rise in confectionery prices to the government lifting subsidies on oil derivatives, which led to a direct increase in costs by 150%, pointing out that raising the price of electricity by 5 times will lead to an increase in the price of about 650 products.
Qalaji said in a statement to the local newspaper Al-Watan last month that the largest number of confectionery craftsmen emigrated, and their first destination was Algeria followed by Germany.
In March last year, the head of the artisanal association for the confectionery industry revealed that 70% of the workshops of the confectionery industry were closed due to the economic crisis and the low demand for sweets and refreshments.
A severe blow to the economy
This gradual disappearance of traditional crafts is a painful blow to the Syrian economy, says economist Younis Karim, “For decades these crafts have been the largest incubator of Syrian labor, and their contribution to the economy before 2011 ranged from 40 to 50%. ”
This is what Matanios Habib, a researcher and former Syrian oil minister, said in a research paper entitled “The private sector in Syria ” (2005), when he pointed out that the private industrial sector in Syria tended to invest in crafts for fear of nationalization policies, whether during the era of Syrian-Egyptian unity (1958-1961) or after the revolution of March 8 (1967).
Karim stresses that the crisis of workers in traditional crafts, such as confectioners and others, dates back to before 2011, specifically to the period between 2007 and 2009, when there was “an attempt by the regime to pressure the owners of traditional crafts and crafts by forcing them to pay taxes, and to keep them away from city centers in favor of large investors. ”
Younis Karim believes that the gradual demise of these crafts will have negative effects on the Syrian economy because of their role in "providing job opportunities beyond those provided by large laboratories and their excellence in ease of operation and achievement, and the ability to spread.
Source: The Island

Damascus' traditional glassblowing craft was listed by UNESCO as in need of urgent safeguarding in 2019.

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 war in Syria has significantly impacted the traditional glassblowing craft, causing artisans to lose their livelihoods and heritage pieces to be destroyed.

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Content: Lifestyle
« Mamoun » Syrian old man revives heritage pieces with traditional machines: the lathe is part of my soul
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Cairo - Samar Hussein - Males Only
In one of the still vibrant Syrian cities, the old man sits bent over to make heritage pieces. Amoun, a 70-year-old barber, still revives the heritage of his beloved country in the capital Damascus. Although the war lost him his old shop and workshop, one of his friends honored his hospitality with a small workshop where he makes his simple works to continue the work he used to do since his childhood.
Unique heritage pieces with a hand filled with the veins of old age
He did not despair of his profession and was not hindered by his old age or the war, the old man is still eager to make more heritage pieces, which express the Syrian beauty that still lives amid the war that destroyed many cities, Mamoun Barber works according to his story to Sky News in heritage pieces since his childhood, saying: "The lathe is my soul existed before my birth and my children Bardo my soul, but I love my work and make heritage pieces It ’ s like a coffee grinder and a small hookah, so that whoever takes them knows where to find them easily. ”
As for the pieces themselves, the old man said, they are purely local heritage products, such as Al-Mahbaj and others: “A visitor can buy a piece of these ancient Syrian products, which are deeply rooted in our ancient cultural roots and take them with him. ”
He had his workshop in the war, and his friend gave him his shop.
Before Mamoun moved to Damascus, he had a workshop that included thousands of beautiful heritage pieces, but he lost them in the war. However, he did not give up and decided to resort to his friend, who gave him his shop to make new pieces and display them in exhibitions. In spite of the pain, and in spite of all that trouble, there is no financial reward for the work: “God is your agent, sometimes I have to put it out of my pocket, ” but the lathe is not complete, and yet he makes his piece very professionally.
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Efforts are being made to preserve Damascus' traditional glassblowing craft through training programs and support for remaining craftsmen.

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

The Syrian government and international organizations are supporting traditional glassblowers with financial and technical assistance.

Preserving traditional glassblowing in Syria is crucial to the country's cultural heritage and identity.

Title:

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

The craft is influenced by Islamic motifs and is part of Syria's intangible cultural heritage.

Glassblowing originated with the Phoenicians and evolved in Damascus.

Damascus is known for its beautiful glasswork, decorated with Islamic motifs and natural materials.

The preservation of glassblowing is crucial for Syrian culture and national identity.

UNESCO's recognition of glassblowing as intangible cultural heritage highlights the importance of preserving traditional glassblowing in Damascus.

More needs to be done to preserve traditional glassblowing in Damascus, including addressing the lack of raw materials and conflict's impact.

The Syrian government and international organizations must work together to support traditional craftsmen and preserve intangible cultural heritage like glassblowing.

Preserving traditional glassblowing in Damascus is crucial for Syrian culture, national identity, and cultural diversity.

Damascus' traditional glassblowing craft needs urgent action to survive.


Syrian glassblowing is an ancient craft that dates back over two thousand years and is considered a type of plastic art in Syria.

The craft of glassblowing has been affected by the war in Syria, but artisans are working to preserve this ancient Syrian heritage.

UNESCO included Syrian glassblowing in the intangible cultural heritage list in December 2023, aiming to preserve this ancient Syrian heritage.

The history of glassblowing in Syria dates back to the Phoenicians, and it evolved in Damascus, with oxides and materials used for painting on glass, and thermal colors and acrlik used in glass decoration.

Glassblowing is a valued craft in Syrian culture and heritage, with glass decoration being an important part of the country's traditional crafts.

The craft has evolved in Damascus throughout history, with artisans using various materials like cork, wood, and ceramic paste to create their products.

The traditional glassblowing craft in Syria involves artisans manually shaping and decorating products using recycled glass and high-temperature ovens.

Skilled glassblowing artisans in Syria face challenges due to restoration, with the Ministry of Tourism ordering artisans to vacate their shops for restoration, leading to fears of losing their craft heritage.

The lack of support and unequal competition have also affected craftsmen, making it challenging for them to continue their craft.

Many craftsmen have migrated or moved their work abroad, which may have further reduced the number of skilled glassblowing artisans in Syria.

The high costs of production inputs, low demand, and insufficient profits have forced many craftsmen to stop producing, which may have contributed to the decline of glassblowing artisans.

UNESCO listed glassblowing as an intangible cultural heritage in need of urgent safeguarding, recognizing its importance in Syrian culture and the need to preserve it.

The Syrian government and organizations are working to preserve the cultural identity of the country, including the traditional craft of glassblowing, which is considered an essential part of the country's intangible heritage.

The preservation of traditional glassblowing in Syria requires a concerted effort from the government, organizations, and individuals to support artisans and provide them with the necessary resources to maintain their craft.

The Syrian Secretariat for Development has launched projects to preserve other aspects of Syrian intangible cultural heritage, such as the Levantine rose, which was included in UNESCO's intangible human heritage list in 2019.

The Aleppo cod, a traditional Syrian craft, was also added to UNESCO's intangible cultural heritage list, protecting the country's national identity and artistic heritage.

While there is no specific information available on conservation efforts for traditional Syrian glassblowing, UNESCO's recognition of the craft's importance and its inclusion on the preservation list highlight the need for urgent safeguarding efforts.

The goals and timelines for preserving traditional Syrian glassblowing are not specified in the available information, but it is clear that local and international organizations, such as UNESCO, are working to protect Syria's intangible cultural heritage.

The Directorate of Intangible Cultural Heritage in Syria is responsible for preserving the country's intangible cultural heritage, including traditional crafts like glassblowing, and has been working to document and protect these heritage elements.

Syria has also participated in international conferences and agreements, such as the UNESCO World Conference on Cultural Policies, to strengthen its cultural identity and protect its heritage.

The Union of Artisans provides financial grants to artisans, which helps to address some of the challenges faced by skilled glassblowing artisans in Syria.

The Syrian Professional Center Association trains young people in crafts, including glassblowing, to help preserve the traditional craft.

The Ministry of Industry organizes exhibitions to preserve traditional handicrafts, including glassblowing, which helps to promote the craft and support artisans.

Exhibitions also help artisans to market their products and gain support, which is essential for the survival of the craft.

Artisans receive training to develop and preserve heritage crafts, including glassblowing, which helps to ensure the continuation of the craft.

The challenges faced by skilled glassblowing artisans in Syria, such as high production costs, low demand, and insufficient profits, are being addressed by organizations and government agencies through various initiatives, including financial grants and training programs.

The General Federation of Craft Associations works to find solutions to the challenges faced by craftsmen, including glassblowing artisans, and to support the preservation of traditional crafts.

The Craftsmen Union requests government support and soft loans to help address the challenges faced by artisans, including high production costs and low demand.

Government agencies cooperate to overcome craft work difficulties, including providing support to artisans and helping to promote traditional crafts.

The economic crisis in Syria has led to a decline in traditional crafts, including glassblowing, with high production costs and low demand being major challenges.

The average monthly salaries in Syria are about $20, which makes it difficult for artisans to sustain themselves, let alone preserve the traditional craft of glassblowing.

The Quneitra branch of the Arab Writers Union holds heritage seminars, which helps to promote and preserve the traditional craft of glassblowing.

The Ministry of Tourism uses the Levantine Rose as its slogan, which is a significant Syrian heritage element, and helps to promote the country's cultural identity, including the traditional craft of glassblowing.

Syrian glassblowing is an ancient craft that dates back over two thousand years and is considered a type of plastic art in Syria.

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 craft of glassblowing has been affected by the war in Syria, but artisans are working to preserve this ancient Syrian heritage.

UNESCO included Syrian glassblowing in the intangible cultural heritage list in December 2023, aiming to preserve this ancient Syrian heritage.

The history of glassblowing in Syria dates back to the Phoenicians, and it evolved in Damascus, with oxides and materials used for painting on glass, and thermal colors and acrlik used in glass decoration.

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

Glassblowing is a valued craft in Syrian culture and heritage, with glass decoration being an important part of the country's traditional crafts.

The craft has evolved in Damascus throughout history, with artisans using various materials like cork, wood, and ceramic paste to create their products.

The traditional glassblowing craft in Syria involves artisans manually shaping and decorating products using recycled glass and high-temperature ovens.

Skilled glassblowing artisans in Syria face challenges due to restoration, with the Ministry of Tourism ordering artisans to vacate their shops for restoration, leading to fears of losing their craft heritage.

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

The lack of support and unequal competition have also affected craftsmen, making it challenging for them to continue their craft.

Title:

Content: What is the reality of traditional and traditional professions in Syria?
DAMASCUS – The traditional professions and crafts in Syria were not immune to the repercussions of the war. In light of the difficult economic and security conditions that the country has been witnessing for more than a decade, these professions are suffering from an unprecedented decline related to production and market conditions, which makes them today threatened with extinction.
The head of the Union of Craftsmen in the province of Latakia Jihad Pro, in a recent statement to the local newspaper Al-Watan, the decline of the production of handicrafts and handicrafts of various kinds by 50% within the province, considering the high costs of production inputs and increased income taxes as direct reasons for this decline.
Bassam Qalaji, head of the artisanal association for confectionery in Damascus, told the local newspaper Global last month that more than half of the confectionery craftsmen had stopped producing and switched to other professions due to low demand and insufficient profits.
Successive statements reveal the reality of Syrian traditional and traditional crafts, which are suffering under the weight of the economic decline that the country is suffering from.
This situation has prompted thousands of craftsmen to close their workshops and shops and switch to other jobs, or migrate and move their work abroad, amid the real threat of the disappearance of many traditional traditional traditional professions and handicrafts, which constitute vital sectors of the economic sector in the country and an integral part of its cultural identity.
What are the main reasons for this decline?
How does it affect the economic life of the country?
Lack of support and unequal competition
Anton, a 42-year-old Damascene craftsman and former owner of a mosaic workshop in rural Damascus, says his struggle for years to keep his workshop open, producing and selling enough to pay its workers has been futile.
He adds in an interview with Al Jazeera Net: "I tried hard to maintain the workshop and its workers for as long as possible, but the constant high prices of wood (local and imported) in an inappropriate manner, the long interruption of electricity (16-18 hours a day), and the low demand for mosaic in the domestic and foreign market, all factors forced me to lay off workers, and later to close the workshop after months, during which I received only two orders."
In addition to these factors, Anton attributed the low demand for "original" mosaics and other handicrafts and heritage artifacts (copperware, damask, antika, textiles) to:
The reality of the market at the moment in the absence of tourists.
• The decline of external demand for the commodity as a result of the interruption of trade relations with foreign markets.
• Migration of brokers and traders and thus reduced export.
• Unequal competition.
With heritage products becoming “more than luxury ” for Syrians suffering from poor purchasing power (average monthly salaries of about $20), and the lack of support for craftsmen and awareness of the importance and authenticity of these products by trade unions and government agencies, Syria ’ s craftsmen face major challenges to continue their craft.
Although there are no accurate figures on the number of craftsmen who have been driven by working conditions to emigrate outside the country, the head of the Damascus Craftsmen ’ s Union, Ali Qarmashti, revealed in an interview with the local news website Click News last year that the percentage of Damascene craftsmen migrating has become very high, especially among young people.
Repellent economic and social policies
In addition to the direct economic factors that led to the decline of traditional crafts during the past few years, represented by the high prices of raw materials, the poor reality of services, and the decline of the sale and purchase movement, there were indirect factors that affected these crafts.
Syrian economist Younis Karim believes that the artisan crisis began in 2008 after being subjected to great pressures due to the change of the general economic orientation in the country.
He said in an interview with Al Jazeera Net: "Since 2008, the authorities have put their hands on the spread of these industries due to the importance of their geographical location, and work to change their features in favor of wealthy investors, or provide them as donations to countries that Damascus seeks to establish bilateral relations with."
According to the expert, the reality of the work of traditional crafts after 2011 became more complex and difficult with "the continued adoption of economic and social policies by the regime that restrict the owners of these crafts, exclude them from support, take their places of deployment, in addition to the cessation of exhibitions and the difficulty of participating in external events because of the political positions of the regime.
Karim explains that the family and social disintegration suffered by Syrians as a result of large-scale migration during the last decade was an added reason for the decline of these crafts, which “relied on inheritance between generations of the same family as a tradition followed by Syrian craftsmen long ago. ”
Kilo to Piece and Pieces
It seems that some traditional crafts and crafts are in the same trench with traditional crafts in their war against extinction, where the owners of many traditional crafts are no less original than those of heritage, especially the confectioners from the high costs of raw materials in production, high costs of energy stands, and successive losses due to the reluctance of citizens to buy expensive Arabic sweets.
Suhaib, 55, owner of a sweets shop in the Jazmatiya area of Damascus, told Al Jazeera Net: "Days pass without selling a total of a kilo of various items, and two years ago the stagnation of goods in the shop became a familiar phenomenon to us, and had it not been for the holiday seasons, and some occasions and weddings held here and there, we would have closed long ago."
Al-Halwani Al-Damascene adds in an interview with Al-Jazeera Net: "Our profits, and the profits of most of the shops of Halwanis in Damascus, have decreased by a large percentage since the beginning of the economic crisis in the country."
Al-Halwani pointed out that the price of a kilo of some varieties of Arabic sweets has exceeded 400 thousand pounds recently, adding: "Which is not able for Syrians to buy, so we have become selling methods in which we rely on small quantities, so we sell baklava, crystal, shaped, asian, brominated and other items in ounces, grain (piece) and two grains to keep the sales movement, and do not stop customers from our shop."
As for the reasons why sweets in Damascus stopped working and many of them emigrated outside the country, Al-Halwani said: “Many reasons start from the large annual taxes that are inconsistent with high operating costs and low profits, in addition to the high prices of commercial electricity and fuel needed to operate shops and laboratories, the huge increase in the prices of raw materials, the high wages of workers, and the reluctance of customers to buy these sweets except on occasions. ”
High prices
Prices of food, nuts and other components of Arabic sweets have risen by varying rates recently, as the price of a kilo of animal margarine reached 150 thousand pounds ($equivalent to about 2511 pounds), while the price of a kilo of pistachio love rose to 300 thousand, and the price of a kilo of walnuts to 120 thousand.
The prices of popular sweets such as Al-Barazek and Al-Ma ’ amoul in Damascus markets, by the holy month of Ramadan, were between 100 and 130 thousand pounds per kilo, while the prices of medium and luxury sweets such as “Al-Belouria ”,“ Al-Mashkeel ”, “Kool and Shakour ”,“ Aish Al-Bulbul ” and “Baklava ” ranged between 250 and 500 thousand per kilo, which is equivalent to the salary of a Syrian employee in the public sector.
The head of the artisanal association for confectionery industry, Bassam Qalaji, attributed this rise in confectionery prices to the government lifting subsidies on oil derivatives, which led to a direct increase in costs by 150%, pointing out that raising the price of electricity by 5 times will lead to an increase in the price of about 650 products.
Qalaji said in a statement to the local newspaper Al-Watan last month that the largest number of confectionery craftsmen emigrated, and their first destination was Algeria followed by Germany.
In March last year, the head of the artisanal association for the confectionery industry revealed that 70% of the workshops of the confectionery industry were closed due to the economic crisis and the low demand for sweets and refreshments.
A severe blow to the economy
This gradual disappearance of traditional crafts is a painful blow to the Syrian economy, says economist Younis Karim, “For decades these crafts have been the largest incubator of Syrian labor, and their contribution to the economy before 2011 ranged from 40 to 50%. ”
This is what Matanios Habib, a researcher and former Syrian oil minister, said in a research paper entitled “The private sector in Syria ” (2005), when he pointed out that the private industrial sector in Syria tended to invest in crafts for fear of nationalization policies, whether during the era of Syrian-Egyptian unity (1958-1961) or after the revolution of March 8 (1967).
Karim stresses that the crisis of workers in traditional crafts, such as confectioners and others, dates back to before 2011, specifically to the period between 2007 and 2009, when there was “an attempt by the regime to pressure the owners of traditional crafts and crafts by forcing them to pay taxes, and to keep them away from city centers in favor of large investors. ”
Younis Karim believes that the gradual demise of these crafts will have negative effects on the Syrian economy because of their role in "providing job opportunities beyond those provided by large laboratories and their excellence in ease of operation and achievement, and the ability to spread.
Source: The Island

Many craftsmen have migrated or moved their work abroad, which may have further reduced the number of skilled glassblowing artisans in Syria.

The high costs of production inputs, low demand, and insufficient profits have forced many craftsmen to stop producing, which may have contributed to the decline of glassblowing artisans.

UNESCO listed glassblowing as an intangible cultural heritage in need of urgent safeguarding, recognizing its importance in Syrian culture and the need to preserve it.

The Syrian government and organizations are working to preserve the cultural identity of the country, including the traditional craft of glassblowing, which is considered an essential part of the country's intangible heritage.

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 preservation of traditional glassblowing in Syria requires a concerted effort from the government, organizations, and individuals to support artisans and provide them with the necessary resources to maintain their craft.

The Syrian Secretariat for Development has launched projects to preserve other aspects of Syrian intangible cultural heritage, such as the Levantine rose, which was included in UNESCO's intangible human heritage list in 2019.

The Aleppo cod, a traditional Syrian craft, was also added to UNESCO's intangible cultural heritage list, protecting the country's national identity and artistic heritage.

Title:

Content: “The Aleppo Dowds ” on the UNESCO World Heritage List
Culture and Art
Copy Link https: / / en.rt.com / ryqj
UNESCO today inscribed the Syrian Aleppo cod on the list of human heritage, which the Syrian Ministry of Culture described as an additional step to protect and preserve the national identity.
The ministry announced in a statement that UNESCO has classified the Aleppo cod on its list, during the meeting of the 16th session of the Intergovernmental Committee for the Protection of Intangible Cultural Heritage in France, and said that part of the culture and heritage of the ancient Syrian society has been added to the world human heritage.
The Ministry congratulated Syria and all Syrians on the inclusion of the Aleppo cod on the list of human heritage in UNESCO, and thanked “the sons of Syria who love their Aleppo cod for supporting the registration of these cod on the list of the Syrian heritage. ”
She also thanked the Syrian Secretariat for Development for its great efforts in the preparation of the file and follow-up at UNESCO.
She said that the registration of the borders "is an additional step to protect and preserve the national identity," and that "the Aleppo borders are a mirror of the depth and originality of the Syrian artistic identity."
The city of Aleppo has been famous for centuries for this art, and the most prominent pioneer in the great era was the late artist Sabah Fakhri, who died on November 2 last.
Source: RT
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While there is no specific information available on conservation efforts for traditional Syrian glassblowing, UNESCO's recognition of the craft's importance and its inclusion on the preservation list highlight the need for urgent safeguarding efforts.

The goals and timelines for preserving traditional Syrian glassblowing are not specified in the available information, but it is clear that local and international organizations, such as UNESCO, are working to protect Syria's intangible cultural heritage.

Title:

Content: Syrian Oud on World Cultural Heritage List
The United Nations Educational, Scientific and Cultural Organization (UNESCO) has inscribed the Syrian oud on its list of intangible world cultural heritage.
The oud represents a distinctive place within modern and contemporary Arabic music.

The Directorate of Intangible Cultural Heritage in Syria is responsible for preserving the country's intangible cultural heritage, including traditional crafts like glassblowing, and has been working to document and protect these heritage elements.

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
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Syria has also participated in international conferences and agreements, such as the UNESCO World Conference on Cultural Policies, to strengthen its cultural identity and protect its heritage.

The Union of Artisans provides financial grants to artisans, which helps to address some of the challenges faced by skilled glassblowing artisans in Syria.

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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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Look, too.
Aleppo Public Park

The Syrian Professional Center Association trains young people in crafts, including glassblowing, to help preserve the traditional craft.

The Ministry of Industry organizes exhibitions to preserve traditional handicrafts, including glassblowing, which helps to promote the craft and support artisans.

Exhibitions also help artisans to market their products and gain support, which is essential for the survival of the craft.

Artisans receive training to develop and preserve heritage crafts, including glassblowing, which helps to ensure the continuation of the craft.

The challenges faced by skilled glassblowing artisans in Syria, such as high production costs, low demand, and insufficient profits, are being addressed by organizations and government agencies through various initiatives, including financial grants and training programs.

The General Federation of Craft Associations works to find solutions to the challenges faced by craftsmen, including glassblowing artisans, and to support the preservation of traditional crafts.

Title:

Content: Aleppo ’ s craftsmen accuse the city council of not cooperating!
Aleppo – Maan Al Ghadri
During their annual conference held today, Aleppo ’ s craftsmen demanded to overcome the difficulties facing the craft workshops, especially the provision of energy, fuel and gas, which form the backbone of the shop. The craftsmen also complained about the lack of coordination between the craft associations and the city council and its failure to adopt the craft certificate as a document to obtain the benefits of the work. The interventions pointed to the rise of flat income tax and service tax, which increases the burdens of craftsmen, and weakens the production cycle of diesel and industrial gas. Many interviewees questioned the reasons for the absence of a number of managers concerned from the conference.
On the sidelines of the conference, Deputy of the Craft Association Iskandar Batouk pointed out that the unstable economic conditions had a clear and tangible impact on the craft work like the rest of the industries. He attributed the reasons for the decline in the work of drafting workshops and jewelry to the weak demand for gold because of its high price unprecedented, in addition to the high cost of raw materials and chemicals that are included in the gold industry.
Boutoq revealed the association's plan to rehabilitate the market of the famous jeweler in the area of the Old City in cooperation and coordination with the Syrian Secretariat for Development and the Chamber of Commerce, as the owners of the shops were contacted in the robbery, and they expressed a great desire to complete this project, which is expected to start its first phase within a month.
Comrade Mohammed Rabih Nabhan, member of the leadership of the Aleppo branch of the party and head of the workers and economic sub-office, explained the role of associations and craft workshops in pushing forward the production process, pointing out that he relies on craft workshops a lot during the current and future stage, and more effort, cooperation and partnership are required to overcome all difficulties and take off work again within conditions and an efficient environment.
Naji Hadwa, President of the General Federation of Craft Associations in Syria, stressed in his response to the interventions of craftsmen that the work is ongoing and frequent to overcome all the difficulties facing craft work, in cooperation and coordination with all government agencies, stressing that the rich interventions during the conference will be the subject of attention and follow-up by the General Federation to find solutions as soon as possible. He explained that the craftsmen, like the rest of the people, have been subjected to destruction and destruction at the hands of armed terrorist gangs and provided martyrs and everyone today has to contribute to the construction and reconstruction.
The President of the Aleppo Craftsmen Union Hossam Hallak reviewed the overall reports submitted to the conference, explaining that the craftsmen of the province as well as the rest of the people have withstood terrorism and stuck to their crafts and homes, considering that the demands of the craftsmen are right and we work as a union in coordination with those concerned in the province to overcome what obstructs the work of various professions Rehabilitation of their shops, securing raw materials and requesting the government to provide the required support and grant them soft loans to convert to alternative energy to ensure the continuation of their work and production, pointing out that work is underway and communicate with the City Council and all concerned parties to improve working conditions and overcome all difficulties that stand in the way of the return of the cycle of production of craft workshops in all its diversity.

The Craftsmen Union requests government support and soft loans to help address the challenges faced by artisans, including high production costs and low demand.

Government agencies cooperate to overcome craft work difficulties, including providing support to artisans and helping to promote traditional crafts.

The economic crisis in Syria has led to a decline in traditional crafts, including glassblowing, with high production costs and low demand being major challenges.

The average monthly salaries in Syria are about $20, which makes it difficult for artisans to sustain themselves, let alone preserve the traditional craft of glassblowing.

The Quneitra branch of the Arab Writers Union holds heritage seminars, which helps to promote and preserve the traditional craft of glassblowing.

The Ministry of Tourism uses the Levantine Rose as its slogan, which is a significant Syrian heritage element, and helps to promote the country's cultural identity, including the traditional craft of glassblowing.