Culture

Citywide Art Festival to Celebrate Rangoon’s Heritage

“Citywide Art Festival to Celebrate Rangoon’s Heritage”

by San Yamin Aung via “Irrawaddy“

RANGOON — Galleries in downtown Rangoon are preparing to jointly host exhibitions as part of the Yangon Art and Heritage Festival, which will be held across the city next month.

Part of the larger festival organized under the theme “My Yangon My Home,” more than 10 art galleries will celebrate the beauty of Burma’s biggest city, its timeworn architecture and the people that call it home.

“I am living in Yangon and working here. The value of the buildings downtown can’t be assessed. I worry that those buildings might disappear and I love Yangon, so I am participating in the festival,” said Ko Sid, founder of the Myanmar Ink Art Gallery.

During the whole of March, Ko Sid said he will separately show collections from three artists under the unifying theme “We Love Yangon.” About 50 paintings depicting the colonial architecture of Rangoon and its bustling street life will be on display.

The Yangon Art and Heritage Festival will run from March 1-22 and will also include photography competitions, cartoon and sculpture exhibitions, and musical performances at a variety of public venues, as well as at the residence of the British ambassador, whose embassy is supporting the event.

Aung Myint Tun, manager of the Lokanat Gallery, said they will have a solo show of gallery member and artist MKM, who specializes in artistically rendering the buildings of the downtown area. The show, “About Yangon: Extension,” will be held from March 1-7 as part of the festival.

“It’s good to have this kind of festival. We will be more mindful of the surroundings in which we live and be cognizant of [the value in] preserving the city’s ancient buildings. Instead of neglecting them, we can be more aware of them thanks to this festival,” MKM told The Irrawaddy. The painter’s works depict downtown streetscapes and scenes from Shwedagon Pagoda, Burma’s most sacred Buddhist shrine.

Huge tomb of Celtic prince unearthed in France: ‘Exceptional’ 2,500-year-old burial

“Huge tomb of Celtic prince unearthed in France:

‘Exceptional’ 2,500-year-old burial”

The tomb of an Iron Age Celtic prince has been unearthed in a small French town.

The ‘exceptional’ grave, crammed with Greek and possibly Etruscan artefacts, was discovered in a business zone on the outskirts of Lavau in France’s Champagne region.

The prince is buried with his chariot at the centre of a huge mound, 130 feet (40 metres) across, which has been dated to the 5th Century BC.

The biggest find at the site was a huge wine cauldron. Standing on the handles of the cauldron, is the Greek god Acheloos. The river deity is shown with horns, a beard, the ears of a bull and a triple mustache

A team from the National Archaeological Research Institute, Inrap has been excavating the site since October last year.

They recently dated it to the end of the First Iron Age – a period characterised by the widespread use of the metal.

Its discovery could shed light on Iron Age European trade, researchers say.

The 2,500-year-old burial mound has at its heart a 14 square metre burial chamber, not yet opened, of an ancient royal.

An Iron Age Celtic prince lay buried with his chariot at the center of this huge mound in the Champagne region of France, according to the country’s National Archaeological Research Institute (Inrap)

Eight lioness heads decorate the edge of the cauldron (right). Inside the cauldron, the archaeologists found a ceramic wine vessel, called oniochoe (left)

A team from the National Archaeological Research Institute, Inrap has been excavating the site since October last year. Pictured is part of the cauldron found

‘It is probably a local Celtic prince,’ Inrap president Dominique Garcia told journalists on a field visit.

WHAT WERE THE KEY FINDS?

The prince is buried with his chariot at the centre of a huge mound. His chamber has not yet been opened.

This biggest find was a large bronze-decorated cauldron that was used to store watered-down wine.

The cauldron has four circular handles decorated with bronze heads that depict the Greek god Acheloos.

Another interesting discovery was a perforated silver spoon that was part of the banquet utensils, presumably to filter the wine.

The mausoleum contained a decorated ceramic wine pitcher made by the Greeks.

The most exciting find, he said, was a large bronze-decorated cauldron that was used to store watered-down wine. It appears to have been made by Etruscan craftsmen from an area that is today in Italy.

The cauldron has four circular handles decorated with bronze heads that depict the Greek god Acheloos.

The river deity is shown with horns, a beard, the ears of a bull and a triple mustache.

Eight lioness heads decorate the edge of the cauldron.

The mausoleum contained a decorated ceramic wine pitcher made by the Greeks.

Decorations on the vessel reveal the god Dionysus, lying under a vine and facing a woman.

The archaeologists also found remains of a iron wheel, from a chariot buried with the prince.

Another interesting discovery was a perforated silver spoon that was part of the banquet utensils, presumably to filter the wine. . . . .

by Ellie Zolgfagharifard via “Daily Mail“
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What the Sumerians did for art

“What the Sumerians did for art”

by P.W. via “The Economist“

GOLD-encrusted and splendid, Tutankhamun’s tomb changed perceptions of archaeology in Europe and the United States on its discovery by Howard Carter in 1922, and the resulting wave of Egyptomania influenced everything from fashion to furniture. “From Ancient to Modern: Archaeology and Aesthetics”, a new exhibition at the Institute for the Study of the Ancient World (ISAW) in New York, explores the impact that the Tutankhamun hoard had on two near contemporaries of Carter, Leonard Woolley and Henri Frankfort, who worked on separate digs in what is now southern Iraq—as well as the public response to their finds.

The pieces that the English Woolley and the Dutch Frankfort uncovered were from the Sumerian civilisation (c.3100BC-2100BC) and helped change the public perception of ancient societies and artefacts. They included jewels and luxury goods at Ur (Woolley) and dozens of stone carvings from the nearby Diyala Valley (Frankfort).

Woolley’s team struck gold, literally and metaphorically, in 1927. A large cemetery was uncovered with 1,800 graves, including 16 that were said to be royal tombs, since they contained bodies ornamented with precious materials. The remains of Queen Puabi, buried with a retinue of murdered servants to ensure her care in the afterlife, became Woolley’s Tutankhamun. Her elaborate gold headdress, topped by a spectacular star-studded comb, was reconstructed by Woolley’s wife, as was the queen’s cloak of long strands of semiprecious stones. An imagined facsimile of the queen wearing this garb was soon on display at the British Museum.

The stone figures (pictured) found by Frankfort’s mission, which started work in 1930, depict men with huge eyes and bare chests. Their long skirts seem to have been made of feathers or leaves, though scholars now say the material was cotton tufts. From the first Frankfort referred to them as sculptures not artefacts. For him, as for thousands after, they were works of art.

Following Carter’s example, the two archaeologists sought to ensure maximum publicity for their finds, and were rewarded with some lurid news stories. “Evidence that the Queen of Ancient Ur was clubbed to Death,” screamed a 1928 piece in the Washington Herald. “Grim Tragedy of Wicked Queen Shubad’s 100 Poisoned Slaves,” ran a 1934 account in thePhiladelphia Inquirer. Agatha Christie’s 1935 mystery, “Murder in Mesopotamia”, was inspired by Woolley’s dig.

ISAW’s fascinating, tightly packed show has many jewels and ten of the stone figures, as well as contemporary archaeological records with detailed drawings and measurements, on-the-spot diaries and photographs of the teams. In a second room are works by 20th- and 21st-century artists who saw the stone carvings, among them Henry Moore and Alberto Giacometti. But this display, while attractive, is unpersuasive: an artist can see an object, even be captivated by it, without it having a lasting influence; yet such an influence is claimed. While the drawings Giacometti made in 1935 from Sumerian sculpture on view at the Louvre are of some interest, it was Etruscan art that more powerfully influenced his work. As for the cast-concrete Moore figure from 1929 that is on display, the fact that the work’s folded hands may owe something to the Sumerian statues does nothing to support the idea that Moore’s subsequent more celebrated sculpture was similarly influenced.

UNESCO welcomes UNSC resolution to protect cultural heritage in Syria, Iraq

“UNESCO welcomes UNSC resolution to protect cultural heritage in Syria, Iraq”

via “KUNA“

PARIS, Feb 13 (KUNA) — The Director-General of the UNESCO Irina Bokova welcomed on Friday the adoption of a new UN Security Council Resolution 2199 that condemns the destruction of cultural heritage and adopts legally-binding measures to counter illicit trafficking of antiquities and cultural objects from Iraq and Syria.
“The adoption of resolution 2199 is a milestone for enhanced protection of cultural heritage in Iraq and Syria, extending to Syria the prohibition of trade of cultural objects already in place for Iraq since 2003,” Bokova said.
“It is also a clear recognition that the pillage, destruction and trafficking of cultural heritage are more than a cultural tragedy – this is also a security and political imperative to be taken into account in all peace efforts,” she added.
Bokova warned that the pillage of Iraq’s and Syria’s culture has reached an unprecedented scale in Iraq and Syria, adding that the revenues of such as fuel the conflicts by providing money for armed groups and terrorists.
“This resolution acknowledges that cultural heritage stands on the frontline of conflicts today, and it should be placed at the frontline of security and political response to the crisis”, she said.
She also welcomed the strong call to the responsibility of all parties in the conflict to protect cultural heritage. She commended also the overwhelming support by Security Council Members in favor of this resolution.
“The protection of the cultural heritage of Syria and Iraq has strategic implications – it is fundamental for the identity and social cohesion of all Iraqis and Syrians and it is a precondition for future reconciliation and recovery”.
Welcoming the explicit role attributed to UNESCO by the Security Council, Bokova reaffirmed the Organization’s commitment “to stand by Member States to ensure the full respect of the UNESCO 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property”.
“The destruction of the unique cultural heritage of Syria and Iraq is a loss for all humanity and it is our common responsibility to stand up for its protection,” she concluded.

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First UN conference on tourism and culture opens in Cambodia, seeks to build partnerships

“First UN conference on tourism and culture opens in Cambodia, seeks to build partnerships”

via UN.org

Statues on the Angkor Wat temple in Siem Reap Cambodia. Photo: UNESCO

4 February 2015 – Aimed at bringing together Ministers of Tourism and Ministers of Culture to identify key opportunities and challenges for stronger cooperation between the fields, two United Nations agencies launched the First World Conference on Tourism and Culture today in the shadow of the legendary Angkor Wat temple, in Siem Reap, Cambodia.

The Conference, run by the UN World Tourism Organisation (UNWTO) and the UN Educational, Scientific and Cultural Organization (UNESCO) aims to address the overlap between culture and tourism, tackling the question of how to harness the power of tourism and culture to alleviate poverty, create jobs, protect natural and cultural heritage and promote international understanding.

“Today, cultural tourism – the world’s mosaic of art forms, heritage sites, festivals, traditions, and pilgrimages – is growing at an unprecedented rate,” said Taleb Rifai, UNWTO Secretary-General. “Humanity’s curiosity about cultural heritage is the element that truly differentiates one destination from another.”

Mr. Rifai described the growth of international tourism since the 1950s and the socio-economic contribution made by tourism, accounting for one out of every 11 jobs worldwide, as well as contributing nine per cent to global gross domestic product (GDP) and 30 per cent contribution to total global exports.

Irina Bokova, UNESCO Director-General, joined Mr. Rifai in looking forward to building a new, sustainable partnership that unites tourism and culture and said her goal was to create a positive mutually reinforcing dynamic between the two, working to build sustainability and to benefit local communities.

“Our starting point is to safeguard culture under all its forms, from monuments to living heritage, encompassing traditions, festivals and the performing arts,” said Ms. Bokova. We do so, because culture is who we are. It shapes our identity and is a means to foster respect and tolerance among people.”

She underlined the need to safeguard cultural heritage while moving ahead with sustainable tourism and said she believed that was the Conference’s core message, citing that vision as the route to promoting culture as a driver and enabler of sustainable development.

Cambodia’s Minister of Tourism, Thong Khon, also welcomed delegates, looking forward to the event’s contribution to sustainable conservation and development of tourism and culture.