Looting of Iraqi Treasures |
|
.. One year after the plundering of the Baghdad Museum, the Iraq puppet Government Provisional Council maintains that the extent of the robbery was overrated and that the Coalition forces have recovered almost all the stolen objects. The truth is quite another. With the Pentagon’s complicity, a gang of traders seized what best they could during the fall of the regime. Later, they organized wide indiscriminate excavations in archeological sites, especially Assyrian and Babylonian. Additionally, the U.S. forces have destroyed a large number of Omeyan and Abaside monuments during recent urban clashes against the resistance. Does the geopolitical remodeling of the Middle East pass for the destruction of cultures? In a statement
dated Thursday May 20,
2004 to the German news agency (DPA: Deutsche
Press Agentur), the Minister
of Culture of the Iraq Government Provisional
Council Mufid Jazairi pointed
out that they still had no news about the 9 000 to
10 000 works of art
stolen from the Baghdad Museum.
«We are going to
find many
of the works of art when the security conditions
improve», he
optimistically added [1].
Furthermore, the
main museum pieces
- a collection of jewels of the 8th Century known
as the “Nimrod’s Treasures”,
were shown with great splendor last July 3. During
three hours and in the
presence of hundreds of foreign journalists,
ambassador L. Paul Bremer
III and the Coalition’s archeological council
eruditely explained that
out of the 180 000 museum pieces only 3000 were
missing of which just 47
had a unique value [2].
Jacques Chirac’s
statements, which branded
the thefts of the Iraqi museums as crimes against
humanity, and then UNESCO’s
volatility [3],
were but hysteric demonstrations of
anti-Americanism.
The incriminations
against an art trading
group - the American Council for Cultural Policy
(ACCP), which we disclosed
a year ago - were therefore defamatory (See French
article “Who planned
the plundering of Iraqi national museums?”
Voltaire, April 17, 2003). At
least, this is what the occupation forces and
their collaborators would
like us to believe. This is the soothing
propaganda that some of our colleagues
are using again.
Actually and
contrary to the U.S. official
releases, the issue is far more serious than what
we had indicated. The
plundering of the Iraqi works of art was well
planned in advance and performed
in complicity with the U.S. troops.
This simultaneously includes systematic raids of the preserved pieces in the national museums, and, particularly, industrial excavations in archeological sites. Besides, the Coalition forces have destroyed several monuments and locations, sometimes due to ignorance and very often deliberately. In order to understand what is at risk in this controversy, let’s recall the period prior to the war. A decade ago, Saddam Hussein’s brother-in-law Irchad Yassine was in the trade of discretely exporting Iraqi works of art. Since 1994, U.S art traders, grouped around lawyer Aston Hawkins [4] within the ACCP, gained ownership of this network. Yassine would sell them the main pieces of the Assur Museum. They were also interested in the art of all the regions in conflict, mainly Afghanistan. Upon the announcement of the war, they would receive orders from very rich clients who specified in a catalogue the museum pieces they wanted to buy. Scientists from the world over rallied in order to prevent the announced plundering. Colin Powell asked his adviser Thomas Warrick for an opinion. In the Spring of 2002, the latter would submit a report entitled Project for the Future of Iraq where he pointed out that a period of anarchy would ensue after the collapse of Saddam Hussein’s regime and that traders would avail themselves of it to plunder the museums. Powell sent out the report to the White House and the Pentagon [5]. During that period, the number of mails sent by scientists to political leaders was increased. Also prestigious experts such as McGuire, Gibson (Oriental Institute, Chicago University) or the Director of the British Museum Neil Macgregor became involved. As the tragedy seemed inevitable, French parliamentarian Didier Julia - also an archeologist - visited Iraq in February 2003 to persuade the national curator to protect their heritage [6]. He arranged the transfer of thousands of works to caves which were later bricked up. Julia, who disguised the purpose of his trip, was harshly criticized by his party - the UMP - where he was accused of collusion with the Saddam Hussein’s dictatorship. The Elysium palace published a communiqué to feign its “astonishment”. In fact, the parliamentarian, whose action was supported by French scientists, particularly those at the Archeologia-Magazine, had previously informed Jacques Chirac of this and enjoys the “leniency” of his service [7]. Just as it was announced, Baghdad fell victim to anarchy after the fall of the President. The Coalition forces only ensured the protection of the Oil Ministry and the headquarters of the repression service [8]. Experienced thieves leaped on the national museums and stole everything that could be taken. They also plundered libraries and started fires to prevent any inventory from being done about the stolen property. French President Jacques Chirac, French Prime Minister Dominique de Villepin and Jean-Jacques Aillagon [9] mobilized the international community. Mijail Chvydkoi added more elements [10]. The UN [11] and UNESCO took care of the issue while the White House cultural adviser Martin Sullivan paid the consequences and resigned [12]. The Department of Justice assigned a 13-agent group - the Joint Inter-Agency Coordination Group (JIACG), led by Attorney Colonel Matthew Bogdanos, to investigate the facts and recover the stolen objects. Dishonest businessmen and journalists were arrested here and there, but the ACCP network was not harassed, so that in practice the Coalition guaranteed them the monopoly of the trade as well as top profits. In June 2003, the Coalition finished removing the rubble of the Iraq National Bank, destroyed by bombing, and reached the strong-rooms where they found part of the art works hidden by Iraqis and French. The antiques director Nawada al-Mutawali, revealed the place where the rest had been deposited and then the collections were restituted. However, there are a few thousands missing [13], especially seal rings and cuneiform boards which had remained in the museum and were being the object of study as well as some important pieces, a list of which has been informed to the Interpol. During this period, the group of traders connected to the Defense Department has gone on with their stealing. Not in the museums any longer but in the archeological sites. Indiscriminate excavations have continued to take place everywhere. Dozens of thousands of objects have been dug up and brought out of the country and sold in parallel markets. Ironically, the country’s boundaries have been officially closed [14]. The thieves act carefully so as not to spoil the merchandise but they don’t worry about the context of their findings. They’re only interested in the esthetic and commercial value. For archeologists, this is a new calamity. These objects are deprived of their history and their discovery will not contribute any new knowledge about the disappeared civilizations [15]. The Coalition’s cultural adviser, Italian ambassador and archeologist Piero Cordone, is trying to stop the indiscriminate excavations but he abandoned the idea when his convoy was attacked by U.S. soldiers who killed his interpreter [16]. For the Iraq people and the memory of humankind, the tragedy doesn’t stop there. If it is true that the Coalition forces took precautions not to bomb historic sites [17], they did destroy a large number of them later and nobody knew it, which is proof of an ignorant vandalism and savage revenge. Without any doubts, the biggest scandal was to cover Ur with concrete. The U.S Air Force built a military base on the site where the city of Eridu had existed for six thousand years, the place where biblical Abraham had lived. Rightfully or not, the Iraqis interpret such destruction as a final vengeance of the Israel-U.S. troops against Babylonia. They remember how Ariel Sharon’s troops proceeded to systematically destroy the archeological sites when they invaded Lebanon. Moreover, during the recent clashes in the south, not against Saddam Hussein’s dictatorship this time but against the people’s resistance, the Coalition forces have destroyed a large number of Islamic, Omeyan and Abaside monuments. In the course of urban clashes, the U.S. army has been clearing the field by destructing buildings. In the face of the historically unprecedented plundering and destruction, there is nobody else left to turn to and question but Washington’s attitude. Does the geopolitical remodeling of the Middle East pass for the destruction of the entities and the local cultures?
[1] Il manque encore 10 000 œuvres d’art au musée of Bagdad, AFP, May 20, 2004 [2] Les «trésors de Nimrod» exposés pendant trois heures au Musée of Bagdad, AFP, July 3, 2003 [3] See Discours de Koïchiro Matsuura, June 6, 2003. Comuniqué, June 27, 2003. Comuniqué, July 16, 2003. Comuniqué, July 29, 2003. Comuniqué, August 6, 2003 [4] Lawyer Aston Hawkins is former vice-president of the New York Metropolitan Museum [5] “Blueprint for a Mess”, by David Rieff, in New York Times November 2, 2003 [6] Former student of philosopher Martin Heiddeger, Didier Julia is a philosopher and Egyptologist. Autor of the works about Fichte and director of the Dictionnaire Larousse de philosophie. He is Gaullist lawmaker for Seine-et-Marne since 1967 [7] Interview of Didier Julia with Thierry Meyssan, April 23, 2003 [8] However, a 5-page memorando signed by General Jay Garner on March 26, 2003, indicated a list of sites that had to be protected. In it, the National Museum appeared in the second place. This was not respected, since Garner’s orders were effective only after the fall of the regime. See “Troops were told to guard treasures“, by Paul Martin, in The Washington Times April 20, 2003 [9] See « Un saccage indigne », Jean-Jacques Aillagon’s Tribune, French Minister of Culture, Le Figaro April 17, 2003. « Communiqué conjoint des ministères français de la Culture et des Affaires étrangères », June 30, 2003 [10] See »Lettre de Mikhaïl Chvydkoï, ministre de la Culture de la Fédération de Russie au directeur général de l’UNESCO », March 28, 2003 [11] See « Communiqué de Kofi Annan », April 15, 2003 [12] See US governement implicated in planned theft of Iraqi artistic treasures, by Ann Talbot, World Socialist Web Site, April 19, 2003] ]. The Coalition, which continued to pretend that it came to set the Iraq people free, took late actions [[See « Coopération pour la protection des antiquités et de la propriété culturelle de l’Irak », Statement by U.S. Secretary of State Colin Powell, April 14, 2003. See also « Communiqué du département d’État» April 30, 2003 [13] In a statement to the 49th International Assyriology Meeting held at the British Museum on July 11, 2003, Colonel Bogdanos admitted that close to 10 500 pieces from the Baghdad Museum were missing, while during his press conference he had only mentioned 35. See Update by Colonel Matthew Bogdanos on the situation at the Iraq Museum. This document can be downloaded in Doc. Format [14] As these pieces had not been listed in an inventory, it was imposible to know their exact number. However, taking into consideration the increased number of sales registered in the West, of pieces allegedly found in barns, experts can make estimates [15] Read « Le Massacre du patrimoine irakien », an investigation appearing on Archéologia-Magazine n°402, July- August 2003 ; and Le Pillage de l’Irak, by Philippe Flandrin, Éditions du Rocher, 2004 [16] Tir américain contre la voiture d’un diplomate italien en Irak, un Irakien tué, AFP, September 19, 2003. President Bush phoned the Italian President of the Council Silvio Berlusconi the following day to offer his “apologies” [17]
See Point de presse des officiers de la Coalition
chargés de la
protection du patrimoine culturel irakien, April 5,
2003
|
|
Iraq Museum Database .. Ea enthroned; antithetic group of two girdled attendants each holding flowing vase; crescent in field. No other museum can rival the collections of Mesopotamian artifacts in the Iraq Museum. Spanning a time from before 9,000 B.C. well into to the Islamic period, the Iraq Museum's collections includes some of the earliest tools man ever made, painted polychrome ceramics from the 6th millennium B.C., a relief-decorated cult vase from Uruk, famous gold treasures from the Royal Cemetery at Ur, Sumerian votive statues from Tell Asmar, Assyrian reliefs and bull figures from the Assyrian capitals of Nimrud, Nineveh, and Khorsabad, and Islamic pottery and coins--an unrivaled treasure not only for Iraq, but for all mankind.
In the days following the conquest of Baghdad by
U.S. troops in April 2003,
the Iraq Museum was looted; many pieces were stolen,
others damaged or
destroyed. Thanks to the foresight of the museum
staff, the losses were
less severe than than initially reported in the
media, when a total loss
of this collection was predicted. Even two years,
however, a full damage
assessment is still missing. A complete list of all
losses can only be
drawn up after a complete inventory of all
remaining items has been
complied, a lengthy and laborious procedure that
obstructed by the fact
that the museum's archive had been devastated during
the looting. Some
15,000 items are now confirmed to be have been
stolen. Several famous pieces,
such as the Warka
Vase and the Warka
Head, were retrieved or returned to the
museum, but many other important
pieces, including the
museum's collection of 4,800 cylinder seals,
remains missing. Irrespective
of numbers, these losses are tremendous not only to
the world of archaeology
but to mankind in general.
Since April 2003 scholars at the Oriental Institute
have been compiling
a comprehensive database of objects from the Iraq
Museum. While the primary
objective of this project is to help in the recovery
of the missing objects,
we also hope that this site will be found useful as
an educational resource
for schools and the general public. The objects are
presented in categories.
We have tried to adopt a descriptive terminology,
based on visually obvious
characteristics, and to avoid scholarly,
interpretive terms. Since different
people will look for different characteristics, many
objects will feature
in multiple categories. The layout of the categories
is hierachical, starting
off with material (e.g., clay,
stone,
ivory),
followed by prinicipal object types (e.g., sculpture,
relief,
seal).
The "status" of an object given on its page reflects
its status as presently
known to us at the Oriental Institute. It is quite
possible that the whereabouts
of some objects listed as being of "unknown" status
are known to others.
Corrections to our listings are appreciated.
Relative dates for objects (periods, archaeological
phases) have been converted
to absolute dates in years B.C., generally following
the chronological
layout presented in Robert Ehrich [Editor], Chronologies
in Old World
Archaeology. (Chicago: University of Chicago
Press, 1992). With different
chronological schemes still being used in
Mesopotamian archaeology, our
interpretations may well evoke criticism from other
scholars, but we believe
that the use of absolute dates makes it easier for
non-specialists to use
this site. More images from the Oriental Institute's
collections, as well
as images sent to us by other scholars, will be
added successively. Check
back for additions and updates.
The database and the pages shown here were compiled
and edited by Clemens
Reichel. Most of the object descriptions were
entered by project volunteer
Karen Terras, who also scanned hundreds of images.
Her initiative and great
enthusiasm are gratefully acknowledged here.
Numerous scholars and publishers
gave us permission to use their published data for
this project. Hirmer
Verlag (Munich) generously allowed us to use
images from Eva Strommenger,
Fünf
Jahrtausende Mesopotamien. (1962). Georgina
Herrmann (Institute of
Archaeology, London / British School of Archaeology)
not only allowed us
to use images of Nimrud ivories from the Iraq Museum
that are published
in the Series Ivories from Nimrud, but also
made digital versions
of these images available to us; CDs with these
images were prepared and
sent to us by Stuart Laidlaw (Photographic
Department, Institute of Archaeology,
London). Harriet Martin and Nicholas Postgate kindly
supplied us with photographs
and descriptions of the seals from Abu Salabikh.
Numerous others have sent
us their data, which we will continue to add. Their
willingess to help
our efforts is gratefully acknowledged here.
All images in this database for which we do not hold
the copyright are
used with permission; names of copyright holders are
stated at the bottom
of each page. This does NOT mean that we hold the
copyright for these images;
we therefore CANNOT grant permission for use to
third parties. Anyone who
copies images from our site bears the responsibility
of obtaining permission
for their use from the appropriate parties.
The objects shown here are known to have been in the
Iraq Museum in Baghdad
or in one of Iraq's provincial museums before the
war. Their appearance
on this site does not necessarily imply that
they have been stolen.
If you encounter any of these items outside of Iraq, contact law enforcement authorities immediately! created: May 27, 2003
|
|
FAIR USE NOTICE: This page contains copyrighted material the use of which has not been specifically authorized by the copyright owner. Pegasus Research Consortium distributes this material without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes. We believe this constitutes a fair use of any such copyrighted material as provided for in 17 U.S.C § 107. If you wish to use copyrighted material from this site for purposes of your own that go beyond fair use, you must obtain permission from the copyright owner. | |
|
Webpages © 2001-2015 Blue Knight Productions |