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Journal articles on the topic 'Iraqi Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Curtis, John, Qais Hussein Raheed, Hugo Clarke, Abdulamir M. Al Hamdani, Elizabeth Stone, Margarete van Ess, Paul Collins, and Mehsin Ali. "An assessment of archaeological sites in June 2008: An Iraqi-British project." Iraq 70 (2008): 215–37. http://dx.doi.org/10.1017/s0021088900000966.

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The proposal to develop an Iraqi-British project to protect and promote cultural heritage in Southern Iraq was first mooted at a lunch in the British Museum on 24 September 2007, involving Major-General Barney White-Spunner, Charles Moore, former editor of the Daily Telegraph, Neil MacGregor, Director of the British Museum, and John Curtis, Keeper of the Department of the Middle East at the British Museum. The lunch had been arranged to provide Major-General White-Spunner with recent information about the state of the Iraqi cultural heritage, as he was due to be deployed to Iraq in February 2008 as Commander-in-Chief of British troops and General Officer Commanding the Multi-National Division South-East. At the lunch, it was suggested that the greatest need would be to arrange for the inspection of archaeological sites and, if necessary, to arrange for the protection of them, and also to consider facilitating the reopening of some provincial museums. It is known that archaeological sites particularly in Southern Iraq suffered grievously from looting, particularly after the Second Gulf War, and most provincial museums were sacked following the First Gulf War in 1991 and again in 2003. Major-General White-Spunner immediately recognised the importance of these proposals and appointed a project manager, Major Hugo Clarke, to work up a scheme with John Curtis. The project has been made possible by a generous grant from the Department of Culture, Media and Sport, that has covered all costs except those incurred in Iraq, which have been met by the British Army.

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2

Phuong, Catherine. "THE PROTECTION OF IRAQI CULTURAL PROPERTY." International and Comparative Law Quarterly 53, no. 4 (October 2004): 985–98. http://dx.doi.org/10.1093/iclq/53.4.985.

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Images of widespread looting were the first to come from Baghdad following the entry of US forces into the Iraqi capital city in April 2003. In particular, it is hard to forget the powerful images of smashed display cases, empty vaults, and desperate staff in the Iraqi National Museum. Worse still, the National Library was burnt down. The looting of the Iraqi National Museum took place between 8 April, when the security situation prompted staff to leave the museum, and 12 April when some of them managed to return. Despite early pleadings with US forces to move a tank to guard the museum gates, US tanks did not arrive until 16 April.1 Cynics would say that the protection of the Oil Ministry appeared to take priority at the time.2 Early reports estimated that around 170,000 items went missing from the Iraqi National Museum in Baghdad.3 This figure was completely exaggerated and the Bogdanos enquiry established that over 13,000 items had been stolen and about 3,000 recovered by September 2003.4 This article seeks to determine to what extent the US can be held legally responsible for the looting, and then to examine the international legal framework in place to facilitate the recovery and return of the items stolen from the Iraqi National Museum and other Iraqi cultural institutions

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3

Vanzan, Anna. "The Holy Defense Museum in Tehran, or How to Aestheticize War." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 63–77. http://dx.doi.org/10.1163/18739865-01301004.

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Abstract In September 2013 the Iranian authorities inaugurated the Holy Defense Museum (Muzeh-i Dafa’-i Moqaddas) in the capital Tehran that also hosts a Martyrs’ Museum (Muzeh-i Shuhada) built in the early 1980s and later renovated. The new museum is part of a grandiose project to commemorate the sacrifice of Iranians during the war provoked by the Iraqi regime (1980–1988). The museum encompasses various aspects of the arts (visual, cinematic, photographic, literary, etc.) shaped to remember and celebrate the martyrs of that war. The 1979 Iranian Revolution and the following Iran-Iraq War produced an enormous amount of visual material; works produced during this crucial period that disrupted the balance of power, both regionally and internationally, constitute an important part of Iran’s recent history. Visual materials produced in that period not only constitute a collective graphic memory of those traumatic years, they also revolutionized Iranian aesthetics. The Islamic Republic of Iran (hereafter IRI) establishment has a long experience in molding contemporary art for political purposes and the Holy Defense Museum represents the zenith of this imposing project. In this paper, I present an analytic and descriptive reading of the museum in light of my direct experience visiting the museum, and I explore its role in maintaining the collective memory of the Iran-Iraq conflict, in celebrating the revolution and in aestheticizing war.

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4

Al-Mutawalli, Nawala, Walther Sallaberger, and Ali Ubeid Shalkham. "The Cuneiform Documents from the Iraqi Excavation at Drehem." Zeitschrift für Assyriologie und vorderasiatische Archäologie 107, no. 2 (December 30, 2017): 151–217. http://dx.doi.org/10.1515/za-2017-0101.

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Abstract: Drehem, ancient Puzriš-Dagān, is well known as the place of origin of more than 15,000 cuneiform tablets from the Ur III period that were sold on the antiquities markets from 1909 onwards. The State Board of Antiquities and Heritage of Iraq undertook the first controlled excavations at the site in 2007 under the direction of Ali Ubeid Shalkham. The cuneiform texts and fragments found there not only add to the well-known royal archives dealing with cattle, treasure or shoes, but they include many records on crafts and agriculture. With this evidence, the subsistence economy behind this important administrative center and royal palace of the Third Dynasty of Ur becomes more evident. We thank the Iraqi State Board of Antiquities and Heritage, the Iraq Museum Baghdad and Mr Ali Ubeid Shalkham for the permission to publish the tablets from the excavation season of 2007. The stays of Nawala Al-Mutawalli at LMU Munich in 2015 and 2016 in order to prepare this article were generously funded by the Gerda Henkel Stiftung. We are grateful to Margarete van Ess for the invitation to a first meeting in 2013 at the DAI Orientabteilung, Berlin. Thanks are owed to Manuel Molina for his careful reading of this article and his helpful remarks and Frans van Koppen for his editorial care. Walther Sallaberger’s work also contributes to his “Sumerisches Glossar” project. – All photos and plans of the excavation were made by Ali Ubeid Shalkham, the tablets in the Iraq Museum were photographed by Nawala Al-Mutawalli Mahmood. The abbreviations follow the Reallexikon für Assyriologie und Vorderasiatische Archäologie. The online digital resources CDLI (cdli.ucla.edu) and especially BDTNS (bdtns.filol.csic.es) have proven once more to be indispensable for our studies of lexicography and prosopography.

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5

Guendelman Hales, Rafael. "Objects Removed for Study." Migration and Society 3, no. 1 (June 1, 2020): 262–71. http://dx.doi.org/10.3167/arms.2020.030125.

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“Objects Removed for Study” is a creative remaking of a fraction of the Library of Ashurbanipal (part of the Assyrian collection of the British Museum) by a group of women from the Iraqi Community Association in London. Inspired by the main role of the library as a guide for the Assyrian king Ashurbanipal, and considering the current situation in Iraq, the women were invited to rewrite and re-create a series of ceramic books and artifacts. This project aims to critically rethink both the identity and the role of these old artifacts in the articulation of new sensitivities and possibilities in today’s context of displacement.

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6

Katrib, Ruba. "Representation and identity: Reflections on presenting contemporary art in an American museum." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (March 1, 2021): 199–214. http://dx.doi.org/10.1386/jciaw_00048_1.

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This text is a curatorial reflection upon the process of organizing the exhibition Theater of Operations: The Gulf Wars 1991–2011, which took place at MoMA PS1 in 2019. The text questions the possibilities and limits of decolonial curating in an American museum and analyses the reception of Iraqi contemporary art in a Western context.

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7

Shabout, Nada. "The Iraqi Museum of Modern Art: Legal Implications of the 2003 Invasion." Collections 2, no. 4 (December 2006): 285–96. http://dx.doi.org/10.1177/155019060600200403.

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8

Saadoon, Abather Rahi. "SUMERIAN TEXTS FROM THE ARCHIVE OF THE PRINCESS ŠĀT-EŠTAR IN THE COLLECTIONS OF THE IRAQ MUSEUM." Iraq 80 (September 28, 2018): 213–31. http://dx.doi.org/10.1017/irq.2018.14.

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The princesses in the royal family of the Ur III state had a role in developing and revitalizing the economy. In ancient Iraqi society women operated in all fields of work. Cuneiform texts recorded their activities in the processes of receiving, delivery, distribution and mediating between people. Living in the community, Iraqi women played an important and positive role in ancient Iraq's society. Šāt-Eštar first became known as a princess in the texts treated in the author's MA Thesis in 2010. The study of the texts which mention princess Šat-Eštar shows that this character played an important role in processes of receiving, delivering, distributing and mediating between people. She was specialized in trading several materials, primarily barley and flour and then dates, as well as textiles and clothing types. The people she dealt with were Agatia, Šulgi-mudah, Abituni, Šāt-Su'en, Šāt-Nūnu, Šeškala, and Lugal-nisaĝ-e.

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9

Al-Haidary, Ali. "Vanishing point: the abatement of tradition and new architectural development in Baghdad's historic centers over the past century." Contemporary Arab Affairs 2, no. 1 (January 1, 2009): 38–66. http://dx.doi.org/10.1080/17550910802622488.

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This article gives an extensive, detailed historic overview of Baghdad's unique architectural heritage from its ancient Sumerian roots in design through the Islamic and modern periods by an Iraqi professor of architecture. The functionally and aesthetically integrated residential architecture of the ancient Sumerians, its labyrinthine network of abutting houses with open inner-courtyards, ingenious ventilation systems, and enclosed balconies (shanāshīl) that formed the warp and weft1 of the fabric of the urban society which it supported for millennia is disappearing. The ancient patterns which still survive in Baghdad are not only emblematic of Middle Eastern architecture but are the essential imprint of Babel (Babylon) – the mother of all cities. The author demonstrates how modernization and rapid changes brought on by economic growth and population explosions led to unregulated building projects that were often conceived and implemented by foreign firms in abject disregard of the unique and irreplaceable cultural heritage of Iraq. Landmarks of culture have already been lost, and there is much still to lose, but it is not too late if proper funds, urban planning and action at the level of the individual can be marshalled to preserve the living museum of Baghdad's eternal architecture that is the most conspicuous physical expression of its social, cultural and historic identity.

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10

Al-Hummeri, Hussein Mohammed. "Unpublished Cuneiform Texts from Old Babylonian Period." Al-Adab Journal 1, no. 125 (June 15, 2018): 37–54. http://dx.doi.org/10.31973/aj.v1i125.40.

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The cuneiform texts particularly the economic texts are considered as one of the most important documents that reflect the reality of everyday life, in fact among the periods of Mesopotamia the Old Babylonian Period (1595-2004 B.C) was characterized by development of economic activity which was reflected in the economic cuneiform texts as an ideal material to study the economic and social conditions of that period. This research studied five unpublished cuneiform texts which are part of forfeit texts belong to the Iraqi Museum. Therefore, their location and reference are unknown, one of them belong to (Abi-ešuḫ) the eighth king of the First Dynasty of Babylon, another one had a new date formula we think that belong to (Abi-sare) the sixth king of Larsa city, three of them hadn't date formula this made difficulty of determining the length of time for the these texts, but they generally belong to the Old Babylonian Period, based on personal names that was contained which were common names there, as well as the way of writing that supports these texts belong to Old Babylonian Period.

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11

Lippolis, Carlo, Jacopo Bruno, Eleonora Quirico, Ali Taha, Hasinean Mohammed, and Haydar Taha. "The Tulul Al-Baqarat and Eduu Projects : Archaeological Research , Education and Cultural Heritage Enhancement." Al-Adab Journal 1, no. 125 (June 15, 2018): 1–14. http://dx.doi.org/10.31973/aj.v1i125.36.

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The present paper stems from the research activities carried out within the framework of EU funded project "EDUU - Educational and Cultural Heritage Enhancement for Social Cohesion in Iraq" (EuropeAid CSO-LA/2016/382-631). EDUU is an international project funded by the European Union. EDUU consists of an EU-Iraqi partnership in the area of education and cultural heritage enhancement, connecting Universities, secondary schools, and museums. This consortium operates with the aim of enhancing the pluralism of Iraqi civil society, raising awareness on the diverse and multicultural past of Iraq via developing initiatives for the promotion of the pre-Islamic cultural heritage.

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12

Montgomery, Bruce P. "The Rape of Kuwait’s National Memory." International Journal of Cultural Property 22, no. 1 (February 2015): 61–84. http://dx.doi.org/10.1017/s0940739115000053.

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Abstract:In the August 1990 invasion of Kuwait, Iraqi forces prosecuted a mass campaign of pillage and destruction. Under the coordinated direction of Iraqi curators who were well acquainted with Kuwait’s cultural treasures, occupying Iraqi troops plundered thousands of cultural objects from museums, libraries, and archives. Among the pillaged cultural spoils were Kuwait’s national archives, comprising the emirate’s historical memory. Until recently, Iraq was beholden to UN sanctions demanding the return of missing persons and property, including Kuwait’s archives. Although the United Nations Security Council for many years has facilitated efforts to search for the lost archives, these efforts have proved futile. This article explores the plausibility of the two most likely scenarios surrounding the cold case of Kuwait’s missing archives: 1) that the current search for the archives has overlooked the possibility that they were unknowingly seized by US forces in the 2003 invasion of Iraq and are currently being held by the Pentagon; and 2) that the archives may have been intentionally destroyed as part of Saddam Hussein’s aim to obliterate Kuwait’s national identity and annex the emirate as Iraq’s nineteenth province.

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13

Kim, Young-Seok, Thenkurussi Kesavadas, and Samuel M. Paley. "The Virtual Site Museum: A Multi-Purpose, Authoritative, and Functional Virtual Heritage Resource." Presence: Teleoperators and Virtual Environments 15, no. 3 (June 1, 2006): 245–61. http://dx.doi.org/10.1162/pres.15.3.245.

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The Virtual Site Museum is an interactive virtual reality interface for various purposes including archaeological research, education, and public demonstration. Its virtual environment contains precise, authoritative, and integrated archaeological and historical files culled from published and unpublished excavation records and the various art museums, which preserve artifacts from the real archaeological site. Running in real-time, it provides full-body immersion, 3D ancient figure animation, and a virtual artifacts interface and corresponding user-oriented interactions in a functional virtual environment. The first of the sites to be documented in the Virtual Site Museum was the Northwest Palace of King Ashurnasirpal II (883–859 bc), located in northeastern Iraq, a famous Assyrian world heritage archaeological site. In this paper we describe how we applied Virtual Reality (VR) to a cultural heritage in peril, and how we are adapting previously generated PC versions to UNIX platforms. We also explain our experiences and achievements in archaeological research and classroom accessibility.

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14

Nakai, Izumi, Kriengkamol Tantrakarn, Yoshinari Abe, and Sachihiro Omura. "Study on Western Asiatic cast ribbed rectangular beads from Kaman-Kalehöyük, Turkey, by using portable X-ray fluorescence." Open Journal of Archaeometry 1, no. 1 (December 31, 2013): 23. http://dx.doi.org/10.4081/arc.2013.e23.

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In this article we report a comparative study on excavated objects and artifact from museums to reveal an aspect of ancient trade. The target artifact is Western Asiatic cast ribbed rectangular beads excavated from an architectural remain at Kaman-Kalehöyük, Turkey. Blue glass beads of this type have been excavated in Western Asia from north Iran and Iraq to the Syro-Palestinian coast from second half of 16th to 14th century BC. The analysis of the samples was carried out by using a portable Xray fluorescence (XRF) spectrometer developed by us. The instrument was brought to the excavation site in Turkey as well as to the museums to analyse typologically similar glass beads from the collection of Okayama Orient Museum and MIHO MUSEUM in Japan, for comparison. Our XRF analyses suggested that all analysed glass artifacts are plant ash sodalime silica glass with 2-4 wt% magnesium and potassium. The three glass beads exhibited similar compositional characteristic, i.e. they contain Sb, Pb, Fe, Cu and Sr in similar quantities. A typological and principal component analysis comparison of the glass beads unearthed from Kaman- Kalehöyük site with those of the museums and literature data support that they should have a similar origin. In addition, archaeological context of the glass from Kaman-Kalehöyük also supports that the artifact belongs to the Middle-Late Bronze Age (16th to 15th centuries BC). This is the first scientific material evidence that shows the possibility of a cultural flow from Mesopotamia region to Kaman-Kalehöyük during Middle- Late Bronze Age.

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15

Nofal, Eslam, Ahmed Magdy Elhanafi, Hendrik Hameeuw, and Andrew Vande Moere. "Architectural Contextualization of Heritage Museum Artifacts Using Augmented Reality." Studies in Digital Heritage 2, no. 1 (September 23, 2018): 42–67. http://dx.doi.org/10.14434/sdh.v2i1.24500.

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Context is crucial for understanding meanings and values of heritage. Several heritage artifacts from recently destroyed monuments are exhibited in different museums around the world. As such contextualizing those isolated heritage artifacts enables museums to communicate architectural and spatial qualities of the original context to their visitors. With the rapid evolution of digital technologies, museums started to incorporate Augmented Reality (AR) to present and interpret their collections in more appealing and exciting ways. AR allows both an enrichment of heritage communication, and also encouragement of interactivity in museums. Through a field study in a real-world museum environment, we investigated how AR enhances the communication of the original context of an isolated artifact from the Nimrud palace in Iraq. We deployed a mixed-method evaluation methodology that led to an effective and engaging communication of the architectural context of that artifact, particularly perceiving and recalling architectural features and spatial dimensions. We conclude the paper with a set of discussion points about how AR positively affects visitors’ memorability of architectural qualities, and how it provokes their curiosity to explore more information. We highlight some considerations about AR visualization, such as how levels of embellishment direct user’s focus of attention, and which aspects should be considered when using AR abstract visualization to communicate heritage. We outline several design recommendations to overcome current AR usability issues in museums about intuition, freedom of movement, and age-related differences.

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16

Atwood, Roger. "The Story of the Iraq Museum." Scientific American 293, no. 2 (August 2005): 90–92. http://dx.doi.org/10.1038/scientificamerican0805-90.

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17

Zietlow, Nina. "The Politics of Monumentalizing Trauma: Visual Use of Martyrdom in the Memorialization of the Iraq-Iran War." Review of Middle East Studies 54, no. 1 (June 2020): 131–32. http://dx.doi.org/10.1017/rms.2020.11.

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This poster focuses on three mediums of commemoration: the monument, the memorial, and the museum as tools of state-sanctioned memory creation, and thereby spaces for politicized rituals of memory which further state-building projects. Specifically, during and after The Iran-Iraq war (1980-88) the al-Shaheed Monument (1983), and the Victory Arch (1989) in Baghdad and the Martyrs’ Museum (1996) in Tehran functioned as politically strategic representations of collective trauma. Both the Ba'ath party in Iraq and the emerging Islamic Republic in Iran used these sites to render and politicize memories of violence and loss. Despite obvious differences, the projects in Baghdad and Tehran appealed to a need to address national trauma while bolstering idealized images of statehood. The Ba'athist party under Saddam Hussein capitalized on the collective trauma of the Iraq-Iran war to further a hegemonic Sunni identity, which was both religious and political. The use of immense scale, vulgar displays of power, and Islamic imagery in both the al-Shaheed Monument and Victory Arch linked Sunni and Ba'athist causes and allowed Hussein to characterize the Iran-Iraq War as a sacred project of national and religious vindication. Similarly, the Martyrs’ Museum in Tehran constructs a specific version of history using motifs of the Battle of Karbala, Imam Husayn, martyr and civilian deaths, and blood to tie Iranian national identity to ritualized Shia martyrdom. The Martyrs’ Museum parallels the religification of national identity as seen in Iraq, and configures death as a public, religiopolitical act. Despite Ba'athist Iraq's secular self-image, the strategic harnessing of trauma both Iraq and Iran demonstrates a constructed connection between political state hegemony, religious practice, and rituals of grief. In these ways, state propagated imagery through physical commemorations of the Iran-Iraq War furthered the political – and resulting religious – sectarian divide in the official positions of the two nations.

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18

Hadi, Afkar M., Hind D. Hadi, Suhad Y. Jassim, and Noor H. Yousif. "THE FALCONS (FALCONIFORMES, FALCONIDAE) VOUCHER COLLECTION IN THE IRAQ NATURAL HISTORY RESEARCH CENTER AND MUSEUM (INHM)." Bulletin of the Iraq Natural History Museum 16, no. 3 (June 20, 2021): 253–66. http://dx.doi.org/10.26842/binhm.7.2021.16.3.0253.

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A total of 45 voucher specimens of falcons which are deposited in the bird's collection of the Iraq Natural History Research Center and Museum (INHM) were reviewed. Mummified falcons were preserved as voucher study specimens and tagged with museum collection labels. In the current study, morphometrics of six species of the genus Falco Linnaeus, 1758: Lanner falcon F. biarmicus Temminck, 1825; Sacker Falcon F. cherrug Gray, 1834; Lesser Kestrel F. naumanni Fleischer, 1818; Peregrine Falcon F. peregrines Tunstall, 1771; Eurasian Hobby F. subbuteo Linnaeus, 1758 and Common Kestrel F. tinnunculus Linnaeus, 1758 were documented. These species were recorded previously in the ornithological literatures by several authors and deposited in the museum collection; nevertheless, breeding and migrating of these birds are still occurring throughout Iraq. Furthermore, the current distribution ranges and conservation status of each of the mentioned species throughout Iraq were reviewed and comprehensively discussed.

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Ali, Adil Hashim. "The new Basrah Museum: dedicated to the archaeological and historical inheritance of Basrah and Iraq." Antiquity 93, no. 369 (June 2019): 811–13. http://dx.doi.org/10.15184/aqy.2019.57.

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Located in the Fertile Crescent and at the head of the Persian/Arabian Gulf, the city of Basra is steeped in history. Close to the heart of ancient Mesopotamia, the territory of modern Iraq was occupied variously by Achaemenids and Seleucids, Parthians, Romans and Sassanids, before the arrival of Islam in the early middle ages. In more recent history, the city's strategic position near the Gulf coast has made Basra a site of contestation and conflict. This exposure to so many different cultures and civilisations has contributed to the rich identity of Basra, a wealth of history that demands a cultural museum able to present all of the historical periods together in one place. The original Basra Museum was looted and destroyed in 1991, during the first Gulf War. The destruction and loss of so much of Iraq's history and material culture prompted official collaboration to build a new museum that would represent the city of Basrah and showcase its significance in the history of Iraq. The culmination of an eight-year collaborative project between the Iraq Ministry of Culture, the State Board of Antiquities and the Friends of Basrah Museum, the new museum was opened initially in September 2016. Already established as a cultural landmark in the city, with up to 200 visitors a day and rising, the museum was officially opened on 20 March 2019. The author was fortunate to be present for this event and able to explore the new galleries (Figure 1).

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20

KRYŠTUFEK, BORIS, OMAR F. AL-SHEIKHLY, and RAINER HUTTERER. "A redescription of the Long-tailed Nesokia, Nesokia bunnii, and designation of a neotype (Rodentia: Muridae)." Zootaxa 4216, no. 2 (January 4, 2017): 167–87. http://dx.doi.org/10.11646/zootaxa.4216.2.3.

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Long-tailed Nesokia, Nesokia bunnii, is a large rat restricted to the Mesopotamian marshes in Basra Province in southern Iraq. The species is known from five museum vouchers collected between March 1974 and January 1977. The type and the paratype, deposited in the Natural History Research Centre and Museum, University of Baghdad, Iraq, were destroyed during War on Iraq in 2003. By studying morphological details on three museum specimens in the Senckenberg Institution, Frankfurt a. M., Germany, we show that N. bunnii is unique among the Bandicoot rats (Nesokia and Bandicota) in having (1) rufous dorsal pelage, (2) facial mask of rufous, dark brown, grey and whitish areas, (3) whitish belly which is clearly demarcated along flanks, (4) ventral hairs white to bases, (5) woolly underfur, (6) long front claws, and (7) large tail annulation. Similar to N. indica, but in contrast to Bandicota, N. bunnii displays short incisive foramina, posterior margin of hard palate which terminates at the level of the third molar, and robust, hypsodont and laminate molars which lack posterior cingula. To objectively define the taxon we designate a neotype, which was collected at Saraifa, 30 km north of Qurna, Iraq. Our study highlights the importance of museum collections in documenting biodiversity and the indifference of decision makers and international institutions regarding their safe future.

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Al radi, Selma. "The Destruction of the Iraq National Museum." Museum International 55, no. 3-4 (December 2003): 103–7. http://dx.doi.org/10.1111/j.1350-0775.2003.00445.x.

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22

Lawler, A. "ARCHAEOLOGY: Iraq Museum May Reopen Amid Controversy." Science 323, no. 5914 (January 30, 2009): 570b—571b. http://dx.doi.org/10.1126/science.323.5914.570b.

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23

Kamph, Molly. "Reuniting Archaeology and Archives through the Smithsonian Institution’s Ralph S. and Rose L. Solecki Papers and Artifacts Project." Museum Anthropology Review 15, no. 1 (September 13, 2021): 38–53. http://dx.doi.org/10.14434/mar.v15i1.31729.

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The Smithsonian Institution’s National Museum of Natural History recently conducted a two-year project to process and connect the archives and artifacts of archaeologists Ralph and Rose Solecki, most famous for their work at the sites of Shanidar Cave and Zawi Chemi Shanidar in northern Iraq. Through a collaboration between the archivally-focused National Anthropological Archives and the object-focused Department of Anthropology collections management group, the Ralph S. and Rose L. Solecki Papers and Artifacts Project sought to set an example for archaeological collections and archives stewardship by preserving the association between archaeological specimens and archival records through an integrative methodology of archival processing and specimen cataloging to increase their value to future researchers. Further, the project provides a case study intended to contribute to interdisciplinary conversations about the enduring legacy of archaeologists and their collections within archives and museums through collaborative collections and archives management.

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24

Hunter, Erica C. D. "Manipulating incantation texts: Excursions in Refrain A." Iraq 64 (2002): 259–73. http://dx.doi.org/10.1017/s0021088900003740.

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On 9 October 1851 the British Museum purchased eight incantation bowls from Col. Henry Rawlinson. Of these, seven were written in Aramaic. They were recorded by the Minutes of the Trustees of the British Museum as coming from “a tomb at Babylon”, per se a most unusual provenance since incantation bowls are usually associated with domestic loci. The seven incantation bowls all name the same male client, one Mahperoz son of Hindo. Palaeographic studies on the typical Babylonian Aramaic script in which they were written reveal that they were the product of the same hand. The physical typology of the incantation bowls (hemispherical in form with simple rims measuring 0.6 cm thick and shaved bases) suggests that all seven were selected from the same workshop, and possibly even from the same batch of pottery. In such a situation, where the incantation bowls clearly form a group and were written for a single client, one might expect the texts to be duplicates.Four of the seven bowls purchased from Rawlinson were inscribed with a common incantation text that Ben Segal has designated as Refrain A. This commences with a distinctive call for the overthrow of the world and heavenly order as well as the reversal of female cursers. Over the past one hundred and fifty years a dozen examples of this text have have come to light in a variety of international museums and private collections. The largest group is that of the British Museum which has no less than eight examples, including the four Rawlinson bowls as well as a small flat-bottomed stopper that Hormuzd Rassam obtained from Sippar during the excavations which the British Museum conducted at that site between 1881 and 1882. The remaining four examples of Refrain A are in the Iraq Museum, Baghdad, the Institute of Archaeology at the Hebrew University of Jerusalem, and in collections of antiquities that are owned by the Churchs' Ministry amongst the Jewish People, St Albans, England, and Near Eastern Fine Arts, New York, U.S.A.

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Heng, Geraldine. "An Ordinary Ship and Its Stories of Early Globalism." Journal of Medieval Worlds 1, no. 1 (March 1, 2019): 11–54. http://dx.doi.org/10.1525/jmw.2019.100003.

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An ordinary ship and its cargo can tell the story of far-flung global markets, human voyaging, and early industrialization in China that supplied exports to the world. Sometime after 825 CE an Arab dhow set sail from the port of Guangzhou in coastal south China, having unloaded its goods from the Near East, and reloaded with some estimated 70,000 ceramics and other items, on its return voyage to the Abbasid empire. Taking the route that has been called “the maritime silk road,” this hand-sewn ship made of planks fastened with coconut fiber (without any nails) seems to have decided to offload some cargo first in maritime Southeast Asia, perhaps intending to pick up a secondary cargo of spices, resins, and aromatics for which the Indonesian islands were famed. The dhow sank near the island of Belitung, at a reef called Batu Hitam (“Black Rock”). Fifty-five thousand ceramic wares, along with gold and silver ornaments, ingots, mirrors, ewers, vases, jars, cups, incense burners, boxes, flasks, bottles, graters, and the like—and two objects that may have been children’s toys, and a re-soldered gold bracelet sized for a woman’s wrist—were excavated intact in 1998, and are housed at the Asian Civilisations Museum in Singapore. This ninth-century dhow is the only ship of its kind ever recovered, though hand-sewn ships that plied the Indian Ocean are described in travel accounts from as early as the first-century CE. The dhow is a remarkable example of the global ships carrying people, goods, ideas, religion, and culture, which knit the world into relationship along transoceanic routes. Its vast trove of ceramics is the earliest physical evidence attesting the industrial production of ceramics in China for export to foreign markets as early as the Tang Dynasty (618–907). Designs painted on the great majority of the ceramic wares were favored in the export market, not in China. Part of the trove includes prototypes of blue-and-white ceramics for which China would become famous 400 years later: ceramic experiments that feature Iraqi designs attesting global interrelationships in art and the exchange of ideas. The crews of ships such as this one were multiracial, multireligious, and assembled from everywhere: The cargo, knowledges, and stories these diverse, anonymous voyagers helped to transfer across the world transform our understanding of scale, time, and globalism.

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Murad, Ali, and Antoine Cavigneaux. "IM 160096 : un charme pour calmer un bébé qui pleure." Altorientalische Forschungen 45, no. 2 (November 28, 2018): 193–98. http://dx.doi.org/10.1515/aofo-2018-0016.

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Sulaiman, Muayad M., and Stephanie Dalley. "Seven Naptanum-Texts from the Reign of Rim-Sin I of Larsa." Iraq 74 (2012): 153–65. http://dx.doi.org/10.1017/s0021088900000334.

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Seven tablets from the National Museum of Iraq in Baghdad are edited here for the first time. They date early in the long reign of Rim-Sin I of Larsa, and presumably come from that site, modern Senkereh in southern Iraq. They throw light on rituals held in the palace, and on international relations through the envoys who attended.

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Mensoor, Montazer Kamel. "Updated checklist of the rodents of Iraq (Rodentia)." Lynx new series 51, no. 1 (2021): 95–118. http://dx.doi.org/10.37520/lynx.2020.008.

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This paper provides an updated information on the composition and distribution of the rodent fauna of Iraq. The data were taken from field observations that were conducted during the period 2018–2019 in addition to the previous literature and museum collections data. The rodent fauna of Iraq consists of 29 currently recognised species from 17 genera and seven families.

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Ghaidan, Usam, and Anna Paolini. "A Short Histiry of the Iraq National Museum." Museum International 55, no. 3-4 (December 2003): 97–102. http://dx.doi.org/10.1111/j.1350-0775.2003.00444.x.

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30

Ismael, Khalid Salim, and Shaymaa Waleed Abdulrahman. "New Texts from the Iraq Museum on Šulgi-mudaḫ and Šara-dān." Zeitschrift für Assyriologie und vorderasiatische Archäologie 109, no. 2 (December 1, 2019): 126–44. http://dx.doi.org/10.1515/za-2019-0010.

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Khansaa Rasheed Al-Joboury. "Review with checklist of Fabaceae in the herbarium of Iraq natural history museum." GSC Biological and Pharmaceutical Sciences 14, no. 3 (March 30, 2021): 137–42. http://dx.doi.org/10.30574/gscbps.2021.14.3.0074.

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This study aimed to make an inventory of leguminous plants for the purpose of identifying the plants that were collected over long periods and stored in the herbarium of Iraq Natural History Museum. It was found that the herbarium contains a large and varied number of plants from different parts of Iraq and in different and varied environments. It was collected and arranged according to a specific system in the herbarium to remain an important source for all graduate students and researchers to take advantage of these plants. Also, the flowering and fruiting periods of these plants in Iraq were recorded for different regions. Most of these plants begin to flower in the spring and thrive in fields and farms.

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Khansaa Rasheed Al-Joboury. "Checklist of the Umbelliferae family in the herbarium of Iraq natural history museum." GSC Biological and Pharmaceutical Sciences 15, no. 3 (June 30, 2021): 177–81. http://dx.doi.org/10.30574/gscbps.2021.15.3.0160.

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The aim of this study is to make the inventory for Umbelliferae family for the purpose of identifying the samples that were collected over long periods and saved in the herbarium of Iraq Natural History Museum/ University of Baghdad. We found that the herbarium plants were very large and varied from different parts for Iraq, in different and varied environments, which collected and arranged according to a very specific system in the herbarium for remaining an important source to all graduate students and researchers to take advantage for these plants. Also, the flowering and fruiting periods for these plants in Iraq were recorded in different regions. Most these plants begin to flower in the spring and thrive at fields and farms.

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33

Westenholz, Joan Goodnick. "Briefe aus dem Iraq Museum (TIM II). L. Cagni." Journal of Near Eastern Studies 48, no. 2 (April 1989): 150–55. http://dx.doi.org/10.1086/373386.

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READE, JULIAN, and ANN SEARIGHT. "Arabian softstone vessels from Iraq in the British Museum." Arabian Archaeology and Epigraphy 12, no. 2 (November 2001): 156–72. http://dx.doi.org/10.1034/j.1600-0471.2001.d01-3.x.

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35

Gori, Maja, Alessandro Pintucci, and Martina Revello Lami. "Who Owns the Past?" Ex Novo: Journal of Archaeology 2 (December 31, 2017): 1–4. http://dx.doi.org/10.32028/exnovo.v2i0.386.

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On the 23rd of August 2015 Daesh blew up the 2,000-year-old Baal-Shamin temple in the world-famous Greco-Roman site of Palmyra. This event triggered a profound emotional reaction in society at large, and the ruins soon became an iconic symbol of world heritage in danger. The appalling images of the ruins of Baal Shamin reinforced the perception, especially among western observers, that protecting cultural and natural heritage is yet another duty in the fight against terrorism. A similar international outcry occurred in 2001, when the Buddhas of Bamiyan fell to Taliban dynamite in Afghanistan, and when Iraqi museums and sites were ransacked and looted providing two of the most recent and vivid examples of destroyed heritage in the so-called War on Terror which was launched by the U.S. government after 9/11. Following the destruction at Baal-Shamin, UNESCO declared that the deliberate destruction of Syria's cultural heritage was a war crime, and put into motion several projects and actions aimed at preserving endangered Syrian archaeological heritage. At the same time, alongside income gained from the sale of drug and weapons, the trafficking of antiquities from Syria and Iraq worldwide provided a major source of revenue for Daesh.

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36

Hein, Hilde. "Art/Museums: International Relations Where We Least Expect It and The Rape of Mesopotamia: Behind the Looting of the Iraq Museum." Curator: The Museum Journal 54, no. 1 (January 2011): 101–5. http://dx.doi.org/10.1111/j.2151-6952.2010.00073.x.

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37

Reade, Julian. "The Ishtar Temple at Nineveh." Iraq 67, no. 1 (2005): 347–90. http://dx.doi.org/10.1017/s002108890000142x.

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Nineveh, like modern Mosul of which it is now a suburb, lay at the heart of a prosperous agricultural region with many interregional connections, and the temple of Ishtar of Nineveh dominated the vast mound of Kuyunjik (Fig. 1). Trenches dug on behalf of the British Museum, mainly by Christian Rassam in 1851–2, Hormuzd Rassam in 1852–4 and 1878–80, George Smith in 1873–4, and Leonard King and Reginald Campbell Thompson in 1903–5, impinged on the site. The main temple was almost completely cleared, together with an area to the north-west, by Thompson and colleagues in four seasons between 1927 and 1932 (Figs. 2–3). Many original King and Thompson records are kept in the Department of the Ancient Near East at the British Museum; some photographic negatives are at the Royal Asiatic Society in London. The numerous objects from Thompson's excavations are now divided between the Iraq Museum, the British Museum (where they are registered in the 1929-10-12, 1930-5-8, 1932-12-10 and 1932-12-12 collections, mostly corresponding to the four successive seasons), the Birmingham City Museum, the Ashmolean Museum at Oxford, and the Fitzwilliam Museum at Cambridge; some were given to other institutions, and to individuals who had contributed to the excavation costs.

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Benati, Giacomo, and Camille Lecompte. "From Field Cards to Cuneiform Archives: Two Inscribed Artifacts from Archaic Ur and Their Archaeological Context." Zeitschrift für Assyriologie und vorderasiatische Archäologie 106, no. 1 (January 28, 2016): 1–15. http://dx.doi.org/10.1515/za-2016-0001.

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Abstract:The two inscribed artifacts discussed in this article were excavated by C. L. Woolley during the seventh field campaign (1928–1929) at Tell al-Muqayyar, ancient Ur, Iraq. The objects were shipped to the British Museum of London in 1930 and 1935 and have never been published in print. These items are presented and analysed here through a review of their textual information, archaeological context, and associated material culture, using unpublished data from the Ur collection kept in the British Museum. This paper is part of a collaborative research project aiming at re-contextualizing the archaic texts from Ur.

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Bogdanos, Matthew. "The Casualities of War: The Truth About the Iraq Museum." American Journal of Archaeology 109, no. 3 (July 2005): 477–526. http://dx.doi.org/10.3764/aja.109.3.477.

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Gentili, Paolo. "A Catalogue of the Ishchali Texts in the Iraq Museum." Journal of Near Eastern Studies 63, no. 4 (October 2004): 257–75. http://dx.doi.org/10.1086/426629.

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41

Matthews, R. J. "Excavations at Tell Brak, 1995." Iraq 57 (1995): 87–111. http://dx.doi.org/10.1017/s0021088900003016.

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A second season of a new programme of excavations at Tell Brak in northeastern Syria took place from mid-March to late May 1995. Our sincere gratitude for continuing support goes especially to the Syrian Directorate-General of Antiquities and Museums, in particular in Damascus to the Director-General, Professor Dr Sultan Muhesen, the Director of Excavations, Dr Adnan Bounni, and to all their colleagues who assisted us in many ways. We also thank Sd Jean Lazare of the Antiquities Office in Hasake and Sd Ass'ad Mahmud of Der ez-Zor Museum. Our representative was again Sd Hussein Yusuf who provided invaluable assistance in all aspects of our work, for which we are very grateful. Funding was generously provided by the British School of Archaeology in Iraq, the McDonald Institute for Archaeological Research, University of Cambridge, and the British Academy, to all of whom sincere thanks are expressed.The excavation team in 1995 comprised Dr Roger Matthews (excavations director), Ms Helen McDonald (registrar and pottery specialist), Professor Farouk al-Rawi (epigraphist and archaeologist), Dr Susan Colledge (palaeobotanist and environmentalist), Dr Keith Dobney (zooarchaeologist), Dr Wendy Matthews (micromorphologist), Ms Fiona Macalister (conservator), Ms Kim Duistermaat, Mr Geoffrey Emberling, Mr Nicholas Jackson, Mr Tom Pollard (archaeologists), Ms Amy Emberling and Mr Jake Emberling (camp support).

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42

Di Giacomo, Giacomo, and Giuseppe Scardozzi. "Un webGIS per la conoscenza delle antiche città della Mesopotamia." Virtual Archaeology Review 2, no. 3 (April 15, 2011): 9. http://dx.doi.org/10.4995/var.2011.4576.

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<p>In the years 2005-2009, The Institute for Archaeological Monuments and Sites (CNR-IBAM) participated with "The Virtual Museum of Iraq," sponsored by the Ministry of Foreign Affairs and developed with the scientific coordination of the National Council of Research. This paper describes in detail the peculiarities of the webGIS implemented for the submission of certain centers of ancient Mesopotamia. From image processing to extract the satellite map data for documentary base, until the creation of the structure and web interface: an experiment in communication history and archeology that extends the classical concept of "museum", extending also to contexts of discovery and the link between the historic landscape and man.</p>

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43

COSTA, J. M., C. T. RAVANELLO, and G. M. SOUZA-FRANCO. "Description of a new species of Neocordulia Selys, 1882 (Odonata: Libellulidae, Corduliinae) from southern Brazil." Zootaxa 1704, no. 1 (February 15, 2008): 64. http://dx.doi.org/10.11646/zootaxa.1704.1.5.

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Neocordulia santacatarinensis sp. n. is described and illustrated based on a reared male and its exuviae collected at Irani river, Ponte Serrada, Santa Catarina State, Brazil. Holotype is deposited in the Museu Nacional, Rio de Janeiro, Brazil.

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Westenholz, Aage, P. Steinkeller, and J. N. Postgate. "Third-Millennium Legal and Administrative Texts in the Iraq Museum, Baghdad." Journal of the American Oriental Society 115, no. 3 (July 1995): 535. http://dx.doi.org/10.2307/606267.

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45

Stone, Peter. "The rape of Mesopotamia: behind the looting of the Iraq Museum." Public Archaeology 8, no. 4 (November 2009): 378–81. http://dx.doi.org/10.1179/146551809x12537170074338.

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46

Boardman, J. "The Rape of Mesopotamia: Behind the Looting of the Iraq Museum." Common Knowledge 16, no. 2 (April 1, 2010): 289–90. http://dx.doi.org/10.1215/0961754x-2009-097.

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47

Neumann, Hans, and David I. Owen. "Neo-Sumerian Archival Texts Primarily from Nippur, in the University Museum, the Oriental Institute, and the Iraq Museum." Journal of the American Oriental Society 105, no. 1 (January 1985): 150. http://dx.doi.org/10.2307/601554.

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48

Pitcher, Ben. "The touch of iconoclasm." European Journal of Cultural Studies 23, no. 3 (April 10, 2018): 454–73. http://dx.doi.org/10.1177/1367549418761794.

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This article reflects on some depicted intentional acts of iconoclasm undertaken by Isis in Northern Iraq and viewed as online videos. It attempts to consider what makes these moving images compelling to audiences who share an orientation to the protection and preservation of ancient artefacts. In doing so, it prompts a reflection on their circulation as part of stories that get told about cultural heritage, and particularly the simple civilizational oppositions that get set up between ‘Western’ and ‘Islamic’ culture. Centring on the significance of the sensation of touch to practices of cultural inscription, it suggests that the Northern Iraq videos animate forms of synaesthesic material engagement that are denied by the modernist technologies of museum culture.

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von Dehn, Rüdiger, Carmen Winkel, and Bernd Lemke. "Nachrichten aus der Forschung." Militaergeschichtliche Zeitschrift 68, no. 1 (June 1, 2009): 117–34. http://dx.doi.org/10.1524/mgzs.2009.0004.

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Zusammenfassung Rüdiger von Dehn: Soldatinnen. Gewalt und Geschlecht im Krieg vom Mittelalter bis heute. Jahrestagung des »Arbeitskreis Militärgeschichte e.V.«, Jena, 13. bis 15. November 2008 Carmen Winkel: Die Kapitalisierung des Krieges. Kriegsunternehmer in Spätmittelalter und Früher Neuzeit. Internationale Konferenz im Deutschen Historischen Museum Berlin, 18. bis 20. März 2009 Bernd Lemke: Writing the History of Iraq: Historiographical and Political Challenges, Konferenz, Institut de hautes études internationales et du développement, Genf, 6. bis 8. November 2008

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Ali, Munther, and Markham J. Geller. "UTUKKŪ LEMNŪTU (UDUG-HUL) IN A NEW TEXT FROM THE IRAQ MUSEUM." Iraq 82 (October 15, 2020): 3–13. http://dx.doi.org/10.1017/irq.2020.10.

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A small tablet fragment acquired by the Iraq Museum raises interesting questions, although at first it appeared to be a simple duplicate manuscript from the large bilingual incantation series Udug-hul. Publishing this fragment has drawn attention to an interesting feature of Mesopotamian incantations, in which the āšipu-exorcist protects himself first, before addressing the patient. Although this practice has been known from Tablet 3 of Udug-hul incantations, it turns out that Assur exorcists occasionally inserted their own names into otherwise anonymous incantations and prayers, in order to ensure their own protection, which is a practice not known from other sites.

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