Homs-Sana
The Syrian impact on the Levantine arts and architecture, including the Palmyrene architecture, was the focus of a lecture by the head of the branch of the Historical and Cultural Association in Homs, Dr. Eng. Nazih Bodour. Cultural and commercial, to produce arts reflected in the ruins of Palmyra, with its magnificence, accuracy of designs, and amazing engineering.
In his lecture entitled (Syrian Identity in Palmyrene Arts and Architecture), Bodour presented a glimpse of the origins of the history of ancient Syria and the Aramaic and Phoenician kingdoms, Kamari, Ebla, Qatna and Ugarit, all the way to the Kingdom of Palmyra, which constituted a cultural heritage with its inscriptions, number, architectural style and its interest in various types of cultural, musical and sports arts, exhibitions and theatres. Gardens, structures, galleries, columns, and tombs.
He pointed out that language and originality formed the most prominent manifestations of the Palmyrene culture, so Palmyra is a Syrian-Aramaic kingdom that flourished in the first three centuries AD, and the Arabs formed part of its people, while its urban planning dates back to the Babylonian civilization in its chess style, but it followed an oriental Syrian character that was evident in the Palmyrene agora, temples and columns. And statues and cemeteries and the long street.
Then he stopped with pictures and documents on the general features of Palmyra art, which was influenced by classical arts such as Greek, Roman, Indian and Persian, and Palmyra sculpture was an artistic school in itself, stopping at the opinions of many Syrian archaeologists such as the late Khaled Al-Asaad and Salim Abdel-Haq and Westerners such as Henry Syring and Hero Dot and others who unanimously agreed However, Palmyra architecture was neither Hellenistic nor Roman, but rather a mixture of both with Syrian originality.
The lecture was attended by a wide group of intellectuals, writers, researchers and interested persons.
Hanan Sweed
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