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Culturecide in Mosul: the Destruction of the al-Nuri Mosque

Over the years, I’ve almost lost count of the priceless treasures of art and antiquity which I’ve seen with my own eyes – and which now lie in pieces.

Fourteen years ago, racing across Mosul to see the building where US forces had just shot dead the sons of Saddam Hussein, I glimpsed the “hunchback” minaret of the 12th century al-Nuri mosque looming over the old city, built by Nur al-Din Mahmoud Zangi, an Arab hero who united the Arabs against the Crusaders. Gone, my lords and ladies, in just a few seconds, scarcely a week ago. We blamed Isis. Isis blamed a US air strike.

Back in 2012, I ran past the 12th century minaret of the Umayyad mosque in Aleppo, pounding down the road towards the ancient Citadel as bullets buzzed up the streets. Within a year, the minaret was dust. We blamed the Syrian government for shelling it. The Syrians blamed al-Nusrah/al-Qaeda “terrorists”. All over Aleppo, they felt the ground tremble as the minaret fell.

Many times in the 1980s I walked through the Roman ruins of Palmyra, visited the Temple of Bel, gazed at the triumphal arch and walked on the theatre stage. When I returned in 2016 after the Syrian army had driven Isis from the ancient city, the arch had been destroyed with explosives and the temple was reduced to shards of stone, most of them only two or three inches in length. The theatre was undamaged though I noticed the end of a noose looped around a Roman column. This was Isis’s place of execution. Then Isis returned and recaptured Palmyra and this time they blew up the very centre of the theatre.

After the war broke out in Bosnia, I walked across the shining stones of Sinan’s 16th Ottoman bridge at Mostar. Within months, that which had stood for 427 years collapsed into the Neretva river under a salvo of Croatian artillery shells. It was exactly 3:27pm on November 9, 1993. I know the time because I still have the videotape of the destruction. I used to freeze-frame the tape and press the rewind button and rebuild the bridge, the spray falling back into the river, the old Turkish stones rising mystically upwards to recompose themselves in their magical span above the river. Its loss was mourned by the Bosnian Muslims – whose ancient mosques were crumbling under Serb gunfire – as the absence of the Mosul minaret is mourned by Iraqis.

The Yugoslav novelist Ivo Andric, in The Bridge on the Drina – surely one of the greatest European novels ever written – describes how “men learned from the angels of God how to build bridges, and therefore, after fountains, the greatest blessing is to build a bridge and the greatest sin to interfere with it…” But we are used to “the greatest sin”.  “Culturecide” – the destruction of libraries, graveyards, cathedrals, mosques – became a feature of the Bosnian war. In Kosovo in 1999, the Christian Serbs destroyed ancient mosques. Then the Kosovar Muslims destroyed most of the Serb churches in the province. I saw many of them, before and after their immolation.

And “the greatest sin” has, of course, a hundred thousand precedents. Who now remembers the 5th century Buddhas of Bamiyan, blasted with explosives for 25 days by the Taliban in 2001 until they were rubble. Who even cares that the Saudis – whose Wahhabi iconoclasm did so much to inspire the Taliban and Isis – have destroyed many of the ancient sites associated with the Prophet and his family?

And then what of the Second World War, the destruction of the ancient centre of Rotterdam, Coventry Cathedral, the Wren churches of the City of London, the wrecking of renaissance Italy, the levelling of Warsaw, courtesy of the Luftwaffe, the Wehrmacht and the SS. And the RAF’s 1945 destruction of Dresden and the bombing of the Middle Ages basilicas of Germany’s cities. And the mass theft of renaissance art and the sacking of museums across Europe, courtesy of the Nazi party’s “cultural” elite. And then we have the Germans of the First World War to thank for the burning of the 15th century university and library of Louvain and the total demolition of the medieval Cloth Hall at Ypres.

And – yes, this can go on and on – we can still see the ruins of the churches and abbeys which incurred the incendiary fury of Henry VIII and then digress still further and ask why the Romans of the Middle Ages used the Coliseum as a quarry – just as the Ottoman authorities used the Crusader castle of Beirut as a quarry for their port extensions in the early 20th century. And then come the Goths, Ostrogoths and Visigoths, not to mention the early Muslim invaders who themselves even tried to destroy a stone Buddha; I’ve seen its reassembled body in a Dushanbe museum. And when I think of pre-history and Sumeria, I can only remember walking through the ancient cities of southern Iraq, dug up and pulverised by tomb robbers after the 2003 Anglo-American invasion, and the statues whose broken limbs I crunched over in the darkness of the looted Baghdad Museum.

We can sometimes reconstruct. The Ypres Cloth Hall was reconstituted exactly as it was. The Old City of Warsaw was rebuilt from old maps and photographs. The UN organised the rebuilding of the bridge at Mostar. The Saudis have paid for the reconstruction of Bosnia’s mosques. Basil Spence designed the new Coventry Cathedral. Warsaw is almost picture-perfect but the new Mostar bridge will take years to look like the weathered old masonry which a 16th century visitor described as “like a rainbow arch soaring up to the skies”. The Cloth Hall at Ypres looks magnificent. So is the post-war “medieval” city in Warsaw. The ghastly, concretised new mosques of Bosnia are a disgrace. And I’m not sure if Basil Spence’s new Coventry cathedral works today, either in faith or in art.

But now the problem. If a single human life is more precious than all the planets, why do we weep for the wreckage of Buddhas and Roman cities and churches and mosques and libraries? Of all the “-cides”, surely “culturecide” should be way down our list of priorities. Yet it’s clearly near the top – the UN waffles on about our children’s heritage. But I’ve never heard it better explained than in the words of a Croat woman, Slavenka Drakulic who wrote about this very question only a month after the destruction of the Stari Most bridge by her own Croat army. She recalled seeing a photograph of a middle-aged Bosnian woman “with a long, dark knife cut along her throat” and she asked herself why she felt more pain looking at the image of the destroyed bridge than that of the woman.

And this is what she concluded: “We expect people to die. We count on our own lives to end. The destruction of a monument to civilisation is something else. The bridge, in all its beauty and grace, was built to outlive us; it was an attempt to grasp eternity. Because it was the product of both individual creativity and collective experience, it transcended our individual destiny… You would think that nothing new could happen, that, after the concentration camps and the mass rapes, the ethnic cleansing… there would be no room left for imagination…”

And for Muslims, destiny and eternity are subjects of the Koran, which was first revealed to the Prophet on the 27th day of Ramadan, the “Laylat al-Qadr”, the Night of Power. It is the holiest night in the Muslim calendar. And it was on this night – this year – that the 12th century leaning minaret of Mosul was blasted to the ground.

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Robert Fisk writes for the Independent, where this column originally appeared. 

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