'War is the worst evil that people have inflicted upon each other, since the hominoid discovered the lethal efficacy of rocks' – Peter Schjeldahl
Considering the number of lives lost during times of war, the families that are torn apart and countries that are crippled, many would say that war brings nothing but loss and destruction. Bearing in mind the above quote by Schjeldahl, one would ordinarily think about the implications of war on the lives of human beings. However, considering his article, ‘Art in a Time of War’, he is instead exploring the vast disruptions the art world faces during times of war (Schjeldahl et al., 2022). In this article, we will be discussing the myriad of ways that war can harm, destroy and disrupt the sanctity and stability of the art world.
A popular tactic used in times of war is targeting the cultural heritage of a vulnerable country. According to UNESCO, cultural heritage includes things such as buildings, monuments, artworks, artefacts and museums (Winchester et al., 2022). For example, during WWII, the Nazi regime systematically targeted and looted cultural heritage across Europe. These include the artworks created during the Weimar Republic during 1924-1930 when Germany was still viewed as a European Cultural centre (Rothefeld et al., 2002). Essentially, Hitler wanted to purge the German nation of the 'degenerate art' that called into question the beliefs of the 'Volksgemeinschaft' (Nazi Party). He viewed these artworks as traces of 'Jewish Decadence' during the Weimar Republic (Rothfeld et al., 2002). He then began an expedition to 'purify' the European race by confiscating artworks created by modern French, German and Jewish artists. These pieces would later be sold into auction and all proceeds would go towards funding the Nazi Party (Rothfeld et al., 2002).
The Nazis also used other damaging tactics to negatively impact art owners. Most of the arthouses in WWII were owned by Jewish families and some were art dealers. After the Decree Regarding the Reporting of Jewish Property was passed, it became incredibly difficult to be a Jewish art dealer because all artworks would have to be reported to the Reich (Nazi government). The Reich would assess these and usually confiscate them (Rothfeld et al., 2002). For most Jewish families these art houses were the source of their income. When they were confiscated, many had to close their doors and submit to the Reich. Art then became one of the primary sources of currency after the Nazi’s banned the exportation of paper money. This posed a problem for Jewish families attempting to escape the Reich (Rothfeld et al., 2002). Here we can see that during a time in which most Jewish families sourced their livelihood from the art industry, the confiscation of art by the Reich was used as a tactic to cripple the financial independence of the Jewish population, making it difficult for them to escape and easier for the Reich to take control of the Jewish population and begin their process of 'ethnic cleansing' which we know as the Holocaust.
Another example would be the destruction of the Temple of Baalshamin, one of Syria’s best-preserved ruins, by the Islamic State (ISIS). The Temple of Baalshamin was built nearly two thousand years ago and remains one of the most important cultural centres of the ancient world (UNESCO World Heritage Convention, 2015). The former director general of UNESCO Irina Bokova highlighted the true purpose behind the attack on the temple which was to deprive the Syrian people of their knowledge, history and identity. This was because the art and architecture of the temple stand to symbolise the work of several civilizations, showcasing the complexity and wealth of the Syrian people (UNESCO World Heritage Convention, 2015). As opposed to targeting the economic stability of a nation through art, we bear witness to the destruction of property that is deeply connected to the culture of a nation. Destroying something tangible or culturally significant to a nation can influence its emotional and psychological well-being as well as rapidly destroy its morale.
Furthermore, these deliberate and systematic attacks on cultural heritage have become a popular feature within contemporary warfare (Foradori, 2018: 1). In 2001, the leader of the Taliban issued a formal decree ordering the annihilation of all non-Islamic statues and sanctuaries in Afghanistan. This led to the destruction of the two Bamiyan Buddhas dating back to the 6th century (Centilivres et al., 2012). These were declared a World Heritage Site by UNESCO and served as a holy site for Buddhists on the Silk Road. On March 14th the Taliban issued a public declaration for the destruction of the two Buddhas. This act of iconoclasm on the Buddhist community shocked the world as it was believed to be one of the most spectacular attacks on the historical and cultural heritage of a nation (Centilivres et al., 2012). This act was also seen as an attempt at ethnic cleansing directed at the local Hazaras for whom the statutes were symbolic of their religion.
<https://youtu.be/nxZUccdc57c?si=32WZOJjuTv_axLon> – Video-taping of the Bombing of the Bamiyan Buddhas.
This rapid growth in the destruction of cultural heritage has prompted world leaders to act, creating measures to safeguard and preserve the sanctity of cultural heritage. The 1954 Hague Convention for the Protection of Cultural Property in Armed Conflict was the first international treaty dedicated solely to the protection and preservation of cultural heritage (Winchester et al., 2022). The treaty placed an obligation on all state parties to respect, protect and safeguard all cultural heritage regardless of their own country's belief system, in the event of armed conflict (Winchester et al., 2022). Furthermore, the treaty placed a vast amount of emphasis on the value of cultural heritage in stating that the destruction of cultural heritage, regardless of the people it belongs to, is an indirect destruction of the cultural heritage of all humanity (Winchester et al., 2022). Additionally, the 1919 Preliminary Paris Peace Conference imposed criminal sanctions on war leaders if they should attempt to or should destroy a piece of cultural property (O’keefe, 2007:2). From this conference five treaties were produced: The Treaty of Versailles, which ended the war between Germany and most of the Allied Powers, the Treaty of Saint-Germain en Laye which officially ended WWI between Austria and all successor state of the Austria-Hungarian Empire and the allied powers, the Treaty of Neuilly a peace treaty signed between Bulgaria and the Allied Powers, the Treaty of Trianon and lastly the Treaty of Sevres (Munez et al., 2025).
Although it may seem that an extensive amount of protection has been awarded to cultural heritage, this assertion would be incorrect. Federico Lenzerini, a law professor at the University of Siena has stated that despite the widespread condemnation of the attacks on cultural heritage, little has been done in terms of concrete action to halt the crime in question altogether (Winchester et al., 2022). Furthermore, Professor Edward Luck, a former advisor to the UN, has suggested that the destruction of cultural property is treated as a second or third tier in terms of policy priority and unless this narrative is reversed, all efforts to protect cultural heritage against growing threats will fall into dismay (Winchester et al.,2022).
In times of war, art can serve as a conduit for our emotions. It can provide a sense of reflection on who we are as humans, but can also help us express what we cannot put into words during times of terror and uncertainty (Simackova et al., 2022). Helping us move past difficult times, various creative forms of expression can also facilitate hope for a nation whose faith has been destroyed by the merciless fighting of a warring government. For example, during the Anglo-Irish Wars against the British Army, the Irish soldiers would often sing songs and perform the 'jig', a celebratory dance done on the battlefield or back home (Exploring the Irish Wars, 1919-1923). This was done to boost morale in the hearts of the Irish soldiers and people, signalling for them to stand strong and proud despite the fact that they were losing the war.
Cultural heritage contributes to the way in which societies function. The cultural heritage of a community is more than just the tangible buildings and monuments we see, the artworks created, or the dances composed. It is a deeply rooted legacy grounded in history, artistic expression, traditional practices and the memory of former civilizations. This legacy informs the way of life for many societies, positioned as the backbone of the origins of their community. Therefore, if we do not do all we can to protect the many facets of life informed by cultural heritage and the rich history attached to it, there will be an irreparable loss of cultural heritage. Our knowledge of the past is indicative of the prosperity of the future.
Bibliography
Articles
Foradori. P, Giusti. S and Lamonica. AG. 2018. Reshaping Cultural Heritage Protection Policies at a Time of Securitisation: France, Italy, and the United Kingdom. The International Spectator, 50(3):1.
O’Keefe R. 2007. The Protection of Cultural Property in Armed Conflict. Cambridge University Press, 71: 2.
Internet Sources
Centlivres P. The Death of the Buddhas of Bamiyan (Online). https://www.mei.edu/publications/death-buddhas-bamiyan (2025, February 28th).
National Museum of Ireland. Exploring the Irish Wars, 1919-1923 (Online). https://www.museum.ie/en-ie/collections-research/art-and-industry-collections/exploring-the-irish-wars,-1919-1923 , (2025, February, 28th).
Munez E. Paris Peace Treaties (Online)
https://www.britannica.com/topic/Paris-Peace-Treaties-1947 (2025, February 28th).
Rothfeld A. Nazi Looted Art : The Holocaust Records Preservation Project (Online) https://www.archives.gov/publications/prologue/2002/summer/nazi-looted-art-1 (2025, February 28th ).
Schjedahl P. Art in a Time of War (Online). https://www.newyorker.com/magazine/2022/03/21/art-in-a-time-of-war (2025, February 28th ).
Simackova J. What Role does Art Serve in Times of War and Suffering (Online). https://estonianworld.com/culture/what-role-does-art-serve-in-times-of-war-and-suffering/ (2025, February 28th).
UNESCO World Heritage Convention. Director-General of UNESCO Irina Bokova firmly condemns the destruction of Palmyra's ancient temple of Baalshamin, Syria (Online). https://whc.unesco.org/en/news/1339 (2025, February 28th).
Edited by Kajal Ranchhod
Comments